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Yamaha AN1x Manual

1. Foot Volume FC Foot Controller FS Footswitch RbnX Ribbon Controller X axis RbnZ Ribbon Controller Z axis Knob1 8 Assign group knobs 1 8 SCENE Scene Control controller Between the Control Assign function system knob assignments and Control Matrix voice knob assignments you can configure a monster knob control system where each knob simultaneously controls either the same Control Change parameter for the internal tone generator as for an external tone generator or different parameters for the internal and external tone generator AN1x Tone Generator VOICE SCENE SETUP Control Matrix MIDI OUT UTILITY SETUP Control CC 1111139 For more information about each parameter see the separate Data List book For information about the procedure for assigning controllers see page 95 Control Matrix Control Matrix parameters apply to the internal tone generator only It determines how MIDI Control Change messages generated by the on board controllers eight CONTRO Lknobs MO DULATIO N wheel FO OT CONTROLLER RIBBO N controller etc as well as messages generated by external devices received at the MIDI IN terminal are routed to the AN 1x s tone generator as well as the depth range of control VOICE SCENE SETUP KELEKELEKEE The Control Matrix is a configuration of 16 Sets of control setup plus Pitch Bend parameters and two sets of Common parameters The 16 parameter Sets
2. parameters let you designate settings which can permit the Step Sequencer pattern to obtain a more human feel Or even a less one if that s what you re going for There are three Play Effect parameters Swing Velocity and Gate Time Swing Lets you create a Swing feel by slightly shifting certain beats PET Swing 54 meon SEO Velocity Lets you set the ratio between lower and higher velocity values of each step Gate Time Lets you adjust the note length the duration of the note either shorter or longer as a percentage of the original PET GateTm DJA uem Gem SEQ 1101139 For more information about Play Effects and available settings see page 88 Exploring The Factory set Patterns To help geta clearer understanding of how the various Step Sequencer elated parameters and settings work you may wantto take some time and systematically examine the details of some of the factory set voices which are specially programmed to demonstrate the power and range of the Step Sequencer and change the various settings to analyze the possible effects As an example use the PROGRAM CHANGE keypad to select Sq 011 Alan then trigger the pattern This voice uses the Hold function so the pattern will play repeatedly as you check the various settings as follows 1 Notice which Layer mode appears in the LCD Check KbdMode and Scene Switch settings as well as Play Effect settings in the
3. AA Wan The Free EG is extremely flexible You can record each parameter in separate track passes or all tracks simultaneously in one pass You can specify the length of time the Free EG will record or play back either in measures up to eight bars based on Tempo setting or absolute time up to 16 0 seconds as well as have the Free EG loop in one of four ways as you hold the keys You can copy Free EG data from another track to the current track within the same voice as well as from another voice And since Free EG track data and settings are voice parameters they are stored as voice data when you perform a Voice Store operation NLD For information about the Free EG recording procedure see page 84 Parameter changes over time bars or seconds Y gt hes MIX VCF Noise Level NY UE SYNC FEM Sync Pitch aa Track 3 Resonance zc Ne AS ASSIGN 5 ASSIGN 6 ASSIGN 7 ASSIGN 8 VCF Cutoff OO Values relative to knob movements Free EG Parameters There are three categories of Free EG parameters 1 Track Common which includes settings that affect all four tracks of data for recording and play 2 Track or settings which determine the current Free EG track the parameter assigned to each track and which Scene the Free EG will play and 3 Track Job for recording a track or all tracks and performing track copy operations Following is a brief description of parameters available in each categ
4. Release Attack Decay d Key on Key off NLD For more information about VCF parameters see page 64 Ring Modulator Noise And Mixer Pressing the M IX VCF KNOB PARAMETER GRO UP Switch lets you use CON TROL knobs 1 4 to determine the levels of the VCO 1 VCO 2 Ring Modulator and N oise signals respectively CON TROL knob 5 lets you determine the cutoff frequency of the High Pass Filter applied to the signal which is output from the mixer and CONTROL knob 6 lets you select the VCF filter type LPF HPF BPF BEF which is controlled by the VCF Cutoff frequency in the VCF parameter group CONTROL knob 7 lets you adjust the Filter Modulation Depth to create a wah effect 1101139 For more information about MIX VCF parameters see page 66 3 VCA Edit Pressing the VCA KNOB PARAMETER GRO UP switch gives you access to the voltage controlled amplifier parameters which let you determine the volume of the sound and configure the Amplitude Envelope Generator AEG AEG CONTROL knobs 1 4 let you determine the Attack Decay Sustain and Release values respectively to give you precision contro over how the volume of the voice changes over time from when a key is pressed held then released and subsequently how long it takes for the sound to terminate The diagrams which follow show the difference in envelope generator characteristics for some common instruments Level Time Sustain Attack
5. or mode2 will appear in the LCD at the startup procedure to indicate which mode is activated 1111139 When using Mode 2 take care when making Control Change assignments since the behavior will be different from the MIDI standard LUIS For a list of Control Change types for each mode see the separate Data List book 3 Press YES ENTER again to recall the previously edited voice data NUL After step 2 pressing NO will cancel the Voice Recall operation and the LCD will display the previously selected voice name and number Voice Initialize The Voice Initialize function lets you reset a voice to its initial setting which is handy when you want to create a voice from scratch 1101139 The initialized setting loads into the edit buffer so after performing the Voice Initialize operation be sure to store the voice using the Voice Store operation 1 Enter 130 in the PROGRAM CHANGE keypad The number 130 begins flashing in the LCD VWX L OTHERS MNO PQR STU DEF GHI J KL ABC C ES NO YES ENTER 2 Press YES ENTER Init Y N appears in the LCD 3 Press YES ENTER again Type 1 8 d d JEBO appears in the LCD Select the template Type 1 8 by pressing the corresponding number key in the PROGRAM CHANGE keypad The number and name appear in the LCD VWX YZu OTHERS MNO DEF ABC NO YES ENTER You can choose from eight types of initial voice settings each with
6. All knob parameter settings excluding ASSIGN group e VOICE SCENE SETUP Mode and Control M atrix parameters VOICE COMMON Vari EF Dry W et parameter e VO ICE FREE EG Track SceneSw parameter e VOICE ARPEGGIO SEQ Common SceneSw parameter Selecting Layer Modes The LAYER switch is used for selecting a Layer mode from the six available Every time you press the switch a different Layer mode is selected The selected Layer at the time of a Voice Store operation is saved as voice data DEMO PORTAMENTO LAYER STORE ARPEGGIO SEQ Each Layer mode determines how Note On messages from either the AN1x s keyboard or external MIDI devices as received at the AN 1x s MIDI IN terminal are handled Depending on which Layer mode Is selected either one or both Scenes will be played and the Scene Control function will behave in specific ways The selected Layer also affects available polyphony and determines multitimbral status Layer Modes SINGLE This is the normal play mode for a voice The sound is determined by the data of the currently selected Scene In this mode the AN 1x plays with maximum 10 notes polyphony UNISON This mode is great for getting those fat analogtype sounds of the legendary vintage synths In Unison mode the data of the currently selected Scene is multiplied Polyphony is determined by the Poly mode setting see page 72 For example if Poly mode is set to mono or legat
7. CONTROL SYNTHESIZER gt Owner s Manual ANALOG PHYSICAL MODELING aaa hi Bassionabie real time Control Kn d other controll rs smi Dial OF Dnisot ab Alihe touch ofa bution Hi Matrix VIVE D control possi i Contents PREG AIKUe il KEE 4 INTRODUCTION How To Use This Manual ccccsscsscsceseeseeseeseeseeneeseenenaens 5 Main E 5 The AN Te At A Glance crinii 6 The Making Of A Modern ClasSIc csccscsssessesesesenseeees 8 WHAT 1S Fe VOI sanidad 9 AN1x Memory Structure ccococoocococooocnonoraconnnrarannnranaranaas 9 ANALOG PHYSICAL MODELING SYNTHESIS AN1xX Tone Generator ccccccccccccccccccececceneeeeeneneeeeeeeneaas 10 GETTING STARTED System Examples siii ii 12 SCO On The PONE rra 13 Playing The Demo SOnNngS ssssssssnnnnnnnnnnnnnnnnnnnnnnnnnnnn 13 Basic Operation sesassssensaissnssctssceansiensccscncsancscaantnssansssens 14 ANIx A 14 SIC eg 14 Using The ENER gue 13 CONTRO L Knobs And Parameter Groups 16 AN Ce Quick Tolar 17 Exploring The Factory set VOICES civic 17 Selecting Scenes And Scene Morphing ssscseseseeeees 19 Bi eege Eege 19 A A 20 SOME SI PUN ON rss 21 E OSO F O adan 22 BOSS Ta iaa 22 Selecting Layer MoOdd8S ocomocococococororanararararararanannnnnnnnnos 22 Pa T A E O A 2d Portamento Play apxgxkep ag seSSEKEKRRNNKSREREERR RRE ENRRKEKE REH BERN 24 TMG PORAMENTO ONANG rh EN 24 SEUNG Foramen TE 25 BElISCUNG PORa mento MOSS iii 25
8. Press the LAYER switch once to select the Unison mode UNISON appears accordingly in the right area of the LCD This produces a much thicker sound when you play stacking up five sounds with each note Boost the filter resonance Press KNOB PARAMETER GRO UP switch VCF and press CONTROL knob 6 to display the Resonance parameter in the LCD Turn the knob to seta value of about 60 which will emphasize the harmonics near the cutoff frequency 10 Apply vibrato to the voice Press KNOB PARAMETER GRO UP switch VCO 1 and press CON TROL knob 8 to display the Pmod Depth Pitch Modulation Depth parameter in the LCD Turn the knob to set a value near 20 This applies the vibrato effect to the voice when you play N ext let s set up the vibrato to be applied by the MODULATION wheel in order to control the amount of vibrato as you play Change the Pmod Depth setting back to 0 W e ll use one of the 16 sets in the Control M atrix to assign the VCO 1 Pitch Modulation Depth parameter to the MO DULATION wheel Set the EDIT RO TARY switch to the VOICE SCENE SETUP menu e Press Set N o UP DOW N J to display Set 1 in the LCD e Press Param UP DOWN to display VCO 1 PmodDp in the LCD e Press Source UP DO W N to display A M W in the LCD 114939 You can also assign a Control Change number to the Source by which to control the Parameter In this case the Control Change n
9. as well as create completely unconventional rhythms SLePLenath a POLY DUAL SEQ Settings 1 16 Steps O LoopType The Loop Type parameter lets you determine the type of loop cycle for the sequence pattern The pattern always loops and you can designate one of four ways for it to do so forward POLY Loop Settings forward The pattern loops from first step to last repeatedly backward The pattern loops from last step to first repeatedly alternateA The pattern plays from first step to last forward then from last step to first backward then loops in this manner repeatedly e g 1 2 3 4 4 3 2 1 1 etc alternateB The pattern plays from first step to last forward then reverses starting from the next to last step then loops in this manner repeatedly e g 1 2 3 4 3 2 1 2 3 4 3 etc EN O Ctrl No Control Number The Control N umber setting determines the type of MIDI Control Change which can be output upon sequencer play Once the Control N umber Is set the Control Change event is selected with Knob Event parameter UP DO WN and the value to be output via each step is edited with the CON TROL knobs For example if you set the Control Number to CC No 10 Pan Pot then selecting a different Control Change event value setting at each step lets you position the individual pattern notes from left to right in the stereo field Raf ott CE Ho ua SEO Settings 0 off
10. 305 261 4111 EUROPE THE UNITED KINGDOM Yamaha Kemble Music U K Ltd Sherbourne Drive Tilbrook Milton Keynes MK7 8BL England Tel 01908 366700 IRELAND Danfay Ltd 61D Sallynoggin Road Dun Laoghaire Co Dublin Tel 01 2859177 GERMANY SWITZERLAND Yamaha Europa GmbH Siemensstrabe 22 34 25462 Rellingen F R of Germany Tel 04101 3030 AUSTRIA Yamaha Music Austria Schleiergasse 20 A 1100 Wien Austria Tel 0222 60203900 THE NETHERLANDS Yamaha Music Nederland Kanaalweg 18G 3526KL Utrecht The Netherlands Tel 030 2828411 BELGIUM Yamaha Music Belgium Keiberg Imperiastraat 8 1930 Zaventem Belgium Tel 02 7258220 FRANCE Yamaha Musique France Division Professionnelle BP 70 77312 Marne la Val e Cedex 2 France Tel 01 64 61 4000 SY11 Para detalles sobre productos contacte su tienda Yamaha mas cercana o el distribuidor autorizado que se lista debajo ITALY Yamaha Musica Italia S P A Combo Division Viale Italia 88 20020 Lainate Milano Italy Tel 02 935 771 SPAIN Yamaha Hazen Electronica Musical S A Jorge Juan 30 28001 Madrid Spain Tel 91 577 7270 PORTUGAL Valentim de Carvalho CI SA Estrada de Porto Salvo Paco de Arcos 2780 Oeiras Portugal Tel 01 443 3398 4030 1823 GREECE Philippe Nakas S A Navarinou Street 13 P Code 10680 Athens Greece Tel 01 364 7111 SWEDEN Yamaha Scandinavia AB J A Wettergrens Gata 1 Box 30053 S 400 43 G teborg Sweden Tel 031 89 34 00
11. Confirm the contents of the transmitted data such as necessary MSB LSB data etc 112 SysEx Size Error Received System Exclusive message size is incorrect Confirm the size of the transmitted data Chek Sum Error Received System Exclusive Check Sum message is incorrect Confirm the Check Sum message of the transmitted data Receiving Bulk Displays when receiving bulk data Troubleshooting Following is a list of troubleshooting hints and page references for some common problems you may encounter during operation Usually most problems are simply the result of incorrect settings Before calling a professional service representative refer to the throubleshooting advice below to see if you can identify and correct the cause of the problem No Sound Is the volume turned up high enough If a Foot Controller is connected to the FOOT VOLUME jack is the Foot Volume pressed down Is the VCA Volume high enough Page 69 Is the Mixer VCO level high enough Page 66 Is the VCF Cutoff set to low Page 65 Is the VCO Pulse W idth setting correct Page 62 Are the effect settings incorrect Pages 77 79 Is the MIDI receive channel turned off Page 93 Are the speakers or other audio components connected properly Page 12 Is the keyboard Local setting turned off Page 94 If you are playing back song data using an external device are the volume or expression related settings for the song appropriate I
12. Pmod Depth setting see page 63 Settings mastr slave both 1101139 Pitch Modulation cannot be controlled by LFO2 FM Depth The FM Depth setting determines the amount of modulation created by FM Source 1 see next parameter Turning the knob to the right increases the Depth FM berth POLY ett DUAL ARP Settings 64 0 63 HU This is a different type of parameter than that used in the Yamaha DX series FM synthesizers Too deep of a setting will change the pitch of the voice Adjust the pitch using the VCO1 Pitch and Fine parameters see pages 61 62 FM Srcl FM Source 1 The FM Source 1 setting determines the modulation source which controls the FM Depth see previous parameter FR Sourcel fixed Iil ARP Settings fixed PEG FEG LFO 1 LFO 2 1111139 When set to fixed there is no change in modulation over time FM Src2 FM Source 2 The FM Source 2 setting determines the source wave which modulates the VCO1 wave FM Sources UCD u am ARP Settings VCO 2 VCO1 VCO 1s sub oscillator PEG FEG IFO 1 LEO 2 VCcoOl W hen KNOB PARAMETER GROUP switch VCO 1 is selected the eight CON TROL knobs will access specific Voltage Controlled Oscillator 1 related parameters including wave selection pitch specification and wave control ULI For more information about VCO1 see pages 10 30 Wave The Wave setting determines the VCO 1 wave Available waves d
13. Roll the MODULATION wheel forward and back or use a Foot Controller etc as you play Scene 2 settings Scene 2 Scene 1 MODULATION The minimum value of the MO DULATION wheel or Foot Controller etc plays Scene 1 the maximum value plays Scene 2 any position between the two extremes between a range of 0 and 127 will play a blend of both Scenes accordingly Maximum Halfway Minimum MODULATION MODULATION MODULATION Scene 1 2 Scene 1 setting Scene 2 setting equal balance EN Depending on how different each Scene is a considerable number of parameters may get changed simultaneously as you do the cross fade As such you have an enormous palette of sound textures available which you can apply in realtime as you play Also you can select KNOB PARAMETER GRO UP switches and turn the CON TROL knobs to edit the data during the Scene Control All parameter changes when both SCEN E switches are activated take place in the Scene Control edit buffer As you morph between the two Scenes and turn the CONTROL knobs you may create a killer sound you simply must save before risking losing it Performing a Scene Store operation lets you store it to one of the Scenes right then and there 1111139 During Scene Control Control Matrix settings and some of the Switch parameters e g VCF Type LFO Wave VCO Wave etc will not change For these parameters the Scene 1 settings will remain in effect Sce
14. Scene Edit Control knobs Buffers 1 8 There s also a Scene Control buffer where parameter changes by moving the MO DULATION wheel as well as CONTROL knob positions when Scene Control is active take place This sound can be stored in either Scene edit buffer at any time using the Scene Store operation Scene Control Buffer 006060 006060 Scene Edit Control knobs Buffers 1 8 Tone Generator Since Scene editing as well as Scene Store Load and Swap operations see pages 21 22 are taking place in the Scene edit buffers you need not worry about losing your original Scene data as stored with the selected voice unless you perform a Voice Store operation to the same voice location However since the Scene buffer is volatile you will lose your edited Scene data unless you perform a Voice Store operation before selecting another voice NUL For information about performing a Voice Store operation see page 98 Scene Control The Scene Control function lets you morph or cross fade between the two Scenes by rolling the assignable MODULATION wheel or using an assignable Foot Controller or any other continuous controller LIS For information about assigning controllers see page 95 The procedure for activating the Scene Control function is as follows 1 Press both SCENE switches simultaneously The LEDs to the left of both switches will light to indicate that Scene Control is active 2
15. Selecting Parameter GrOUPS coomononococnonanannnnnnaranananannas 25 Using The CONTROL Knobs sssssssnnnnnnnnnnnnnnnnnnnnnnnnnnnnn 26 Assigning Parameters TO Bu EN af Using The Panel Edit Matrix cscsecsescseeseseseeeeseeeseees 28 GUDEN VOIES ia 29 voice EE ee Ae 29 AS CH KEE 30 Store Operations sarna iban 33 Turning ARPEGGIO SEQ On And Off ssssssssnssnnnnnnnnnnnn 33 Using The Arpeggiator cscsecseseseeseeeseseeseaeeeeeesenessees 33 EE ENEE 33 Apego HOM FUNCUO eric debian 34 Arpegdio Patern ID iria arica 34 PEA BUDO IL esla osa 34 Paying AED AO CODOS TEE 35 AMERO MIDI O DOU EE ES Using The Step Sequencer sek REENEN ENER K EEN 37 BIER SSUES OM O T EE 38 Step Sequencer Hold MoOdes ainia o 38 Voice Pattern And User Pattern Banke 39 Playing Step Sequencer Patterns ooccoccccccccncnnonncnnnoninonos 40 Sep SEROUS NCSD EOI escroto ide 44 Sie Sequence MIDI rara 46 Using The Free EG sico 47 HER EN Parame S orgeat cia lio 47 Using The Control Features ccccsesecseseseeseseneseeeeeeseees 49 A A A 49 DONE Canto ASSO FUNC OF barracas 50 Ho A E 51 Voe Selec ci 52 KA eu 53 Knob Parameters iii 54 AEEA Le ET 54 A EE 58 a ENEE 61 EE 63 Neen 64 ME et A 66 A A A E E E aT 68 O EE 70 Panel Parameter Elt ccscsscsscsccsseseesseseeesesennensensenes 71 Ge Miir ge EE 11 Edit Parameters cinco 72 VOLES CENE EIU EN 72 NES EEN REN errada TI Me EE ol OE Bre 1 OE ana 85 SEC EEG SEI sonia psico eeng 89 A O
16. Store operation The LCD then returns to the prior display Scene Swap And Scene Load A Scene Swap function lets you exchange the data in the two After steps 1 2 pressing N O will cancel the Scene Scenes for the currently selected voice see page 22 and a Scene Load function lets you load Scene data from a Scene SE Operaugn and the LCD will return to the prior in another voice into a Scene in the currently selected voice condition see page 22 3 Execute a Voice Store operation to store the Scene data as part of the voice along with Scene on off status Factory Settings You can recall all of the original voices plus scene Step Sequencer system MIDI and other parameter settings which were programmed at the factory 1101139 This operation resets the settings in memory so be sure to offload any important data first to a MIDI data storage device before execution 1 After turning off the power hold 7 8 and 9 in he PROGRAM CHANGE keypad and turn the power back on PROGRAM CHANGE VWX YZ OTHERS NO YES ENTER 2 The Fact Set 1 9 display will appear in the LCD You can choose from the following factory sets 164 voice loads voices 1 64 65 128 voice loads voices 65 128 all voice loads all 128 voices sorted voice loads all voices sorted by voice Category 164 user pattern loads User Patterns 1 64 65 128 user pattern loads User Patterns 65 128 all pattern loa
17. This lets you adjust the various event settings in context with the speed and resolution of the sequence SEQ trl No EDIT SETUP SEQ Store Each time you press a different CON TROL knob s push Switch while Step Hold is active that step will be played and its information will appear in the LCD Turning a CONTROL knob will edit the current event value of the selected step Storing Step Sequences Depending on whether the Step Sequencer is in Single Pattern Play or Pattern Select Play status you can do the following e Performa Voice Store operation to store the current Voice Pattern data in the Voice edit buffer as voice data in Single Pattern Play status 111139 For information about performing a Voice Store operation see page 98 e Performa Sequence Store operation to store the currently selected pattern to any User Pattern memory in Single Pattern Play or Pattern Select Play status SEQ Store Operation Knob Pattern SEQ SEQ Event 1 8 9 16 Step Hold Bank o i en 00 e rl No Store EDIT SETUP pa 6E iS Press SEQ Store UP DOWN to select the user pattern location SURE Y N and Bank User flash alternately in the LCD Bank User Press YES ENTER to store the pattern or NO to cancel the operation 1111139 The SEQ Store operation temporarily stores the pattern currently playing to the pattern edit buffer so be sure to perform a Voice Store operation see page 98 before
18. and more For information about MIDI see page 109 O Rx Ch Receive Channel The Receive Channel parameter sets the MIDI channel on which the AN 1x s tone generator receives M IDI note controller and other messages W hen Layer mode is setto SINGLE or UNISON the current Scene setting determines which Scene is played by external MIDI signals Each Scene can be assigned its own MIDI channel and be played independently by incoming MIDI signals when Layer mode is set to SPLIT SPLIT UNISON or DUAL DUALUNISON W hen not receiving from an external device set Rx Ch to off Scenel Ech 1 POLY DUAL SEG Settings SINGLE UNISON 1 16 off SPLIT SPLIT UNISON DUAL DUAL UNISON Scene 1 1 16 off Scene 2 1 16 off 1111139 When Layer mode is set to SINGLE or UNISON the receive channel for Scene 1 and Scene 2 are the same and you cannot select a different receive channel for each O DeviceNo Device Number The Device Number parameter lets you set the MIDI device number when performing bulk dump operations or when transmitting and receiving System Exclusive messages Both devices should be set to the same channel number Device Ho 411 POLY WW SEQ Settings 1 16 all off O Local The Local parameter lets you designate the AN 1x s keyboard to play the internal tone generator or not W hen setto on playing the AN 1x s keyboard will cause the internal tone generator to sound
19. real Realtime will cause the velocity values of the pattern to be determined by the velocity at which you play the keyboard in relation to the VCA Vel Sens setting PET Wel LBK ua a SEG Settings real Real time 1 200 O GateTime The Gate Time parameter adjusts the note length the duration of the note either shorter or longer as a percentage of the original This lets you for example set the note to play staccato so that its sound switches off well before ts step time is over Or you can have the note hold right up to the start of the subsequent step so that it slurs legato into the next note A setting of 100 maintains the original relationship between notes Lower values decrease Gate Time and higher values increase Gate Time PET GateTr gg POLY on Settings 1 200 1139 The Gate Time parameter is not available when Arp SEQ is set to Arpeggio Arpegolator 10139 If the Gate Time setting exceeds the original note length then the Gate Time percentage will automatically be adjusted so the note length will not interfere with the legato SEQ EDIT SETUP This menu includes parameters and settings related to creation and play of Step Sequencer patterns You can create a Voice Pattern for each voice as well as create and store a total of 128 User Patterns Step Sequencer settings are stored as voice data 1111139 When the EDIT ROTARY switch is set to the SEQ EDIT SETUP men
20. see page 89 Step Sequencer On Off The Step Sequencer can only be activated when the Arp SEQ parameter VOICE ARPEGGIO SEQ menu is set to Step SEQ VOICE ateTime ARPEGGIO SEQ You can turn the Step Sequencer on and off by pressing the ARPEG G IO SEQ switch W hen the Step Sequencer is turned on SEQ will appear in the lower right area of the ICD 1111139 When Arp SEQ is set to Arpeggio the various parameters in the SEQ EDIT SETUP menu cannot be accessed Setting The Step Sequencer Tempo Set the EDIT RO TARY switch to VOICE COMMON and press Tempo UP DOWN to set the tempo of the Step Sequencer in BPM Beats Per M inute ari Q Vari EF Dly Rev EF EF Name VOICE Tempo Split Pnt Param ata Dry Wet Param Data Bypass Cursor Char COMMON If you want the clock of an external MIDI sequencer or drum machine to control the AN 1x s tempo then set the Tempo to MIDI the first value located before 40 so that the two devices will play in synchronization with each other Step Sequencer Hold Modes Pressing Hold UP DO W N lets you turn the SEQ Hold function on and off Depending on Keyboard Mode setting there are two additional Hold modes VOICE ty ateTime ARPEGGIO SEQ W hen SEQ Hold is set to on HOLD will appear in reverse type in the lower right corner of the LCD After triggering the Step Sequencer by playing the keyboard the sequen
21. tremolo There are 21 wave types as shown at right and the following pages Settings sine sineT sine TT sinel80T sine180T tri triT triTT tril80T tril80TT squ squTT squl80TT saw dwn saw dwntT saw up saw up TT s h s hTT s h2 s h2TT Sine Wave Sine Sine 1 Sine 1 Sine1801 Sine180 11 Tri Triangle Wave Triangle Triangle t Triangle 1 1 Triangle180 1 Triangle180 TT s h Sample amp Hold Wave h s h 11 s h2 11 HL Compared with s h s h2 is biased to the positive range LFO1 Spd ro1 Speed The LFO 1 Speed setting determines the rate of LFO 1 Turning the knob to the left results in slower rates and turning it to the right results in faster rates For details about the LFO Reset function see page 73 LEOL Sreed DUAL Mw Slow Speed Fast Speed PPS MA Settings 1 256 LFO1 Dly ro1 belay The LFO 1 Delay setting determines the delay time of the modulation Turning the knob to the left results in shorter LFO 1 Delay times and turning it to the right results in longer Delay times LFO1 Delas a POLY DUAL Mo Short Delay Long Delay Settings 0 127 LFO2 Spd ro2 Speed Description parameters and values for LFO 2 Speed are the same as for LFO 1 Speed above NLD The LFO2 wave is fixed to triangle and cannot be changed SYNC FM W hen KNOB PARAM ETER GRO UP switch SYN C FM is selected the eight C
22. 92 A A ae anos 93 let BEE 109 din Buk DUM EE 94 rE Oy A A A 87 MIDI Pav CCCI IY arco rev 31 87 MIDI A e EE 46 87 MIDLER A O AS 93 MIDD E e RO ONU o N aie ids 93 A OUT THRU EEN 6 VE o EE 61 A EE 10 66 KEE 12 OU OW WESI ara a is N EA E 80 NO Mel redada A 7 Na Pantern NUMDE eet Ee 90 A EEN EE 66 AA 39 41 92 O OSGOI EE 10 OUTPUT UMON O EE 7 P Po E E 76 Panel Parameter EE yl Param ICAO MATIX rai 74 PA iia 79 Parant gt EG TEE 48 83 Param Van Ee 71 Parametr GOUD EN 16 25 AEROC EE 90 EE EE 31 Pie NEE A mM E ees a AA 54 AA aeatier a a so adgcsieaigwead plaeotdnnted 55 PEG EEN 55 O A OE ER O OO OO A 55 PHONES EE 7 gids A VCO Z EE Tene 61 CA AA e DREE 15 PEV EE cearr A A AS 43 88 Poo DEDM IVC OI VCO Z A EE 63 POP OU EE 72 118 POr MOJE WEE 25 73 Port mme Fay LFO EE 25 56 POMO PY smart 24 PORIAMEN TO SWIECI aan amina 24 o EE 7 PROA CHANGE aries 7 pule A WaVe EE 61 A A A 62 PM Den AVCO VO 2 rra 62 PW M SOURCE AVEO LEA ni ii 63 R EES 49 83 A E eebe A 52 Raa SE VCA A 69 RERA A TEE 64 ROSON A A eg 65 RIBBO N controller soceunscessocsisctsvest soar ensi vedseulosenesaseimsoreseieieseimecuenastiness 16 RDO MOGUT crasina e EEEa cgeneeeaceeacbuadepeceuacaucnans Saeaee 66 S s h Wave LFO A A 58 IL A anaes TEER 61 OWA WCO T YC EE EE 61 Sawtooth Wave LFO MEN d e 57 ENEI EE 6 19 SCENE EE 6 19 A 20 Sn E GUIOT prnl dis 20 LEE 22 SCONE o EE 19 EEEE EE 21 99 EE 22 Scene Switch ARPEGGI0 SE
23. Arp SEQ is set to SEQ the Subdivide function cannot be accessed and will appear in the LCD Are Subir d a POLY d Di Settings 3 8 J 1 4 3 16 1 6 JJ 1 8 3 32 8 1 12 J 1 16 1 24 5 1 32 8 Play EF Play Effect The Play Effect para meters let you designate settings which can permit the Arpeggiator or Step Sequencer pattern to obtain a more human feel There are three Play Effect parameters including Swing Velocity and Gate Time O Swing The Swing parameter lets you apply a Swing rate to the Step Sequencer pattern to slightly shift certain beats in order to create a Swing feel A setting of 50 produces no Swing and 83 produces maximum Swing For information about how the Swing levels affect the rhythm of the pattern see the chart below PET Swing PDS POLY gei Doug SEO 1st Back 2nd Back 3rd Back Ath Back beat beat beat beat beat beat beat beat Settings 50 83 1111139 The Swing parameter is not available when Arp SEQ is set to Arpeggio Arpeggiator O Velocity The Velocity parameter sets the ratio between the lower and higher velocity values of the Arpeggiator or Step Sequencer pattern over a range between 1 and 200 A setting of 100 maintains the original velocity relationship between the notes Lower values adjust velocities downward at playback and higher values adjust velocities upward at playback A setting of
24. Control Change 1 95 After Touch NLD For more information about MIDI and MIDI Control Change messages see page 109 SEQ Store Sequence Store Sequence Store lets you store your edited Step Sequence pattern in one of the User bank pattern locations 1111139 The Sequence Store operation stores the pattern currently held in the edit buffer in the User Pattern bank This is different from the Voice Store operation see page 98 1 Press SEQ Store UP DOWN to select a User pattern number SURE Y N will start flashing in the LCD sure CYA Noble 2 Press YES ENTER to execute the Sequence Store operation The LCD returns to the Pattern Bank Number display To cancel the Sequence Store operation after step 1 press NO UTILITY SETUP The Utility menu is dedicated to global parameters which affect the AN 1x s system including tuning keyboard velocity and MIDI settings 1111139 System parameters cannot be stored as voice data and therefore will remain as set regardless of which voice is selected Ctrl UTILITY u Device Ctrl No SETUP System System settings are related to the AN 1x s tone generator tuning and keyboard transposition and velocity sensitivity There are three parameters available including M strTune M aster Tune KodTrans Keyboard Transpose and Kbd Vel Keyboard Velocity O MstrTune Master Tune The Master Tune parameter determines the master tuning pi
25. Decay Release d Key on Key off Piano Violin 1101139 For more information see page 68 Amod Depth And Vel Sens CONTROL knob 7 lets you adjust Amplitude Modulation Depth to create a tremolo effect by using LFO 1 CONTROL knob 8 lets you set the Velocity Sensitivity to determine the amplitude of the VCA in relation to playing strength to elther increase dynamic range with a heavier or lighter touch 1101139 For more information about Amod Depth and Vel Sens parameters see page 70 Feedback And Volume CONTRO Lknob 5 lets you determine the feedback level which is output from the VCA and then fed back into the input of the mixer causing the signal to become fat CONTROL knob 6 lets you determine the overall output level from the VCA before the signal passes to the Effect block 1111139 For more information about Feedback and Volume parameters see page 69 4 LFO Edit The Low Frequency Oscillator is an oscillator which generates low frequency signals to let you apply a modulation signal to specific aspects of the voice For example applying the LFO to the VCO creates vibrato applying it to the VCF creates wah and applying it to the VCA creates tremolo The AN 1x has two separate LFO s which give you a wide range of control over modulation Wave And Speed Pressing the PEG LFO KNOB PARAMETER GRO UP switch lets you use CON TROL knob 5 to select the LFO 1 Wave from 21 types available CON TROL knob 6 lets you ad
26. For a description of each parameter and available settings see the REFERENCE section page 92 For more information about the Control function see page 50 Editing Voices If you ve read through all the preceding sections and especially if you ve been trying out the various features along the way you should have a pretty solid grounding in how the AN1x creates and enhances sound as well as how the various controls work to manipulate the many features This section provides an overview of the steps required for the procedure of editing a voice along with the Key procedures required to build up your own voices from scratch Voice Edit Procedure The AN 1x is so naturally intuitive the procedure for editing a voice is extremely simple There are only a few basic steps as follows 1 Select a voice using the PROGRAM CHANGE keypad PROGRAM CHANGE VWX Ze OTHERS Ca MNO PQR STU DEF GHI JKL ABC Co CJ NO YES ENTER 2 Set the status of Layer mode with the LAYER switch and Poly mode located in the VOICE SCENE SETUP menu DEMO PORTAMENTO LAYER STORE ARPEGGIO SEQ VOICE e j SCENE SETUP Poly Mode bb meno 3 Edit the various tone generator parameters for each Scene using the KNOB PARAMETER GROUP switches and CONTROL knobs KNOB PARAMETER GROUP Sync Pitch Depth PEG Decay Algorithm Fine 4 Depending on your needs use the panel Edit matrix to design
27. LFO1 Press KNOB PARAMETER GRO UP switch PEG LFO then press CON TROL knob 6 once to display the LFO 1 Speed parameter in the LCD Turn the knob to seta value of about 8 4 Change the LFO1 wave Press CONTRO Lknob 5 once to display the LFO 1 W ave parameter in the LCD Turn the knob to select sineTT which shifts the entire wave above the 0 line This creates a more typical synth lead sound Next let s tweak a few parameters to add extra depth and dimension to the sound 5 Set up the sound for portamento play In the PEG LFO group press CON TROL knob 4 to display the Port Portamento Time parameter in the LCD Turn the knob to seta value of about 60 fap H is flashing alternately with the Port Time value in the LCD this means the portamento is turned off To turn the portamento on press the PORTAMENTO switch once 6 Set up the Synth Lead sound for legato play Set the EDIT RO TARY switch to the VOICE SCENE SETUP menu and press Poly UP DO W N J to set the Poly mode to legat legato Playing the keyboard produces only a monophonic note and you can slur the lead notes into each other 7 Thicken the sound with Unison play Press the LAYER switch once to select the Unison mode UNISON appears accordingly in the right area of the LCD This produces a much thicker sound when you play stacking up five sounds with each note 8 Add a delay effect to the sound Set the EDIT RO T
28. M O DULATIO N wheel RIBBO N controller X axis o gt Ah mt e de et e Et E d EN and Z axis and keyboard After Touch as well as optional The AN1x s Scene select and play functions offer FOOT VOLUME FOOT CONTROLLER and an exciting range of sophisticated and convenient real time sound control options that FO O TSW ITCH pedals Controller and parameter assignments are made using the Control Matrix see page 73 and the Utility Control Assign function see page 95 let you express yourself musically in completely unique ways The SCENE switches let you select LUS For more information about controllers see Using The Control Features page 49 a Scene or activate the Scene Control function Parameters Stored In Each Scene e All parameter group CONTROL knob position settings except for the ASSIGN group e VOICE SCENE SETUP Menu Mode and Control Matrix excluding common parameter settings e VOICE COMMON menu Vari EF Dry W et settings Scene Memories Each voice has two Scene memories each of which can have a different edit using the CON TROL knobs Either Scene can be recalled at any time during play by pressing SCENE 1 or SCENE 2 An LED to the left of the selected Switch will light to indicate the active Scene Knob position settings 2 Ge freon LS Sc Knob iti tti 1 ze 55 5 ar TRL VEO Poea LEA SY 2 Fecal CAY Y eeh Rec AY Y Sos attack RAJ teve Per Ay teve fe RAY mod J
29. Number You can control the vibrato of the VCO1 by moving the MO DULATIO N wheel To further define the range of vibrato control press Depth UP DO W N to seta value of Dp 20 7 Apply reverberation to the sound Set the EDIT RO TARY switch to the VOICE COMMON menu then press Dly Rev EF Param UP DOWN to display Rev Return in the LCD Press Data UP DOWN J to seta value of about 30 There are many other parameters you may want to adjust to get just the right sound you want When you re finished with the editing process perform a Voice Store operation to store your creation For information see page 98 107 Synth Lead First lets create the fundamental sound 1 Select a voice that you don t mind writing over Perform a Type 1 Normal Voice Initialize operation 2 Set up the Sync Algorithm for a slow movement of the sound Press KNOB PARAMETER GRO UP switch SYN C FM e Turn CONTROL knob 1 and set the Algorithm parameter to Sync FM bth which enables the sync and applies FM to both master and slave oscillators of VCO 11039 Other settings except for only FM will also produce effective results e Turn CONTROL knob 2 and set the Sync Pitch parameter to a value of about 10 e Turn CON TROL knob 3 and set the Sync Pitch Depth parameter to a value of about 20 e Turn CONTROL knob 4 and set the Pitch Source to LFO 1 3 Slow down the speed of the
30. Scene 1 and Scene 2 on off status Layer mode setting ARPEGGIO SEQ on off status Portamento on off status and all other voice parameters are stored to the designated voice number ULSD If you already know which location you want to store the voice in simply enter the number in the PROGRAM CHANGE keypad and press the STORE switch Scene Store Scene Select Scene Store is handy for storing the knob position settings After selecting a voice press SCENE 1 or SCENE 2 to created during Scene Control to one of the SCEN E select the desired scene The LED appears beside the selected switches Switch to indicate the active Scene At least one Scene is active at all times 1111139 Scene Store loads the data into the Scene edit buffer so you will need to perform a Voice Store operation to store the Scene parameters as voice data Scene Control The procedure is as follows Press both SCEN E switches to activate the Scene Control function which can be controlled with the MW or FC or any 1 Hold STORE and press the SCENE 1 or other assignable continuous controller in order to morph or crossfade between Scene 1 and 2 sounds For more information see page 20 f Move forward and back al MODULATION SCENE 2 switch depending on which one you want to store the current setting into SURE Y NJ flashes in the LCD Lo Scenel e MD ST oan 2 Press YES ENTER to execute the Scene
31. Scene morphing see page 19 This area displays Poly mode status This area displays Layer mode status This area displays Arpeggiator Sequencer on off and hold status Turn the CONTROL knobs Press a KNOB PARAMETER GRO UP switch and turn each CONTROL knob as you play each Scene to Change arpeggio Tempo Pattern Type Subdivision and Hold status O To speed up or slow down the Arpeggiator pattern hear how it affects the sound There are eight different groups of parameters assigned to the knobs at the factory These let you edit the tone or sequence set the EDIT RO TARY switch to the VOICE COMMON menu and press Tempo UP DO W N until you achieve the desired rate generator parameters as printed on the panel beside each knob Notice how easy itis to edit and drastically change the voice 1101139 For more information about Tempo see page 77 O To try out the 30 different preset Arpeggiator pattern types set the EDIT RO TARY switch to the VOICE ARPEGGIO SEQ menu and press the Type No UP DOWN switch and step through HL For more information about using the CONTROL Knobs see page 26 Compare Layer modes O Press the LAYER switch to compare the difference each pattern of each of the six Layer modes as you play one at a time 1111139 For more information about the Type No parameter see page 34 For more information about Layer modes see page 22 O To hear how the timing resolution of a p
32. W hen set to off playing the keyboard will not play the internal tone generator but will output note data via M IDI O UT to play an external tone generator or record into an external sequencer N ormally this will be setto on unless you are using the AN1xasa master keyboard controller for recording note data into an external M IDI sequencer and having the output of the sequencer determine whether the AN 1x s tone generator plays or not by signals received at M IDI IN MIDI OUT MIDI IN Rx Ch MIDI IN MIDI OUT Tx Ch Local on off switch AN1x Tone Generator Keyboard Controller Settings on off 94 O Bulk Dump The Bulk Dump parameter lets you initiate bulk dump operations when offloading AN 1x data to an external MIDI data storage device such as the Yamaha MDF2 MIDI Data Filer or another AN 1x Bulk dump operations let you back up your important voice Free EG pattern and system data for safekeeping and then load them back into the AN 1x whenever you wish Gelct as Bulk na SEQ Before initiating a bulk dump operation you must set up the external device for bulk dump send and or receive You ll also need to match the Device Number of the AN1x and the external device For information see the owner s manual which came with the external device Send Bulk Dump 1 Press BulkDump UP DOWN to select the type of data to be sent Available types 1scene Sen
33. add extra depth and dimension to the sound 5 Emphasize the brass characteristics of VCO1 with the PEG Press KNOB PARAMETER GRO UP switch PEG LFO e Turn CONTROL knob 1 and set the PEG Decay value to about 15 e Turn CONTROL knob 2 and set the PEG Depth parameter to about 2 e Turn CON TROL knob 3 and set the PEG Sw Switch to VCO 1 6 Apply vibrato to the voice Press KNOB PARAMETER GRO UP switch VCO 1 and press CON TROL knob 8 to display the Pmod Depth Pitch Modulation Depth parameter in the LCD Turn the knob to set a value near 20 This applies the vibrato effect to the voice when you play N ext let s set up the vibrato to be applied by the MODULATION wheel in order to control the amount of vibrato as you play Change the Pmod Depth setting back to 0 W e ll use one of the 16 sets in the Control M atrix to assign the VCO 1 Pitch Modulation Depth parameter to the MO DULATION wheel Set the EDIT RO TARY switch to the VOICE SCENE SETUP menu e Press Set No UP DOWN to display Set 1 in the LCD e Press Param UP DOWN to display VCO 1 PmodDp in the LCD e Press Source UP DOWN to display A M W in the ICD 110139 You can also assign a Control Change number to the Source by which to control the Parameter In this case the Control Change number must match the setting in the UTILITY SETUP menu s Control Device and Control
34. always landing on the first beat In the case of the special Arpeggiator Types 16 30 you will notice that these aren t particularly effective with triplet rhythms Best results are achieved with a 4 4 beatand a Subdivide resolution of 1 16 1 8 or 1 32 Play Effect Velocity Press the Play Effect Velocity UP DO W N J switch to set the ratio between the lower and higher velocity values of the Arpeggiator pattern over a range between 1 and 200 PET Vel LUBA ua EDIT ARP A setting of 100 maintains the original velocity relationship between the notes Lower values adjust velocities downward at playback and higher values adjust velocities upward at playback A setting of real Real time will cause the velocity values of the pattern to be determined by the velocity at which you play the keyboard Arpeggio MIDI Output You can use the MIDI Pattern Transmit Channel PtnTxCh parameter to designate a MIDI channel on which to output the Arpeggiator pattern data to either play an external tone generator or record the data into a MIDI sequencer or computer MIDI Arpeggio Play EF PtnTxCh Subdivide win Ve ity Are Trnsth E This setting is independent from the MIDI Transmit Channel MIDI Tx Ch setting in the UTILITY SETUP menu see page 93 but you can either set them both to the same channel or different channels depending on your requirements The dia
35. and Pitch Bend parameters apply to each Scene separately and the Common parameters apply to the voice Following is a brief description of each Set No For selecting Pitch Bend Pitch Up and Down each Scene the number of the Set 1 16 for each Scene and Common 1 and 2 both Scenes parameter assignments FEG Attack Set 1 uso Parameter Determines which parameter is assigned to the Scene Set N umber 1 16 or Pitch Bend or Common Set 1 2 WCF Modbrt Set Lm Source Determines which controller by Control Change number is assigned to control the corresponding Parameter WCF Modbrt Krobt wen Depth Determines the control range of the Source controller W hen set to Dirct 0 setting the Direct Control function is activated and you can directly edit the parameter assigned to the controller within its original range For more information see page 75 UCF ModDet DR 4 ig moo 1101139 For more information about each parameter available settings and how to assign parameters and controllers using the Control Matrix see page 73 1101139 For information about MIDI and MIDI Control Change messages see page 109 This section provides a list of the many AN1x parameters and a description of each for reference purposes Check the CONTENTS or INDEX to locate the page number of the parameter you need Voice Select You can select a voice for play from among the 128 voices in memory
36. 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 uncomfort able 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 be fore damage occurs Some Yamaha products may have benches and or accessory mount ing fixtures that are either supplied with the product or as optional accessories Some of these items are designed to be dealer as sembled 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 NOTICE Service charges incurred due to lack of knowledge relating to how a function or effect works when the unit is operating as designed are not covered by the manufacturer s warranty and are therefore the owners responsibility Please study this manual carefully and consult your dealer before requesting service ENVIRONMENTAL ISSUES Yamaha strives to produce products that are both user safe and envi ronment
37. chord into 8ths and then arpeggiates it based on the Type setting If Type is set to UpO ct2 the arpeggio will climb over two octaves and will repeat after four beats Then if you change Subdivide to 1 16 the arpeggio will repeat after 2 beats Furthermore if you then change Type to UpO ctl the arpeggio will repeat after only one beat Because the number of notes you play in the chord has a direct relationship on the pattern length based on Subdivide resolution sometimes unwanted syncopations may be generated As a general rule you can avoid this by choosing an even number of chord notes for even numbered subdivide resolutions 1 4 1 8 1 16 and 1 32 and an odd number of notes e g three note or five note chords with odd numbered resolutions 1 6 1 12 1 24 However this doesn t apply for dotted note rhythms 3 8 3 16 and 3 32 These resolutions are particularly interesting for odd numbered beats e g 3 8 or 6 8 so you will need to play chords with an even number of notes to correctly play back these three part rhythms As an example set Type to UpO ct2 and Subdivide to 3 8 resolution Playing a triad will place the root note on the first beat in the 4th bar generating irregular cycles A four note chord however generates symmetrical 4 bar cycles The root note will be repeated after the first cycle on bar 3 after the second cycle on bar 5 and after the third cycle on bar 7 and so on
38. data graph will display differently for each method Simply turning a knob will increase or decrease the parameter value in coarse large amounts In this case the flashing indicator in the knob data graph will be canceled Turning a knob while pressing it will increase or decrease the parameter value in fine Small amounts In this case the flashing indicator in the knob data graph will position as you turn the knob and will remain flashing when you release the knob Assigning Parameters To Knobs You can assign one of many available Control Change parameters to each knob After pressing the ASSIGN Switch these parameters will be available for edit in real time using the CONTROL knobs Knob assignments are made using the Control function Device and Control Number parameters located in the UTILITY SETUP menu W hen you press ASSIGN and turn a CONTROL knob the MIDI Control Change data is sent to both the internal tone generator as well as to MIDI O UT where it can control external devices The Control function assignments are system parameter settings which means they will remain as set and be available regardless of which voice Is selected FAS ott Knoba wess You can also assign various other parameters to the knobs using the Control M atrix located in the VOICE SCEN E SETUP menu which only affects parameters for the internal tone generator as well as incoming MIDI messages And since Control M atr
39. data settings There are two parameters available Param Para meter and Data 1101139 The Delay and Reverb effects are located after the EQ output and can be connected in series or parallel For more information see the separate Data List book O Param Parameter The Parameter setting lets you select the Connect Delay effect and parameters and Reverb effect and parameters 1 Dly LCR DIGEF a ARP O Data The Data parameter lets you select the Connect settings Delay type and change data values for Dela y parameters and Reverb type and change data values for Reverb parameters oO Tempo DIGEF a ARP Settings For information about available parameters and value settings for Delay and Reverb effects see the separate Data List book Setting Delay and Reverb 1 Press the lower area of the Param UP DOWN switch to select the Connect parameter DUAL 2 Press Data UP DOWN to select serial seri or parallel para and set the configuration of the Delay and Reverb effects DUAL 3 Press Param UP DOWN again to select either the Delay DIyEF or Reverb RevEF page l Hall 1 ReyvEF When Delay is selected DIyEF appears here 4 Press Data UP DOWN again to select the Delay type 1 5 or Reverb type 1 8 see the Data List book Press Param UP DOWN again and select the Delay or Reverb parameter to set depending on selected Dela
40. explained on page 41 but first let s take a look at the two main methods of Step Sequencer play Single Pattern Play and Pattern Select Play and see what s happening inside the AN 1x s memory structure as you select edit and store patterns Single Pattern Play During Single Pattern Play you can play a single Step Sequencer pattern from the keyboard For Single Pattern Play the Keyboard Mode parameter VO ICE ARPEGGIO SEQ menu must be set to either norm or shiftenorm As the Single Pattern Play diagram illustrates when you select a voice with the PROGRAM CHANGE keypad Voice Pattern data is loaded into the Voice Pattern edit buffer SINGLE PATTERN PLAY Voice Bank User Bank Voice Pattern Edit Buffer Pattern loaded into the Voice Pattern edit buffer will be played W hen you press a key on the keyboard you are tiggering the Voice Pattern stored with the voice located in the buffer You can set the EDIT RO TARY Switch to the VOICE EDIT SETUP menu and press Bank UP DOW N to select either the Voice or User Pattern bank and every time you press No UP DOWN to select a pattern number that pattern will load into the Voice Pattern edit buffer EN All editing of the pattern will of course be taking place in the buffer If you want you can use SEQ Store UP DO W N to store the edited pattern to any User Pattern bank memory 1 128 If you perform a Voice Store operation the edited voice wi
41. keypad to enter alphabet and numeric characters by pressing each 0 9 key once or more as indicated above each key For example pressing the 0 key toggles repeatedly between the following characters 0 A B C a b c0 etc VOICE FREE EG This menu includes Track Recording and other parameters relating to the Free EG function The Free EG is a special 4 track recorder that lets you record up to four tracks one parameter per track of real time changes of CON TROL knob position data all knobs over a specified length of time either in measures or seconds The parameter changes associated with the recorded knob movements will automatically play back as recorded when you subsequently play the voice from the keyboard You can select time length in bars up to 8 measures or absolute time up to 16 0 seconds as well as designate a loop type or copy track data within the same voice or from another voice Free EG parameters and data are Stored as voice data Track J ob VOICE w Rec Copy Undo FREE EG ULSD For information about how to record the Free EG see page 84 Track Common Track Common parameters include settings which affect all four tracks of data for recording or play There are four parameters including Trigger Loop Type Length and Key Track O Trigger The Trigger setting determines how the track recording or play is triggered Settings free After selecting a voice the first key pressed on the keyboa
42. music dynamo capable of faithfully delivering the warm fat punchy sounds of the legendary analog synths with the same familiar oscillator filter and other sound creation elements and intuitive hands on style of operation plus all the sophisticated flexibility you d expect from a professional digital synthesizer How To Use This Manual This owner s manual provides your basic keys to unlocking the power of the AN 1x Control Synthesizer It is divided into the following sections INTRODUCTION Provides a brief rundown of the AN 1x s main features and description of all front and rear panel controls along with information about the AN 1x s memory structure We recommend you take a few minutes and read the INTRO DUCTION section carefully before you get started in order to familiarize yourself with the basic features and capabilities of the AN 1x ANALOG PHYSICAL MODELING SYNTHESIS Provides an overview of the basic concept of the tone generation technology plus descriptions of basic terminology and a signal flow block diagram in order to give you an understanding of what s going on inside the instrument as you twiddle the knobs and set parameters Main Features The AN1x Control Synthesizer is a truly innovative professional keyboard with enormously flexible sound and performance capabilities Following is a brief rundown of the main features Analog Physical Modeling synthesis The AN1x generates amazingly high quality synth soun
43. octave down Press KNOB PARAMETER GRO UP switch M IX VCF e Turn CON TROL knob 2 to set the VCO 2 Level to a value of 127 so that the VCO 2 can be heard e Turn CON TROL Knob 1 to decrease the VCO 1 Level to a value of about 70 4 Add a rotary speaker effect to the organ sound Set the EDIT RO TARY switch to tte VOICE COMMON menu e Press Vari EF EQ Param UP DOWN to display VarEF in the LCD e Press Data UP DO W N J to select the RotarySp effect e Press Vari EF Dry W et UP DO WN to increase the effect level to a value of about D lt W 10 Next let s tweak a few parameters to add extra control over and dimension to the sound 5 Set up the MODULATION wheel to control the speed of the rotary speaker Set the EDIT RO TARY switch to the VOICE SCENE SETUP menu Press Control Matrix Set No UP DO W N to select Comnl Common 1 Press Param UP DOWN to select Vari Param Variation Parameter Press Source UP DO W N to select A M W Modulation W heel W hen you move the M O DULATIO N wheel the speed of the rotary speaker will change accordingly Press Depth UP DO W N to set the value to Dp 10 6 Add the organ click to the sound using the PEG Press KNOB PARAMETER GRO UP switch PEG LFO e Turn CONTRO Lknob 1 to set the PEG Decay parameter to a value between 1 and 4 e Turn CONTRO Lknob 2 to set the PEG Depth p
44. on or off for all components set all volume levels to minimum Do not expose the instrument to excessive dust or vibrations or extreme cold or heat such as in direct sunlight near a heater or in a car during the day to prevent the possibility of panel disfiguration or damage to the internal components Do not use the instrument near other electrical products such as televisions radios or speakers since this might cause interference which can affect proper operation of the other products Do not place the instrument in an unstable position where it might accidentally fall over Before moving the instrument remove all connected adaptor and other cables When cleaning the instrument use a soft dry cloth Do not use paint thinners solvents cleaning fluids or chemical impregnated wiping cloths Also do not place vinyl or plastic objects on the instrument since this might discolor the panel or keyboard Do not rest your weight on or place heavy objects on the instrument and do not use excessive force on the buttons switches or connectors e Do not operate the instrument for a long period of time at a high or uncomfortable volume level since this can cause permanent hearing loss If you experience any hearing loss or ringing in the ears consult a physician E REPLACING THE BACKUP BATTERY e This instrument contains a non rechargeable internal backup battery which permits internal data to remain stored even when the pow
45. out of the box place it on a keyboard stand or on top of a sturdy table or desk 2 Next connect the supplied Yamaha PA 3B or equivalent Adaptor to the AN1x s DC IN connector located on the rear panel Then connect the adaptor to the nearest electrical outlet MAMA ooo eoo y poco PA 3B Adaptor 3 Before switching on the power connect any peripheral devices such as amplified speakers FC Foot Controller or Footswitch pedals or external MIDI instruments CAUTION Do not attempt to use an AC adaptor other than the PA 3B or equivalent Use of an incompatible adaptor may result in irreparable damage to the AN1x and could even pose a serious shock hazard CAUTION Always be sure to disconnect the power adaptor from the electrical outlet when the AN1x is not in use bes PHONES R OUTPUT FC4 FC7 AN1x CAUTION To avoid possible damage to the speakers or other connected electronic devices before switching on the power of any device make sure the AN1x s VOLUME level and the volume levels of the connected equipment are set to minimum positions The AN1x In A MIDI System It s easy to create a simple but powerful MIDI music system with only a few basic components The illustration below shows how to connect the AN 1x to a Yamaha QY700 Music Sequencer MIDI Me IN You can have the AN 1x s Tempo setting control the external sequencer s clock or the sequencer s clock cont
46. positioned ata voice name character field Cursor Character Dly amp Rev Both Delay and Reverb effects will be bypassed AIIEF The signal bypasses all effects in the Effect block including Variation Effect Delay and Reverb excluding EQ Available characters ABCDEFGHIJKLMNOPORSTUVWXYZ abcdefghi jklmnop qrstuvwxyz0123456789 _ 5 amp space Effect Bypass Mark The Effect Bypass mark will appear in the LCD when the Effect Bypass is active DUAL Naming A Voice 1 Press the lower area of the Cursor UP DOWN switch to position the cursor at the voice Category field the current cursor position will be flashing 2 Press Char UP DOWN to select the two letter voice category code LCD Category Oi No category 1 Pf Piano 2 Cp Chromatic Percussion 3 Or Organ 4 Gt Guiter 5 Ba Bass 6 St Strings Orchestral 7 En Ensamble 8 Br Brass 9 Rd Reed 10 Pi Pipe 11 Ld Synth Lead 12 Pd Synth Pad 13 Fx Synth Effect 14 Et Ethnic 15 Pc Percussive 16 Se Sound effect 17 Dr Drums 18 Sc Synth Comp 19 Vo Vocal 20 Co Combination 21 Wv Material Wave 22 Sq Sequence 3 Press Cursor UP DOWN again as many times as necessary to position the cursor at a voice name character field then press Char to select an alphabet numeric or symbol character You can also use the PROGRAM CHANGE
47. range will be narrower than that available by coarse edit 4 Edit other parameters To confirm and edit other parameters in the same group simply repeat steps 2 and 3 To edit parameters in other groups repeat steps 1 through 3 1111139 All the changes made here take place in the selected Scene 5 Store the edited voice W hen you ve completed the editing procedure and wish to store the edited knob parameters you can store itas a new voice in any desired voice location 1 128 For details see Voice Store page 98 HUD If you turn off the AN1x or if the adaptor gets disconnected by accident your edited data will still remain in memory when you turn the power back on Always be sure to store important voice data Always be sure to store your edited voice before selecting a different voice or you will lose your edited data see Voice Store page 98 If you should inadvertently forget to store your edited data before selecting a different voice you can use the Voice Recall function to retrieve the edited data For details see page 96 1111139 While you re editing you can confirm the current voice number and name at any time by pressing or once to display it in the LCD Subsequently you can continue editing by pressing or turning a knob Knob Parameters This section provides a description of each parameter available for control or edit in each KNOB PARAMETER GROUP KNOB PARAMETER GROUP PEG Depth PE
48. see page 95 If the EDIT RO TARY switch is set to positions 1 4 or position 6 when you select a voice the ASSIGN switch will automatically be selected the LED beside it will light which means the group of parameters assigned to the knobs by the UTILITY SETUP menu Control function can be edited or controlled by turning the CONTROL knobs To access another group of knob parameters simply press a KNOB PARAMETER GRO UP switch 1101139 For more information about the knob parameters see page 54 The Knob Data Graph During tone generator or sequence event parameter editing a horizontal 11 segment knob data graph appears in the lower area of the LCD W hen you press a knob s push switch for data confirmation before turning the knob the data graph provides you with a visual reference of the parameter value in relation to the current physical position of the knob Wel Gens io een ML ane Current knob position Actual value flashing A flashing segment in the data graph indicates the actual value of the parameter whereas shaded segments to the left or right of the flashing segment indicate the current physical position of the knob As you turn the knob to the left or right the data graph will move left or right in accordance with the knob movements Coarse Fine Edit You can edit CON TROL knob parameters in coarse or fine increments and decrements depending on how you turn the knob The knob
49. setting determines the type of loop for play of the Free EG sequence Track Track settings determine the current Free EG track the parameter assigned to each track and which Scene the Free EG will play There are three Track parameters including Track No N umber Param Parameter and SceneSw Switch Loor Ture dhalf aun EGIT ARP Settings l l When you start recording the Free EG the parameter of the first knob you move off The Free EG sequence plays once but does not loop The along with the current Scene setting will be assigned to the track Parameter Le parameter settings at the end of the Free EG sequence remain that parameter will be recorded in the track This is convenient for initiating a in effect Free EG recording immediately without making all settings beforehand fwd The Free EG sequence loops from start to end half The Free EG sequence loops from the middle to the end Track Confirm and Assignment Procedure 1 Using Track No UP DOWN set the track you alt Alternate The Free EG sequence loops from start to end then end to start half Half Alternate The Free EG sequence loops from middle to end then end to middle O Length The Length setting determines the time for recording and play of the Free EG sequence There are two Length types including length determined by number of measures or by absolute time seconds Settings bar number of measures 1 2 1 3 2 2
50. sound Pressing the VCO 2 switch gives you access to the second oscillator which contains the same set of parameters as VCO 1 and lets you add extra dimension to the voice 1111139 No sound will be produced if the VCO1 Level or VCO2 Level settings in the MIX VCF group are too low Wave By turning CONTRO Lknob 1 you can select the waveform for the VCO 1 oscillator from a list which includes sawtooth square pulse and a variety of others which determines the fundamental characteristics of the voice Saw Wave Pulse Wave 1101139 For details about the available waves see page 61 Pitch And Fine By turning CONTRO L knobs 2 Pitch and 3 Fine you can determine the fundamental pitch of the wave Using both oscillators you can slightly detune the pitch of each with the Fine parameter to fatten the sound or create intervals by setting different Pitch parameters for each 101139 For details about the Pitch and Fine parameters see pages 61 62 Edge Pulse Width And Pmod Depth By turning CONTRO Lknob 4 you can adjust how sharp or smooth the edge of the wave is CONTROL knob 5 lets you determine the width of the wave s pulse to control the amount of harmonics present CONTRO Lknob 8 lets you adjust the Pitch M odulation Depth to create a vibrato effect O ther parameters let you apply modulation to the pulse width with the LFO 1 and other waves 10139 For details about the Edge Pulse Width and Pmod Depth para
51. the basic settings programmed for specific types of voices as follows OO N On UO BW N FA Normal all settings normalized Bass Brass Strings E Piano Organ Sync mono for solo lead type voices PWM for pad type voices 4 Press YES ENTER to initialize the voice YZu OTHERS da O O CG ge FoR e 1 Initlcel E y YNI ELI SEQ ABC HFH UU P NO YES ENTER The initialized voice settings are loaded into the edit buffer You should change the name using the Name function in he VOICE COMMON menu see page 80 and store the voice by performing a Voice Store operation see page 98 UI After step 1 pressing NO will cancel the Voice Initialize operation and the LCD will display the previously selected voice name and number MLD You can give the voice a name using the Name function in the VOICE COMMON menu For information see page 80 Store Store lets you perform Voice Store or Scene Store operations Voice 1 128 Scene Setup Voice Store Parameters e Layer Mode e Portamento On Off e Arpeggiator Step Sequencer On Off e Voice Common Parameters e Voice Pattern Parameters e Free EG Parameters Voice Store The Voice Store operation lets you store edited voice data including Scene 1 and 2 settings to any memory location 1 128 When you perform a Voice Store operation the original voice data in the memory location will be overwritten so be sure to save all impo
52. to soften the sound Press CONTROL knob 8 once to display the Vel Sens Velocity Sensitivity parameter in the LCD Turn the knob to seta value near 15 to increase the Sensitivity applied to the VCF with playing strength N ext use CONTROL knob 5 to further adjust the VCF Cutoff Use knob 7 to set the FEG Depth to your liking and use knob 8 to further define the Vel Sens according to your playing style 111139 The Velocity Sensitivity setting affects the rate of change of the FEG Depth The FEG Depth setting determines the range of the change 10 Apply vibrato to the voice Press KNOB PARAMETER GRO UP switch VCO 1 and press CON TROL knob 8 to display the Pmod Depth Pitch Modulation Depth parameter in the LCD Turn the knob to seta value of about 20 This applies the vibrato effect to the voice when you play N ext let s set up the vibrato to be applied by the MO DULATIO N wheel in order to control the amount of vibrato as you play Change the Pmod Depth setting back to 0 W e ll use one of the 16 sets in the Control M atrix to assign the VCO 1 Pitch Modulation Depth parameter to the MO DULATION wheel Set the EDIT RO TARY switch to the VOICE SCENE SETUP menu e Press Set No UP DOWN to display Set 1 in the LCD e Press Param UP DOWN to display VCO 1 PmodDp in the LCD e Press Source UP DOWN to display A MW in the LCD 114139 You can also assign a Control
53. 0 Velocity range 1 127 Only the Note On velocity is received Note On Generated when a key is pressed N ote Off Generated when a key Is released Each message includes a specific note number which corresponds to the key which is pressed plus a velocity value based on how hard the key Is struck 109 Control Change Control Change messages let you select a voice bank control volume panning modulation portamento time brightness and various other controller parameters through specific Control Change numbers which correspond to each of the various parameters Modulation Control 001 Messages which control vibrato depth using the Modulation W heel Setting the value to 127 produces maximum vibrato and 0 results in vibrato off Portamento Time Control 005 Messages which control the duration of portamento or a continuous pitch glide between successively played notes W hen the parameter Portamento Switch is set to on the value set here can adjust the speed of pitch change Setting the value to 127 produces maximum portamento time and 0 results in minimum portamento time Data Entry MSB Control 006 Data Entry LSB Control 038 Messages which set the value for the parameter specified by RPN MSB LSB Parameter value is determined by combining MSB and LSB Main Volume Control 007 Messages which control the volume of the AN 1x Setting the value to 127 produces maximum volume and 0 results in v
54. 0 127 Lets you set the velocity level for the step Velocity Kr o b POLY e SEQ Gate Time 1 200 Lets you determine the W hile Step Hold is active you can press Event note duration for the step UP DO W N J to select the type of event you want to edit then turn the CON TROL knob accordingly Gate Time To turn the Step Hold function off simply press Step Hold UP DOWN again and switch it to off NLD For more information see page 89 Control Change 0 127 Lets you set the value of the MIDI Control Change message to be output by the step 1 38 9 16 Press 1 8 9 16 UP DOWN to choose the step series Ctrl Ehn3 within which the step you want to editis then press a CONTRO Lknob s push switch to select a specific step Current information about the step will display in the LCD 111139 Control Change setting off CC1 95 After Touch is determined by the Control No Number parameter in the SEQ EDIT SETUP menu For more information see page 91 Knob Pattern SEQ SEQ Event 1 8 9 16 f Step Hold Bank o ase Uni eng oopTypef Ctrl No Store EDIT SETUP LD For more information about Event parameters see page 89 Step Hold The Step Hold function is used during step event editing W hen you press Step Hold UP DOWN and set it to on a single step will play repeatedly based on the Tempo and Pattern Base Unit settings in order to fine tune the events for the specific step
55. 0 notes polyphony when Layer mode is set to SIN GLE mono Plays one monophonic note legat Legato Plays one monophonic note and provides for legato phrasing or solo passages played without any perceptible interruption between notes Legato occurs when you press the next key before releasing the preceding key O Port Portamento The Portamento mode setting determines the characteristics of the portamento sometimes called glissando or how the tone glides from one tone to the next through all the intermediate pitches when the PEG LFO Portamento Time see page 56 Is set to a value other than 0 Available parameters depend on the Poly mode setting Tingerd e y 1111139 To enable the Portamento function press the PORTAMENTO switch on the panel see page 24 If the PEG LFO Portamento Time parameter see page 56 is set to 0 Portamento will have no effect Settings When Poly Poly normal Normal portamento play sus key W ith this setting the Hold tone by a sustain pedal is specified as the starting pitch of the portamento When Poly Mono Legato fingerd Fingered Porta mento is only enabled by legato performance full time Portamento is always enabled 111119 The Portamento setting mode here is effective and can be heard when the panel PORTAMENTO switch is set to ON O LFO Rst LFO Reset The LFO Reset mode setting determines the start point of the LFO 1 and LFO 2 cycle L
56. 0000 O O0 a AE A Glance EDIT ROTARY sw itch The 6 position EDIT RO TARY switch lets you designate one of the six Edit menus as printed on the panel to the right of each menu LCD The back lit LCD Liquid Crystal Display provides various types of information which clearly indicates the current operating status of the AN 1x as you select voices turn knobs and press Switches Parameter value UP DOWN switches These ten switches are used to access and edit specific parameters as printed on the panel depending on which Edit menu is currently selected with the EDIT RO TARY switch Pressing the upper area of a parameter value UP DO WN switch increments the parameter value or setting and pressing the lower area decrements it Simply pressing a switch once will display the parameter name and current value or setting in the LCD Thereafter pressing or holding the upper or lower area of the switch will change the value or setting accordingly Mode Ctrl Matrix a Pai a Detune SCENE SETUP I cae crm EIT STCNC AE yn esi S OC la g a m Temp S ata Paan h i COMMON FREE EG omens e wem E ap The Analog Physical Modeling synthesis 9 MIX VCF EFFECT S ah Geh gt block diagram provides a handy visual JKL dan Kbd Tri la eviceNo Loc ump Device rl No el ral leal n Load load ral Fea in reference or reminder of how the signal em MMMM M M M MM
57. 3 4 6 8 s seconds 1 0 16 0 want to record or play Using Param UP DOWN select the parameter which you want to record in the track Using SceneSw UP DOWN set the Scene Scene 1 Scene 2 or both Scenes which you want the Free EG to affect If necessary repeat steps 1 through 3 above for selecting other tracks and assigning parameters to them 1111139 You cannot assign the same parameter to more than one track If you attempt to do so the latest recorded track takes priority while other tracks will automatically be turned off for the Scene Switch O Track No track Number The Track Number parameter lets you select the Free EG track Param OTT PTrki ua ARP Settings Trk1 Trk4 1141139 The selected track will record knob movement data when Free EG recording is initiated When the EDIT ROTARY switch is set to the VOICE FREE EG menu an empty track will automatically be selected O Param Parameter The Parameter setting determines which knob parameter will be played by the data in the selected Free EG track PEG Derth Teki E Du ARP Settings Only one parameter can be selected for a track 1101139 For information about available parameters see the separate Data List book O SceneSw Scene Switch The Scene Switch setting determines which Scene will be played by the selected Free EG track PEG Derth POLY c nel fe a ARP Settings off Scenel Sc
58. 9 Gil J Puyat Avenue P O Box 885 MCPO Makati Metro Manila Philippines Tel 819 7551 SINGAPORE Yamaha Music Asia Pte Ltd Blk 17A Toa Payoh 01 190 Lorong 7 Singapore 1231 Tel 354 0133 TAIWAN Kung Hsue She Trading Co Ltd No 322 Section 1 Fu Hsing S Road Taipei 106 Taiwan R O C Tel 02 709 1266 THAILAND Siam Music Yamaha Co Ltd 865 Phornprapha Building Rama I Road Patumwan Bangkok 10330 Thailand Tel 2 215 3443 THE PEOPLE S REPUBLIC OF CHINA AND OTHER ASIAN COUNTRIES Yamaha Corporation International Marketing Division Nakazawa cho 10 1 Hamamatsu Japan 430 Tel 053 460 2317 OCEANIA AUSTRALIA Yamaha Music Australia Pty Ltd 17 33 Market Street South Melbourne Vic 3205 Australia Tel 3 699 2388 NEW ZEALAND Music Houses of N Z Ltd 146 148 Captain Springs Road Te Papapa Auckland New Zealand Tel 9 634 0099 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation International Marketing Division Nakazawa cho 10 1 Hamamatsu Japan 430 Tel 053 460 2317 HEAD OFFICE Yamaha Corporation Electronic Musical Instrument Division Nakazawa cho 10 1 Hamamatsu Japan 430 Tel 053 460 2445 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 t
59. 92 Voice Recall E 96 Voice WTAE E 97 SU A 98 RE o A PI oyo 98 A A neers 99 Factory SITIO Susini 100 APPENDIX Voice Creation ExaMpleS occcooccnococononnorarannarannnannnanas 101 About MID circa ai 109 Error Messages amm 112 UI e e corria 113 Bikinis 114 Sped OMS rra 116 a EE 117 PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING Please keep these precautions in a safe place for future reference A WARNING DEE Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock short circuiting damages fire or other hazards These precautions include but are not limited to the following or modify them in any way The instrument contains no user serviceable parts If it should appear to be malfunctioning discontinue use immediately and have it inspected by qualified Yamaha service personnel Do not expose the instrument to rain use it near water or in damp or wet conditions or place containers on it containing liquids which might spill into any openings If the AC adaptor cord or plug becomes frayed or damaged or if there is a sudden loss of sound during use of the instrument or if any unusual smells or smoke should appear to be caused by it immediately turn off the power switch disconnect the adaptor plug from the outlet and have the instrument inspected by qualified Yamaha service personnel A caution Do not open the instrument or attem
60. 95 Re EE EE 94 Ba EE 75 DV RY E TEE 79 DUO Dana A E 23 DUALUN ISON eege ence e SE eebe 23 117 E Ee 93 Edge VCO DER e 2 EE E 62 ENCISO FIA sota ea EE a cai 26 Gre APA o A A 54 72 a Panel Parameter Aoi OP o e 71 EDI SED SIIC Ee EE 44 Oecd lc 72 Edit Procedure Panel dada 71 Edit Frocedure VOICE EE 29 EDIT ROTARY SWIECI EEN 28 EE 80 EPFEC nad 11 77 79 BEE 17 ENDE MESAS aaa 112 A A 44 89 F PU ai iia 100 E A e EP rio 69 A E 31 A o EN 65 PA O UE PO OR A nie Sane a IR eta 10 E A AA 62 la A EH 31 ER LEE Ee 60 KR E TEE 60 VOR lt EE 60 Pio DOM Eeer 68 FOOT ESTREMERA 7 A A E A EETA 7 POOT VOLUN E 7 PECE EE EE 47 81 FS E EE 49 83 Pree E Recording E tel 84 G ate TIE A A E O OE 88 H MURO VE paranoia 93 Hold PASTO ia o isis a pai 34 87 Hold El EE 38 87 HRE E E 67 n e 67 E 61 K Keyb ard Mode KOAM O00 osa 35 40 86 Keyb drd Tra spose KDATTANS siiccisciiceanminimianmiipianiainreineistesiasasien 92 keyboard Velocity KIO Vel EE 92 Kev WALLIS E E 48 82 ee RGR Ft tee 68 RO eee EDMS ETUE ege 89 L n EE 26 POODE LEE 53 ENOO PARMA rra 54 KNOB PARAMETER GROUP E 16 25 L layer VOICE SCENE SETUP EE 76 layer MOIES A O E EA ER AE el EE 22 A ER 17 Ci Ae mA 36 E a A A 48 82 length SEO EDIT SETUP ina aia 42 91 PO EE 32 A EE 73 FOL Hee 58 PE RE 58 BECK Ee 56 IFOR E ee Eet 58 A EN NEEN 94 Loopiype lacs EG 8 Ee 48 82 LOOP Tee SEQ EDIT SETUP rai 42 91 ek Ue EEN 67 M A A A
61. ARY switch to VOICECOMMON and press Tempo UP DO W N to set the tempo of the Arpeggiator in BPM Beats Per M nute TenPo 1 24 LEGATO santa EDIT If you want the clock of an external MIDI sequencer or drum machine to control the AN 1x s tempo then set the Tempo to MIDI the first value located before 40 so that the two devices will play in synchronization with each other Arpeggio Hold Function Pressing Hold UP DOWN lets you turn the Arpeggio Hold function on and off W hen Hold is set to on HOLD will appear in reverse type in the lower right corner of the LCD After triggering the Arpeggiator by playing the keyboard the arpeggio will continue playing automatically when you release the keys until you switch the Hold setting to off or press A RPEG G IO SEQ to stop the Arpeggiator W hen set to off the Arpeggiator will stop when you release the keys VOICE ity ateTime ARPEGGIO SEQ The Arpeggio Hold function is especially useful during live performances when the Layer mode is set to SPLIT and Keyboard Mode Is set to chrd amp norm see page 35 since you can trigger the arpeggio with notes to the left of the Split Point and use both hands to play chords or fills to the right Arpeggio Hold is also handy when trying out different Arpeggiator Types or Subdivide settings and is literally indispensable for tweaking the tone generator parameters for your arpeggios wi
62. ARY switch to the VOICE COMMON menu then press Dly Rev EF Param UP DOWN to display Dly Return in the LCD Press Data UP DOWN J to seta value of about 30 There are many other parameters you may want to adjust to get just the right sound you want When you re finished with the editing process perform a Voice Store operation to store your creation For information see page 98 108 About MIDI MIDI is an acronym that stands for Musical Instrument Digital Interface which allows electronic musical instruments to communicate with each other by sending and receiving compatible Note Control Change Program Change and various other types of MIDI data or messages The AN1x can control a MIDI device by transmitting note related data and various types of controller data The AN1x can be controlled by the incoming MIDI messages which automatically select MIDI channels voices and effects and change parameter values MIDI Messages Transmitted And Received By The AN1x MIDI messages can be divided into two groups Channel messages and System messages Below is an explanation of the various types of MIDI messages which the AN 1x can receive and transmit 1 CHANNEL MESSAGES Channel messages are the data related to the performance on the keyboard for the specific channel Note On Note Off Key On Key Off Messages which are generated when the keyboard is played Reception note range C 2 0 G8 127 C3 6
63. Bypass switch turned on Page 80 No portamento Is the PO RTAM EN TO switch set to ON Page 24 Cannot perform store operation e Is the Free EG set to Record Standby Page 83 Blank Chart Voice No Voice Name Common Variation Effect Type 3 Band Equalizer Delay Effect Type Reverb Type Effect Type Effect Type lee 3 Band Equalizer Type RE f 3 3 Mid Freq 4 4 Mid Gain 5 Mid Reso High Freq 6 High Gain 5 6 7 5 6 elm Dry Wet Voice Free EG Voice Step Sequencer Ctrl Chng Gate Time Velocity Photocopy this Blank Chart and fill in your voice settings 114 Voice Scene Setup Ctrl Matrix LFO Rst Set No Pitch Up Pitch Down Set 1 Set 2 Knob Parameter Type SYNC FM Algorithm Sync Pmod Sw FM Depth FM Src FM Src2 vco1 Wave PW PWM Depth PWM Src PmodDepth VCF Attack Sustain Release VCF Cutoff Resonance FEG Depth Vel Sens VCA Attack Feedback Photocopy this Blank Chart and fill in your Scene settings 15 Ctrl Matrix Set No Set 13 Set 14 Set 15 Set 16 Common 1 Common 2 PEG LFO PEG Decay PEG Depth PEG Sw Port Time LFO1 Wave LFO1 Spd LFO Dly LFO2 Spd VCO2 Wave PW PWM Depth PWM Src PmodDepth MIX VCF VCO1 Level VCO2 Level Ring Mod N
64. CF cutoff frequency set for each voice Lower values will result in a softer sound Depending on the voice the effective range may be narrower than the range available for adjustment 110 Effectl Depth Reverb Control 091 Messages which adjust the send level for the Reverb effect Effects Depth Variation Chorus Control 093 Messages which adjust the dry wet balance for the Chorus Variation Effect Effect4 Depth Delay Depth Control 094 Messages which adjust the send level for the Delay effect Data Increment Control 096 Decrement Control 097 for RPN Messages which increase or decrease the MSB value of pitch bend sensitivity You must assign one of those parameters using the RPN in the external device in advance The data byte is ignored W hen 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 RPN Registered Parameter Number LSB Control 100 RPN Registered Parameter Number MSB Control 101 Messages which offset or add or subtract values from a voice s pitch bend sensitivity First send the RPN MSB and RPN LSB to specify the parameter which is to be controlled Then use Data Increment Decrement to set the value of the specified parameter N ote that once the RPN has been set for a channel Subsequent data entry will be recognized as the same RP
65. Change Messages which select voices Channel Aftertouch Messages which let you control the sounds by the pressure you apply to the keys after the initial striking of the keys over the entire channel Pitch Bend Pitch Bend messages are continuous controller messages that allow the pitch of designated notes to be raised or lowered by a specified amount over a specified duration m 2 SYSTEM MESSAGES System messages are the data related to the overall system of the device System Exclusive Messages System Exclusive messages control various functions of the AN 1x including master volume and master tuning effect type and various other parameters Master Volume W hen received the Volume M SB will be effective for the System Para meter FO 7F 7F 04 01 Il mm F7 Hexadecimal mm M SB appropriate volume value II LSB ignored Active Sensing Once FE Active Sensing has been received if no MIDI data is subsequently received for longer than an interval of approximately 300msec the AN 1x will perform the same function as when All Sounds Off All Notes Off and Reset All Controllers messages are received and will then return to a status in which FE is not monitored Refer to the MIDI Data Format in the separate Data List book for more information about the various messages Control Change Modes The AN 1x has two Control Change modes Mode 1 corresponds to the list of Control Change parameters accor
66. Change number to the Source by which to control the Parameter In this case the Control Change number must match the setting in the UTILITY SETUP menu s Control Device and Control Number 103 You can control the vibrato of the VCO 1 by moving the MO DULATIO N wheel To further define the range of vibrato control press Depth UP DO W N to seta value of Dp 20 W e ll use another Control M atrix set to assign the VCO 2 Pitch Modulation Depth parameter also to the MO DULATIO N wheel e Press Set No UP DOWN to display Set 2 in the LCD Param Off will also be indicated e Press Param UP DOWN to display VCO 2 PmodDp in the LCD e Press Source UP DOWN to display A MW in the ICD You can control the vibrato of the VCO 2 by moving the MO DULATIO N wheel To further define the range of vibrato control press Depth UP DO W N to seta value of Dp 20 110139 Try setting different Control Matrix Depth values to the VCO1 and VCO2 to hear the effect produced There are many other parameters you may want to adjust to get just the right sound you want When you re finished with the editing process perform a Voice Store operation to store your creation For information see page 98 Electric Piano First lets create the fundamental sound 1 Select a voice that you don t mind writing over Perform a Type 1 Normal Voice Initialize operation 2 Set up the basic character
67. DENMARK YS Copenhagen Liaison Office Generatorvej 8B DK 2730 Herlev Denmark Tel 44 92 49 00 FINLAND Warner Music Finland OY Fazer Music Aleksanterinkatu 11 P O Box 260 SF 00101 Helsinki Finland Tel 0435 011 NORWAY Narud Yamaha AS Grini Neringspark 17 N 1345 ster s Norway Tel 67 14 47 90 ICELAND Skifan HF Skeifan 17 P O Box 8120 IS 128 Reykjavik Iceland Tel 525 5000 OTHER EUROPEAN COUNTRIES Yamaha Europa GmbH Siemensstrabe 22 34 25462 Rellingen F R of Germany Tel 04101 3030 AFRICA Yamaha Corporation International Marketing Division Nakazawa cho 10 1 Hamamatsu Japan 430 Tel 053 460 2312 MIDDLE EAST TURKEY CYPRUS Yamaha Europa GmbH Siemensstrabe 22 34 25462 Rellingen F R of Germany Tel 04101 3030 OTHER COUNTRIES Yamaha Corporation International Marketing Division Nakazawa cho 10 1 Hamamatsu Japan 430 Tel 053 460 2312 ASIA HONG KONG Tom Lee Music Co Ltd 11 F Silvercord Tower 1 30 Canton Road Tsimshatsui Kowloon Hong Kong Tel 730 1098 INDONESIA PT Yamaha Music Indonesia Distributor PT Nusantik Gedung Yamaha Music Center Jalan Jend Gatot Subroto Kav 4 Jakarta 12930 Indonesia Tel 21 520 2577 KOREA Cosmos Corporation 131 31 Neung Dong Sungdong Ku Seoul Korea Tel 02 466 0021 5 MALAYSIA Yamaha Music Malaysia Sdn Bhd 16 28 Jalan SS 2 72 Petaling Jaya Selangor Malaysia Tel 3 717 8977 PHILIPPINES Yupangco Music Corporation 33
68. EQ SEQ Event 1 8 9 16 Step Hold Bank trl No Store EDIT SETUP pa E Ve SLePLenath LS For more information about Base Unit and Length see page 91 Also see the section on Arpeggio Subdivide which is similar to Base Unit page 34 Loop Type The Loop Type parameter lets you determine the type of loop cycle for the sequence pattern The pattern always loops and you can designate it to loop either forward backward or designate one of two alternating forward backward types SEQ SEQ trl No Store EDIT SETUP JE alternateh Loop YES For more information about Loop Type see page 91 Scene Switch The Scene Switch setting in the VOICE ARPEGGIO SEQ menu determines whether the Step Sequencer Pattern will play Scene 1 Scene 2 or both Scenes The current Scene Status will also affect how the Scenes play Control Number The Control N umber setting determines the type of MIDI Control Change message which can be output by each event upon sequencer play Once the Control N umber is set the Control Change event is selected with Knob Event UP DOWN and the value to be output via each step is edited with the corresponding CONTROL knob pa E Ai SEQ trl No EDIT SETUP SEQ Store Knob Pattern Event 1 8 9 16 f Step Hold Bank YES For more information see page 91 For more information about MIDI Control Change messages see page 109 Play Effects The Play Effect Play EF
69. FO Reset POLY ky on o Settings off LFO 1 and LFO2 do not reset but modulate continuously ky on Key On LFO 1 and LFO 2 reset every time a key is pressed Ctrl Matrix control Matrix Control Matrix Ctrl M atrix parameter settings determine which MIDI Control Change number source controller eight panel CONTRO L knobs Modulation W heel Foot Controller Ribbon X Keyboard After Touch etc is assigned to contro which AN1x parameter VCF Cutoff Resonance FEG Depth Variation Effect Wer Dm balance etc The Control Matrix gives you the freedom to configure sources and parameters for each voice You can for example configure the AN 1x to use After Touch to apply vibrato or the Modulation W heel to change the resonance while you play determine the range for both Pitch Bend up and down and much more The Control Matrix is a configuration of 16 sets of control setup parameters and 2 sets of common parameters The 16 parameter sets apply to each Scene and the common parameters apply to the voice Each set consists of Set N umber Parameter Source and Depth parameters ULSD A blank chart is available for writing down Parameter and Source settings of the Control Matrix see page 114 Convenient Parameter Control You can use the Control M atrix sets to assign a single controller to control more than one parameter or multiple controllers to control the same parameter Ex 1 One con
70. G Sw Edit Mark W hen a voice parameter is changed the Edit mark will display in reverse type in the LCD The Edit mark indicates that voice data has been changed from the original but has not yet been stored Indicates a voice has been edited but not stored Voice Recall If you select a different voice before storing important voice data you can use the Voice Recall function to retrieve the edited voice data For details see page 96 Port Time LFO1 Spd LEO Dly LFO2 Spd PEG LFO PEG Decay SYNC FM Algorithm VCO1 Wave VCO2 Wave Sync Pitch Pitch Pitch Decay Sync Pitch Depth Fine Fine Sustain Sync Pitch Src Edge Edge Release LFO1 Wave Sync Pmod Sw FM Depth FM Src 1 FM Src 2 PWM Depth PWM Src PmodDepth PWM Depth PWM Src PmodDepth VCF Cutoff Resonance FEG Depth Vel Sens VCO2 Level Ring Mod Noise Level HPF VCF Type Fmod Depth Key Track VCF Attack MIX VCF VCO1 Level VCA Attack JASSIGN CL ASSIGN 1 PEG LFO Decay ASSIGN 2 Sustain ASSIGN 3 W hen KNOB PARAMETER GRO UP switch PEG LFO is selected the eight CON TROL knobs will access specific Pitch Envelope Generator and Low Frequency O scillator related parameters The PEG controls the envelope of how the pitch of a voice changes over time from when a key is pressed held then released and how long it takes for the sound to terminate Release ASSIG
71. LIT mode is selected For more information see page 76 through all the intermediate pitches Key pressed Ch C2 Normal play Pitch glides from note to note Key pressed C1 gt 2 Portamento The portamento is applied not only to the AN 1x s voice as audio output from the internal tone generator portamento data is also output from the MIDI O UT terminal which means it can affect a voice of an external tone generator assigned to the same MIDI channel as the AN 1x or be recorded as Control Change data in an external MIDI sequencer Turning PORTAMENTO On And Off Pressing the PO RTAM EN TO switch turns the portamento on or off Portamento on off status is stored as voice data DEMO PORTAMENTO LAYER STORE ARPEGGIO SEQ Portamento OH Dr ee Pressing PO RTA M EN TO outputs a Control Change message via the MIDI O UT terminal which can be recorded as Control Change data in an external MIDI sequencer You can designate the assignable Footswitch to turn the portamento on and off by foot using the UTILITY SETUP Control function see page 95 Setting Portamento Time You can determine the Portamento time by pressing PEG LFO and turning CON TROL knob 4 Port Time 85 co MM e 110119 When the PORTAMENTO switch is tumed off will flash in the LCD ULSD For more information see page 56 Selecting Portamento Modes There are vari
72. N s value change Therefore after you use the RPN you should seta Null 7FH 7FH value to avoid an unexpected result Messages which can be received are as follows Pitch Bend Sensitivity Fine Tune Coarse Null Channel Mode Messages The following Channel Mode Messages can be received 3rd BYTE MESSAGE All Sounds Off Reset All Controllers All Notes Off Mono Poly All Sounds Off Control 120 Clears all sounds currently sounding on the specified channel However the status of channel messages such as Note On and Hold On is maintained Reset All Controllers Control 121 The values of the following controllers will be reset to the defaults Pitch Bend Channel Pressure Sustain Switch Modulation Expression Portamento RPN Volume Pan Effect Send Level 1 3 4 Number not specified internal data will not change All Notes Off Control 123 Clears all notes currently on for the specified channel However if Sustain Switch is on notes will continue sounding until these are turned off Mono Control 126 Performs the same function as when an All Sounds O ff message is received and if the 3rd byte mono number is in the range of 0 16 sets the corresponding channel to Mono Mode Mode 4 m 1 Poly Control 127 Performs the same function as when an All Sounds O ff message is received and sets the corresponding channel to Poly Mode Mode 3 Program
73. N 4 Feedback ASSIGN 5 Volume ASSIGN 6 Amod Depth ASSIGN 7 Vel Sens ASSIGN 8 The LFO is an oscillator that generates low frequency signals used to modulate the VCO for pitch modulation or vibrato the VCF for filter modulation or wah or the VCA for amplitude modulation or tremolo The AN 1x has two separate LFOs LFO1 and LFO2 LIS For more information about the PEG and LFOs see pages 31 32 PEG Decay The PEG Decay setting determines the time required for a sound to reach its basic pitch from the PEG Depth level while the key is held PEG Decay 5 POLY DUAL MM The following graph shows how the decay changes when a key is pressed if a positive PEG Decay value is Set PEG Decay Positive setting High Pitch PEG Depth PEG Depth Low TeePEG Decay gt Pitch The following graph shows how the decay changes when a key is pressed if a negative PEG Decay value is set PEG Decay Negative setting High Pitch PEG Depth PEG Depth Time Low Le DEG Decay gt Pitch Settings 64 0 63 PEG Depth The PEG Depth setting determines the pitch in semitones W hen PEG Decay see above is set to a positive value the PEG Depth setting represents the start pitch W hen PEG Decay is set to a negative value the PEG Depth setting represents the end pitch PEG Derth de i A POLY DUAL Ma Turning the knob to the left lowers the pitch while turn
74. O N TRO L knobs will access specific Sync function and Frequency M odulation related parameters Sync parameters are related to the synchronization status of the two VCO 1 oscillators master and slave which are the fundamental waveform generating elements in the AN 1x A Frequency M odulation FM signal modulator can be applied to the VCO 1 in one of several ways to change its frequency in which case the output of the oscillator will become the modulated signal carrier LSD For more information about Sync and FM pages 31 59 Algorithm The Algorithm setting determines how the two VCO1 oscillators master and slave are connected in relation to the FM signal There are four types of connections or algorithms as shown in the diagrams below Settings only FM Sync FM bth Sync FM mst Sync FM slv only FM Sync is disabled Sync FMbth Sync is enabled and FM is applied to both master and Slave oscillators Sync FMmst Sync is enabled and FM is applied to the master oscillator Sync Sync FMslv Sync is enabled and FM is applied to the slave oscillator Master of VCO1 Slave VCO1 Master of VCO1 VCO2 LFO1 2 EG etc 110119 When set to only FM the master and slave oscillators are disabled and the VCO1 becomes a single oscillator LS For more information about Sync and FM see pages 31 59 Sync Pitch The Sync Pitch setting determines the pitch of the slave osci
75. O Voice Menus Voice Menus The four Voice menus are primarily dedicated to parameters which affect the tone generator VOICE SCENE SETUP Includes Scene Mode and Control M atrix parameters plus Layer related parameters for the voice VOICE COMMON Includes Tempo Split Point Effect and voice naming parameters which are common to both Scenes and Variation Effect Dry W et balance parameter which can be set for each Scene VOICE FREE EG Includes Trigger and Length setting Track and Parameter select plus recording and other parameters related to the Free EG function VOICE ARPEGGIO SEQ Includes common and specific parameters related to the Arpeggiator and Step Sequencer LIS For a description of each parameter and available settings see the REFERENCE section page 72 For information about the Arpeggiator see page 33 Step Sequencer Menu The SEQ EDIT SETUP menu includes Knob event and sequence editing elated parameters as well as Pattern Bank and Number select and other parameters related to the Step Sequencer IES For a description of each parameter and available settings see the REFERENCE section page 89 For information about the Step Sequencer see page 37 Utility Menu The UTILITY SETUP menu includes global parameters including System tuning and keyboard transpose and velocity parameters MIDI channel transmit receive and other settings and Control function assignmentrelated parameters LIS
76. Q sois ari 35 42 87 Scene SWIN Free EG EE 48 83 SEO A N 39 41 A A A 39 41 al A EEEE E E e E ai 76 SEQ EDIT SETUP crisi iii ada 89 SEO Dee 40 46 91 A uate E E EE 74 An PO IA IA 39 41 Sew AVE UIC MESE ini 56 E A E A E 22 SAD ege 92 so EE 93 SONES CONTO EC EE 75 NENAS E E E E 116 A A e o PR So III 23 A A O EEN 23 A A 71 Square W ave LFO 1 Wave EE 51 a A E 45 89 e Uu EE 37 Step Ee Patern ENER 39 PP PR US E E RO 98 tel e EEN 33 CT EEN 34 88 CIE E PAPA APP 69 SUSY E iaa 64 A ee o A 88 A RS PEGO DO a ae e e e E a 31 V Je EEN 59 SVC PUC DON EE 59 E P de EE 60 as Pt 60 NIN Taere rodea 58 e EE 92 EN NIN et EE 9 T A if A AE E EEE A 10 A EE 48 82 pd A 47 81 A Pm o OO E 49 83 PA PES NOT o A 48 83 Triangle Wave EOL WAIT Ra 57 TO EES 47 81 olaa DNO EE 113 TS NO TA MSI por ri 34 85 Type TO Sep SOO USNC EEN 40 85 U A A PE E OI EE 49 84 MIN artis 22 Mc AA A tanta 76 Kutter 92 V o E 77 EEN 78 E EE 11 68 A A O o Eo reer Leen Ee 64 AA A IS 65 A o A O o A 67 St CEA IC E E OR nn reir terete rT tere reer rere rc err ye 10 61 CN HE 61 IO geet Keier 66 A TS 63 E EE 66 a UY hr Li E 92 WEY Pi Pe EE 37 88 VOM FIX KOD Eeer eege geen 93 Velocity Sensitivity VCA EE 70 WOOGIE SENS TGF EE 65 ee 9 VOILE ARPEGGIO ET 85 NES GeO UB ardid 81 VOICE COMMON sentar y VOS Creaton Ear atra ra 101 IMA ai aa 9 Voice EE Aender 29 BEE aaa dada 81 A o E EE E 97 voice Name KI rca a LS cee lt a
77. Ranier tere ara wt arate cere tr E E tare ayn Gr arere rawr ere 96 pL Ce EE TEE re leen EE 14 52 A EN 98 a EE 69 VOUN EK EE 6 W NO EE 56 ENEE 61 EE 63 MUS IRA VEI ir ica 93 Y TES ENTER F renta 7 119 For details of products please contact your nearest Yamaha or the authorized distributor listed below Die Einzelheiten zu Produkten sind bei Ihrer unten aufgefiihrten Nie derlassung und bei Yamaha Vertragsh ndlern in den jeweiligen Bestimmungslandern erh ltlich Pour plus de d tails sur les produits veuillez vous adresser a Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante NORTH AMERICA CANADA Yamaha Canada Music Ltd 135 Milner Avenue Scarborough Ontario MIS 3R1 Canada Tel 416 298 1311 U S A Yamaha Corporation of America 6600 Orangethorpe Ave Buena Park Calif 90620 U S A Tel 714 522 9011 MIDDLE amp SOUTH AMERICA MEXICO Yamaha De Mexico S A De C V Departamento de ventas Javier Rojo Gomez No 1149 Col Gpe Del Moral Deleg Iztapalapa 09300 Mexico D F Tel 686 00 33 BRASIL Yamaha Musical Do Brasil LTDA Ave Reboucas 2636 S o Paulo Brasil Tel 011 853 1377 PANAMA Yamaha De Panama S A Edificio Interseco Calle Elvira Mendez no 10 Piso 3 Oficina 105 Ciudad de Panama Panama Tel 507 69 5311 OTHER LATIN AMERICAN COUNTRIES AND CARIBBEAN COUNTRIES Yamaha Music Latin America Corp 6101 Blue Lagoon Drive Miami Florida 33126 U S A Tel
78. SON or SPUT UNISON Settings 1 32 VOICE COMMON This menu includes parameters common to the voice both Scenes including Tempo for Arpeggiator and Step Sequencer plus Effectrelated settings and voice naming parameters The Vari EF Dry W et parameter can be edited for each Scene Dly Rev EF EF Name VOICE Param Data Bypass Cursor Char COMMON Tempo The Tempo setting determines the tempo for the AN 1x s internal clock in beats per minute BPM between a range of 40 and 240 BPM The Tempo setting controls both Arpeggiator and Step Sequencer play Settings MIDI 40 240 111119 When Tempo is set to MIDI the AN1x s clock can be controlled by the clock of an external MIDI device such as a music sequencer connected to the MIDI IN terminal 1111139 When the Free EG Length parameter is set to bar the Free EG sequence will be synchronized with the Tempo set here For more information see page 82 Split Pnt split Point The Split Point setting determines the note at which the keyboard divides into lower Scene 1 and upper Scene 2 zones for Split mode play SPLIT SPLIT UNISON mode It also determines the division for the Arpeggiator or Step Sequencer depending on Keyboard Mode setting LD For information about Split modes see page 23 SePlitPoint ca DUAL AAP Settings C 2 G8 Vari EF EQ variation Effect Equalizer Variation Effect Equalizer settings determine the Variati
79. ST 2 Press YES ENTER to execute the Scene Store operation or NO to cancel it LUIS Since the Scene Store function stores the data to a Scene edit buffer be sure to execute a Voice Store operation before selecting another voice Scene Load Function The Scene Load function lets you load Scene data from a Scene in any voice to the corresponding Scene in the currently selected voice This lets you for example load the Scene 1 parameters of one voice to Scene 1 of the currently selected voice and load the Scene 2 parameters of another voice to Scene 2 of the currently selected voice 1 Hold SCENE 1 or SCENE 2 and enter the number of the voice whose Scene data you want to copy The selected voice number flashes in the LCD Scenez l r POLY apay Load 2 Press YES ENTER to execute the Scene Load operation or NO to cancel it Data which is loaded e All knob parameter settings excluding ASSIGN group e VOICE SCENE SETUP Mode and Control M atrix parameters VOICE COMMON Vari EF Dry W et parameter Scene Swap Function The Scene Swap function lets you exchange the data in one Scene edit buffer with the other 1 Hold STORE and press both SCENE 1 and SCENE 2 switches SURE Y N flashes in the LCD Scene 1 gt 2 SWAP ES I D Fi e aD CTR e EB STORE 2 Press YES ENTER to execute the Scene Swap operation or NO to cancel it Data which is exchanged
80. Scenes will play as follows Layer mode DUAL O lfKbdMode is setto chrd you can play arpeggios with Scene 1 and Scene 2 across the entire keyboard O lfKbdMode is set to chrd amp norm you can play arpeggios with Scene 1 and Scene 2 to the left of the Split Point and play normally with Scene 1 and Scene 2 to the right EN Layer mode SPLIT O lfKbdMode is set to chrd you can play arpeggios with Scene 1 to the left of the Split Point and play normally with Scene 2 to the right O If KodMode is set to chrd amp norm you can play arpeggios with Scene 1 to the left of the Split Point and normal chords to the right When SceneSw both is set in SPLIT mode depending on selected arpeggio Type as well as Split Point setting and the position at which you play the keys certain notes of the arpeggiated chords may cross the Split Point i e lower notes will play Scene 1 and higher notes will play Scene 2 Layer mode SINGLE Same as for scnel or scne2 page 35 Arpeggio Pattern Length The length of an AN 1x arpeggio pattern is determined by three factors which work together simultaneously Arpeggio Type Arpeggio Subdivide setting and the total number of notes you play for an arpeggiated chord For example say you play an arpeggiated pattern with a four note chord such as a C major triad with an octave in the root If Subdivide is set to 1 8 the Arpeggiator breaks down the
81. Step Sequencer is selected and KbdMode is set to sel amp norm or sel amp shift off model mode2 e model A pattern will be triggered every time a key is pressed e modez2 A pattern will be triggered after the current sequence finishes even if you press a key during the middle of the current sequence O SceneSw Scene Switch The Scene Switch setting designates which Scene the Arpeggiator or Step Sequencer pattern will pla y DUAL Settings scenel scene2 both Both Scenes MIDI PtnTx Ch Pattern Transmit Channel The MIDI Pattern Transmit Channel parameter lets you designate the MIDI channel on which to transmit the Arpeggiator or Step Sequencer pattern data to be output via the MIDI O UT terminal This lets you for example record the pattern note and other data played by the Arpeggiator or Step Sequencer into an external MIDI sequencer or have the AN 1x s pattern data trigger an external tone generator Since this setting is a system parameter it cannot be stored as voice data and therefore remains as set regardless of which voice is selected Settings off 1 16 50 83 Arpeggio Subdivide The Arpeggio Subdivide parameter lets you designate the timing subdivision resolution value for the Arpeggiator pattern W hen Arp SEQ is setto Step SEQ this parameter is not available For information about timing resolution for the Step Sequencer see pages 42 91 111119 When
82. THRU OUTPUT LEVEL Phones 2 9 2 0dBm 330 Q Stereo Output 4 0 2 0dBm 10kQ POWER REQUIREMENTS AC Adaptor PA 3B or equivalent DIMENSIONS 986 W x 285 D x 103 H mm WEIGHT 7 5 kg ACCESSORIES Owner s Manual Data List Book AC Adaptor PA 3B Specifications and descriptions in this owner s manual are information purposes only Yamaha Corp reserves the right to change or modify products or specifications at any time without prior notice Since specifications equipment or options may not be the same in every locale please check with your Yamaha dealer 116 Index A AED NEE EE 32 EKOA A o UR teases AA eae AE E AE 31 59 AmO DEDNO Eden ne nee Terre erent rere rr er mt ga 70 nl 10 AA A E ENEE ee 101 EE PU E ER 85 Pre SEO la 33 MI adi 33 AMES SUC EEN 34 88 A A detente seated deanna 70 ASMA CORTO ee EC 95 e Ee 68 A EEN 64 B E EE ECK 90 Ze Ee 42 91 A E a O seca IA 67 BIM EE 114 AS SS A IIA 67 lait PAPA a UI A 94 C CU ASON ia bin 40 OMO NEEN 35 36 86 wlgige ie dr o T 35 36 86 I emgeet 85 A A ci ose casi EE 95 Control Assign PUG EE 95 COON Saree EE 96 EE ae 49 ehr EE 16 26 A a EE 51 73 Control No SEQ EDIT SETUP Pattern ooooocnccccncncnccnnono noo 42 50 91 CORTO NO UTIUTY CONTON rd 50 95 Eed 11 49 A E E E E E 49 83 D Ee HERE T Data Dily EE 79 WE Nec EO MES 78 KE EE 68 ele VL EE 64 LPS EE 13 DEP COMO MA api 75 Denia VOICE COMMON UNISON E 76 Device TUTTO Eeer E ias
83. TROLLER jack the AN 1x and may even pose a serious shock hazard An optional Yamaha FC7 foot controller connected to the FOOT CONTROLLER jack can be used for control of various continuous or discrete controllers depending on controller O OUTPUT jacks assignment The stereo O UTPUT jacks let you connect the AN 1x to an external stereo amplifier speaker system W hen using a mono system connect it to the YY MONO FOOT VOLUME jack An optional Yamaha FC7 foot controller connected to the FO O T VO LUM E jack can be used to regulate overall volume or any other assigned continuous controller function PHONES jack The PHONES jack ta set of st h h to th i POWER switch e PHONES jack lets you connect a set of stereo headphones to the AN 1x for private listening Press the PO W ER switch to turn the AN 1x on and off gt jack The Making Of A Modern Classic The classic analog synth sound is back with a vengeance and more popular than ever Vintage analog synthesizers are hot items recirculating and finding their way into the arsenals of the world s most innovative music makers many of whom weren t even born when the voltage controlled synthesizer was coming of age more than a quarter of a century ago Enter the Yamaha AN 1x Control Synthesizer a modern classic in its own right complete with the VCO VCF and VCA blocks or modules that give retro synths that famously fat rich warm sound plus multip
84. There are two procedures for doing so as listed below Procedure 1 1 Enter a number between 1 and 128 in the PROGRAM CHANGE keypad The voice number that you enter will start flashing in the LCD VWX EA OTHERS MNO PQR STU DEF GHI JKL ABC GJ C NO YES ENTER 1111129 When the voice number is flashing pressing NO will cancel the voice select operation and the LCD will revert to the previous condition 2 When the voice number is flashing pressing YES ENTER will call up the voice assigned to the number which you entered The voice name voice Category and voice number will display in the LCD along with the Poly mode Layer mode and Arpeggiator Sequencer on off status Poly mode Layer mode Voice name and Arp SEQ status MNO PQR STU D I DEF GHI J KL ABC CI I a NO YES ENTER Voice Category Voice number 1101139 For additional information see Poly mode page 72 Layer mode page 22 Arpeggiator page 33 and Step Sequencer page 37 Procedure 2 1 Press to increment through the voices sequentially 2 Press to decrement through the voices sequentially In this case you do not need to press YES EN TER as the voice is called up with each press of the or key PROGRAM CHANGE VWX YZ OTHERS CT GC E MNO PQR STU ta ES DEF GHI JKL ABC NO YES ENTER W hen a voice is selected a MIDI Program Change message is transmitted to the AN 1x s internal tone gener
85. VOICE ARPEGGIO SEQ menu 2 Check the Split Point in he VOICE COMMON menu 3 Set the EDIT ROTARY switch to the SEQ EDIT SETUP menu and check the Base Unit Length and Loop Type settings 4 Repeat the basic process above for each voice which uses the Step Sequencer W hile you re atit why not go ahead and step through some of the factory set Voice and User Pattern while the sequence is looping Press Pattern Bank UP DO WN J to select the Voice or User Pattern bank then press Pattern No UP DOWN to select and listen to each pattern And don t be shy about playing around with the different parameter settings and see what effect they have on the sequence If you stumble upon something that sounds good along the way you might want to go ahead and store the edited voice to another voice location before you lose it If things get too far out of hand simply reselect the same voice with the PROGRAM CHANGE keypad and start over It won t take too long to geta clear understanding of how the different settings work together to let you create and play your own hot sequences Step Sequencer Edit Creating your own Step Sequencer patterns is a simple and straightforward process W hen the EDIT RO TARY Switch is set to the SEQ EDIT SETUP menu each CONTROL knob is used to edit N ote Velocity Gate Time and Control Change values for a single step First decide the Base Unit and Length for the sequence pattern Then edi
86. You can control one parameter by sliding your finger along the X axis and another by applying pressure to the Z axis You can assign parameters to the RIBBON controller using the Utility Assign Control function see page 50 or the Control Matrix see page 51 Apply pressure Z axis Minimum lt Maximum X axis 11139 You can assign different parameters to the RIBBON controller for each voice For Information see page 75 UL To activate the Z axis you must apply considerable pressure A light touch will only apply to the X axis 1111139 When you release your finger from the RIBBON controller the value may remain at the same position as at the time of release or reset to the center position depending on the Control Matnx setting See page 73 CONTROL Knobs And Parameter Groups W hich parameter is edited by each CON TROL knob for each Scene depends on which KNOB PARAMETER G RO UP switch is currently selected indicated by a lit LED to the left of it Pressing a CONTRO L knob push switch or turning a knob will cause its parameter name and value to display in the LCD Selected CONTROL knob parameter Selected parameter group KNOB PARAMETER GROUP W hen you select a voice the ASSIGN switch will automatically be selected unless the EDIT RO TARY switch is set to SEQ EDIT SETUP which lets you access the eight parameters assigned to the respective CON TROL knobs 1101139 For more information about th
87. a Music Nederland Service Center Address Kanaalweg 18 G 3526 KL UTRECHT Tel 030 2828425 VAROITUS Paristo voi r j ht jos se on virheellisesti asennttu Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin H vit k ytetty paristo valmistajan ohjeiden mukaisesti Gooi de batterij niet weg maar lever hem in als KCA O Do not throw away the battery Instead hand it in as small chemical waste 121 SPECIAL MESSAGE SECTION USA This product utilizes batteries or an external power supply adapter DO NOT connect this product to any power supply or adapter other than one described in the manual on the name plate or specifically recommended by Yamaha WARNING Do not place this product in a position where anyone could walk on trip over or roll anything over power or connecting cords of any kind The use of an extension cord is not recommended IF you must use an extension cord the minimum wire size for a 25 cord or less is 18 AWG NOTE The smaller the AWG number the larger the current handling capacity For longer extension cords con sult a local electrician This Product should be used only with the components supplied or a cart rack or stand that is recommended by Yamaha If a cart etc is used please observe all safety markings and instructions that ac company the accessory product SPECIFICATIONS SUBJECT TO CHANGE The information contained in this manual is believed to be correct
88. access and edit the individual events in each step of the Step Sequencer when the EDIT ROTARY switch is set to the SEQ EDIT SETUP menu PEG Decay Algorithm Sync Pitch nc Pitc PEG Depth ent Wave Sync Pmod Sw PW The CONTROL knobs are assignable so you can designate a specific parameter to be controlled by each knob You can use the Control M atrix to designate each knob parameter for each Scene in each voice Plus you can use the UTILITY SETUP menu Control function to designate specific Control Change parameters to be controlled by each knob when the ASSIGN switch is selected which not only is routed to the internal tone generator but is output via the MIDI O UT terminal and therefore can be used to simultaneously contro an external MIDI device W hen you turn a knob to edita parameter its parameter name and value will automatically appear in the LCD and the knob data graph will track knob movements accordingly If you simply press a knob push switch without turning it the parameter name and value will appear in the LCD for visual confirmation without changing its value Port Time Bs DUAL een WM com Turning a knob left decreases numeric values or scrolls toward the top ofa list of available parameters and turning a knob right increases numeric values or scrolls toward the bottom of a list of available parameters 1101139 For information about assigning controllers
89. ally friendly We sincerely believe that our products and the production methods used to produce them meet these goals In keeping with both the letter and the spirit of the law we want you to be aware of the following 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 nec essary contact a qualified service representative to perform the re placement 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 old 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 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 r
90. ammed with demonstration songs which provide dynamic examples of just how powerful the AN1x really is To select and play a Demo perform the following operation 1 Press the PORTAMENTO and LAYER switches simultaneously The word DEMO will appear in the LCD DEMO PORTAMENTO LAYER 2 Press a PROGRAM CHANGE switch 0 9 to select one of the 10 Demo songs After a brief moment the Demo song will begin and continue playing until the end PROGRAM CHANGE VWX YZ OTHERS BER MNO PQR STU EN EN GHI JKL ED B ABC Ss E NO YES ENTER 3 When the Demo is finished simply press NO to return to normal operating status 1111139 The Demo song will continue playing repeatedly until you stop it You can stop the Demo song in the middle of play by pressing NO Basic Operation You ll find the process of getting to know the AN1x to be fun and inspiring especially if you keep a few fundamental things in mind as you select and play the voices try out the various controls and experiment with the panel features for the first tme Following are some important aspects about basic operation of the AN1x which will help you keep things in their proper context from the very start AN1x Operating Modes For the most part except when performing a specific Store or MIDI bulk dump operation the AN 1x is basically always in Voice Play Edit mode This means that during play as you turn the vario
91. and number assignments User Pattern Data User Pattern data is made up of the Step Sequencer User Pattern bank which holds 128 User Patterns System Data Utility Setup Parameters SYSTEM MASTER TUNE VELOCITY KEYBOARD TRANSPOSE MIDI TRANSMIT CHANNEL RECEIVE CHANNEL each Scene PATTERN TRANSMIT CHANNEL DEVICE NUMBER LOCAL BULK DUMP EFFECT BYPASS CONTROL ASSIGNABLE KNOB CONTROL CHANGE NUMBERS CONTROLLER CONTROL CHANGE NUMBERS Step Sequencer User Pattern Bank AN1x Tone Generator As the AN1x Tone Generator Block Diagram illustrates the VCO module generates the basic signal then passes it along the signal path to the MIX VCF module which processes the signal in a variety of ways before passing it on to the VCA module which amplifies the signal before passing it along the signal path to the EFFECT module comprised of three multi effects units and a stereo equalizer after which the signal is output from the AN1x s stereo outputs Along the way various real tme and other controllers can be applied to each module in a variety of ways Oscillators Filters And Amplifiers W hat does it take to make a sound And how does the AN 1x generate sounds In the simplest of terms there are three basic elements which make up a sound pitch or how low or high it is tone or what its overall quality or timbre is like and amplitude or how loud the volume level is Synthesizers rely on three key elec
92. arameter to a value of about 20 This creates the click There are many other parameters you may want to adjust to get just the right sound you want When you re finished with the editing process perform a Voice Store operation to store your creation For information see page 98 106 Synth Brass First lets create the fundamental sound 1 Select a voice that you don t mind writing over Perform a Type 1 Normal Voice Initialize operation To achieve the sound of multiple players we ll use both VCO1 and VCO2 oscillators Press KNOB PARAMETER GRO UP switch M IX VCF then press CON TROL knob 2 once to display the VCO 2 Level parameter in the LCD Turn the knob to set a value of 127 so that the VCO 2 can be heard Adjust the interval between the oscillators Press KNOB PARAMETER GRO UP switch VCO 2 then press CON TROL knob 3 once to display the Fine Tune parameter Turn the knob to seta value of about 4 to create a slight interval Set up the FEG VCF Cutoff and FEG Depth for a Characteristic brass sound Press KNOB PARAMETER GRO UP switch VCF Turn CON TROL knob 1 to set the Attack parameter to about 40 Turn CON TROL knob 2 to set Decay to about 55 Turn CON TROL knob 3 to set Sustain to about 40 Turn CONTROL knob 5 to set the VCF Cutoff to about 55 Turn CON TROL knob 7 to set the FEG Depth to about 55 Next let s tweak a few parameters to
93. arameter to about 3 e Turn CONTRO Lknob 2 and set the PEG Depth parameter to about 10 There are many other parameters you may want to adjust to get just the right sound you want When you re finished with the editing process perform a Voice Store operation to store your creation For information see page 98 105 Electronic Organ First lets create the fundamental sound 1 Select a voice that you don t mind writing over Perform a Type 1 Normal Voice Initialize operation Select the pulse wave for a basic organ sound Press KNOB PARAMETER GRO UP switch VCO 1 Turn CONTRO Lknob 1 to set the Wave parameter to pulse Turn CON TROL knob 4 to set the Edge parameter to a value of about 30 This smooths out the rough edge of the sound Press KNOB PARAMETER GRO UP switch SYN C FM Turn CON TROL knob 1 to set the Algorithm parameter to Sync FM bth which enables the sync and applies FM to both master and slave oscillators of VCO 110139 Other settings except for only FM will also produce effective results e Turn CONTROL knob 2 to set the Sync Pitch parameter to a value of about 17 Set up the VCO2 an octave down to add fullness to the organ sound Press KNOB PARAMETER GRO UP switch VCO 2 e Turn CONTROL knob 4 to set the Edge parameter to a value of about 40 e Turn CONTROL knob 2 to lower the Pitch parameter to a value of 12 which is a full
94. as you play You can press both SCENE switches to activate the Scene Control function and roll the MODULATION wheel or press a foot pedal or use any other continuous controller to morph or crossfade between the sounds of Scene 1 and Scene 2 as you play Six types of Layers to choose from for each voice SINGLE UNISON DUAL DUAL UNISON SPLIT and SPLIT UNISON Layer modes give you a wide choice for control over how the two Scenes are configured to play in relation to each other for each voice GETTING STARTED Provides a basic overview of how to set up your AN 1x and quickly familiarize yourself with all its key features and operations We recommend you actually be sitting in front of your AN 1x as you read through the GETTING STARTED section so you can try out each feature along the way to geta thorough understanding of how the AN 1x works FEATURE REFERENCE Provides a comprehensive explanation of all AN 1x features This is in essence a dictionary which you can refer to any time you need to know the details about any given feature APPENDIX Provides information related to MIDI troubleshooting and more A separate Data List book provides voice Arpeggiator Type Effect Type and other lists and information Arpeggiator with 30 patterns and various play options plus MIDI data output The Arpeggiator lets you play perfect arpeggiated chords at the simple press of a key You can have the Arpeggiator play only one or both Scen
95. assigned to the keys to the right Earth FEXaZa Plays Scene 2 sound nen Snare Scene 1 sound H SPLIT POINT In SPLIT mode the AN 1x Is capable of multitimbral play max 2 sounds Two incoming MIDI signals play each scene independently over a range determined by the Split Point GC according to Rx Ch settings External sequencer AS Scene 2 range MIDI ch 1 A Scene 1 range MIDI ch 1 a SPLIT POINT SPLIT UNISON In this mode each Scene on each side of the variable Split Point plays in Unison O ne Note On message uses five notes of polyphony when Poly mode is set to mono or legato If both Scenes are set to poly the result is the same as SPLIT mode M ultitimbral play from an external MIDI source max 2 sounds is also possible determined by the UTILITY SETUP Rx Ch Receive Channel settings Layer Parameters Portamento Play The AN 1x features Layer parameters in the VOICE SCENE mm mm m e e pm mn pm rn pm mm pm mm mn mm mn mm mm mm mm mm mm pm vm SETUP menu which let you detune the Unison or Dual layers Portamento is an effect commonly used in singing or when when UN ISO N mode or DUAL mode is selected or separate playing a bowed instrument glissando where the sound the panning between the two layers when UNISON mode l ar e e is carried in a continuous glide from one note to the next DUAL mode or SP
96. at your fingertips with relatively straightforward or even unconventional results awaiting you And only by rolling up your sleeves and exploring all the options at hand can you become an expert at how to get just the right arpeggio for just the right track Keyboard Mode Press KodM ode UP DOWN to designate how the Arpeggiator patterns respond to notes played on the keyboard Select chrd Chord if you want to play arpeggiated chords across the entire keyboard Select chrd amp norm Chord amp Normal if you want to play arpeggiated chords to the left of the Split Point and normal chords to the right UULS For information about setting the Split Point see page 77 Scene Switch Press SceneSw UP DOWN to designate which Scene will play the Arpeggiator pattern Scenes will play in accordance with Layer mode and Keyboard Mode settings scnel or scne2 Scene Sw sene wm W hen the Scene Switch is set to scnel or scne2 Scene 1 or Scene 2 will play as follows Layer mode DUAL O If KodMode is set to chrd you can play both Scenes simultaneously across the entire keyboard The selected Scene plays the arpeggio and the other plays normally 4 _ If KodM ode is set to chrd amp norm you can play both Scenes simultaneously across the entire keyboard The selected Scene plays arpeggios when you play chords to the left of the Split Point and plays the Dua
97. ate effects configuration and settings record real time knob movements for one or more parameters using the 4 track Free EG function designate Arpeggiator settings create a Step Sequence assign Control Matrix sets and set any other voice parameters Unison VOICE te f Detune SCENE SETUP Ch Pan EF Name VOICE Bypass Cursor ar COMMON Track J ob VOICE Rec Copy Undo FREE EG r i a ubdivide i e a ICE e No ode o Nes Knob attern SEQ SEQ Event 1 8 9 16 f Step Hold Bank o Store EDIT SETUP ste o i en 00 e rl MIDI Ctrl UTILITY strTunef Kbd Transf Kbd Vel Tx Ch Rx Ch DeviceNof Local BulkDump Device Ctrl No SETUP 5 Store the voice data to a voice memory location 1 128 using the Voice Store operation see page 98 HITLSTORE Parameters which you can edit at any time but which are not stored as voice data include system related parameters accessible from the UTILITY SETUP menu as well as Effect Bypass status VOICE COMMON menu and MIDI Pattern Transmit Channel VOICE ARPEGGIO SEQ menu As such they will remain as set regardless of which voice is selected EN CREATING ORIGINAL VOICES Following is an overview of the key procedures required to build up your own voices from scratch For step by step examples of how to create specific types of voices including analog synth classics like Synth Bass and Synth Brass as well as traditional Electronic O rgan and Electric Piano voic
98. ator and the MIDI O UT terminal Voice numbers 001 128 correspond to Program Change numbers 000 127 respectively For information about MIDI see page 109 Knob Edit The eight CONTROL knobs let you edit various characteristics of each voice in real time Edited data of the selected voice can be stored to any voice memory 1 128 The function of each knob depends on which KNOB PARAMETER GRO UP switch is selected Available parameter groups are as follows SYNC FM Sync function Frequency M odulation PEG LFO Pitch Envelope Generator Low Frequency Oscillator VCO1 Voltage Controlled O scillator 1 VCO2 Voltage Controlled O scillator 2 VCF Voltage Controlled Filter MIX VCF Mixer Voltage Controlled Filter VCA Voltage Controlled A mplifier ASSIGN Assigned knob parameters 1101139 For more information about the CONTROL knobs see page 26 LD A blank chart for writing down parameter values of user voices is provided on page 114 1 Press a KNOB PARAMETER GROUP switch The LED to the left of the selected switch lights KNOB PARAMETER GROUP The parameter available to control or edit for each knob is printed on the panel by each knob color coded to match the related KNOB PARAMETER GROUP switch For example if VCA white switch is selected each knob accesses the parameter printed in the white area to the lower left of the knob Attack Decay Sustain Release Feedback Volume Amod Depth and V
99. attern changes with the 10 different Subdivide settings set the EDIT RO TARY switch to the VOICE ARPEGGIO SEQ menu and press Arpeggio Subdivide UP DO WN to step through each Change Poly mode setting O To hear how the keyboard Poly setting affects how the voice can be played set the EDIT RO TARY Switch to the VOICE SCENE SETUP menu and press the Poly UP DO W N switch to select PO LY MONO or LEGATO Then play the keyboard NLD For more information about Arpeggio Subdivide see page 34 Change Effects and adjust EQ O To hear the different Variation and EQ effects and settings set the EDIT RO TARY switch to the VOICE COMMON menu and press Vari EF EQ Param UP DOWN and Data UP DO W N switches accordingly Also press the Vari EF Dry W et UP DOW N to change the balance between dry normal and wet effected signals LD For more information about Poly mode see page 72 Turn ARPEGGIO SEQ on and off O If the voice uses the Arpeggiator ARP appears in the LCD or Sequencer SEQ appears in the LCD press the ARPEG G IO SEQ switch to turn it off and hear how the voice sounds without the pattern O Pay attention to how the arpeggio or sequence is For more information about Vari EF EQ see page 77 triggered either across the entire length of the keyboard or only to the left of the Split Point In the case of the Step Sequencer some voices are programmed to let you
100. ce will continue playing automatically when you release the key until you switch the Hold setting to off or press ARPEGGIO SEQ to stop the Step Sequencer W hen KbdM ode is set to sel amp norm or sel amp shift two additional SEQ Hold mode settings are available model which triggers a pattern every time a key Is pressed and mode2 which triggers a pattern after the Current sequence finishes even if you press a key during the middle of the current sequence The SEQ Hold function used in conjunction with Layer mode and Keyboard Mode settings greatly expands your live performance options It s also indispensable for searching for Voice and User Patterns as well as for editing a pattern or tweaking various tone generator parameters for your sequence sound with the CONTROL knobs Voice Pattern And User Pattern Banks In addition to the voice related data stored in a voice memory location each voice has Voice Pattern data for a single Step Sequencer pattern Since there are 128 voices in memory the collection of 128 patterns as stored in the voices is called the Voice Pattern bank In addition to the Voice Pattern bank there is a separate bank of 128 User Patterns called the User Pattern bank The Voice and User Patterns can be played from the keyboard in a variety of ways depending on the Keyboard Mode setting in the VOICE ARPEGGIO SEQ menu The individual Keyboard Mode settings are
101. ding to the MIDI standard Mode 2 is a special list of Control Change parameters unique to the AN 1x For information about changing modes see page 96 Fora list of Control Change parameters for each mode see the separate Data List book Error Messages The following messages may appear during operation indicating problems or incorrect operation or to provide information These are explained below Battery Low The memory backup battery is low and memory cannot be backed up Store the necessary data to a MIDI data storage device and have the battery changed by your local Yamaha dealer or any other authorized Yamaha service personnel Device No off Error Cannot send MIDI bulk data since the Device N umber is set to off Device Number Error Cannot receive MIDI bulk data due to improper Device N umber setting Match the device numbers for both the AN1x and the external device Not Scene Ctrl System Exclusive message could not be received since the Scene Control function is not activated Press both Scene switches to activate Scene Control Illegal Data Error occurred during MIDI data receive Start the transmit operation once again MIDI Buffer Full Too much MIDI information received Eliminate unnecessary MIDI data SysEx Adrs Error Received System Exclusive message address is incorrect Confirm the address of the transmitted data SysEx Data Error Received System Exclusive message data is incorrect
102. dit it trigger a second pattern and edit it go back to the first one and tweak it some more and so on in order to edit various patterns in context with each other If you want you can use SEQ Store UP DOWN to store any edited pattern to any User Pattern bank memory 1 128 If the User Pattern has been edited the All Ptn All Patterns store confirmation message will appear in the LCD and you can press YES EN TER to overwrite all patterns or press NO to cancel the operation C 1 Assign C 1 is always the base note assignment for the first User Pattern to be selected As shown in the Pattern Select Play diagram page 39 if Usr001 User 001 is assigned to C 1 then pressing C 1 selects User Pattern 001 pressing D1 selects Pattern 002 pressing D 1 selects Pattern 003 and so on The User Patterns are always selected in ascending order according to pattern number 001 128 The C 1 Assign feature lets you shift the starting pattern number For example if you assign Usr003 to C 1 then pressing C 1 selects User Pattern 003 pressing D1 selects Pattern 004 pressing D 1 selects Pattern 005 and so on Lais Usrbes To assign a User Pattern number to C 1 set the EDIT RO TARY switch to VOICE ARPEGGIO SEQ and press Type No UP DOWN Arp SEQ must be set to Step SEQ and KbdM ode must be set to sel amp norm or sel amp shift See page 85 Playing Step Sequencer Pat
103. ds all User Patterns system loads system data all loads all voice User Pattern and system data WO COND Ln SS GO N PA 3 Press the number on the PROGRAM CHANGE keypad 1 9 corresponding to the factory data set you want to recall The number and name of the set appears in the LCD 4 Press YES ENTER to recall the set 100 Following are examples for creating some of the most common synthesizer sounds including Synth Bass Strings Electric Piano Electronic Organ Synth Brass and Synth Lead Taking the tme to work through the simple steps to create each will give you a deeper understanding of how the various tone generator parameters work together as well as how to practically apply the Control Matrix Synth Bass First lets create the fundamental sound 1 Select a voice that you don t mind writing over Perform a Type 1 Normal Voice Initialize operation Set the oscillator with a low interval for bass Press KNOB PARAMETER GRO UP switch VCO 1 then press CON TROL knob 2 once to display the Pitch parameter in the LCD Turn the knob to set a value of 12 which is an octave lower than the basic pitch Filter out the roughness Press KNOB PARAMETER GRO UP switch VCF then press CONTRO Lknob 5 once to display the VCF Cutoff parameter in the LCD Turn the knob to seta value somewhere near 60 which results in a much rounder or smoother sound Tighten up the sustai
104. ds in much the same way as traditional legendary analog synthesizers using voltage controlled oscillators and filters low frequency oscillators ring modulator and voltage controlled amplifiers but with the additional benefits of digital multi effects MIDI control and much more 128 voices and maximum 10 notes polyphony The AN1x comes with an impressive array of 128 voices preprogrammed and ready to play each of which can be edited and overwritten to store your own Ten notes of polyphony provide for versatile SINGLE DUAL and SPLIT play options Intuitive interface with hands on voice editing and multiple assignable real time controllers The AN1x s eight CONTROL knobs and panel Edit matrix give you direct and instant access to many parameters as you play All controllers are assignable including PITCH and MODULATION wheels and various foot pedals plus the RIBBON controller with honzontal slide X and pressure Z control of filter LFO delay and more The Control Matrix function permits easy assignment of up to 16 sets of source controllers MW FC Key Touch etc to destination parameters VCA Filter LFO etc for each Scene all of which can be stored as voice data for each voice 2 Scene memories for each voice with real time morphing between Scenes Each voice has two Scenes each of which can be selected by pressing a SCENE switch This provides two distinct sounds within each voice available for instant recall
105. ds the data of the currently selected Scene Lvce Sends the data of the currently selected Voice 1 64 vce Sends data for voice set1 64 65 128 vce Sends data for voice set65 128 all voices Sends data for all 128 voices Lptn Sends data for the pattern currently selected in the Step Sequencer 1 64 ptn Sends data for the User Pattern bank 1 64 65 128 ptn Sends data for the User Pattern bank 65 128 all ptn Sends all Step Sequencer User Pattern data system Sends all system parameter data all Sends all data in memory all CYAN ua Dou SEO 2 Press YES ENTER to initiate the bulk dump When the operation is finished End will appear briefly in the LCD which will then return to its prior display VWX YZa OTHERS MNO PQR STU DEF GHI J KL C NO YES ENTER To stop a bulk dump operation in progress press N O The LCD will return to its prior status Receive Bulk Dump A Receive Bulk Dump operation lets you load data back into the AN 1x from an external M IDI device The type of data which can be received depends on the current mode For more information see the M IDI data format in the separate Data List book Before initiating a Receive Bulk Dump operation the Device N umber for both devices must be matched For more information see Device No on the previous page 95 Ctrl Control Control parameters let you designate the type of Control Change messages which can b
106. e LCD Press Param UP DOWN to display AEG Decay in the LCD Press Source UP DOWN to display KyTrk Key Track in the LCD Press Depth UP DOWN to seta value of Dp 9 11 Use the Control Matrix to control the FEG Decay by key tracking W ith key tracking you can also make the FEG Decay quicker in the upper range and slower in the lower range for a more natural electronic piano sound In the VOICE SCEN E SETUP menu perform the following operations e Press Set No UP DOWN to display Set 2 in the LCD e Press Param UP DOW N to display FEG Decay in the LCD e Press Source UP DOWN to display KyTrk Key Track in the LCD e Press Depth UP DO W N to seta value of Dp 5 12 Use the Control Matrix to control the Sync Pitch by key tracking W ith key tracking you can mellow out the Sync Pitch in the upper range and bring out the grit in the lower range In the VOICE SCENE SETUP menu perform the following operations e Press Set No UP DOWN to display Set 3 in the LCD e Press Param UP DO W N to display Sync Pitch in the LCD e Press Source UP DOWN to display KyTrk Key Track in the LCD e Press Depth UP DOW N to seta value of Dp 18 Finally let s adjust the PEG to add a harder attack to the electronic piano sound Press KNOB PARAMETER GROUP switch PEG LFO e Turn CONTRO Lknob 1 and set the PEG Decay p
107. e Utility Control Assign function see pages 50 95 W hen you set the EDIT RO TARY switch to the 5th position SEQ EDIT SETUP menu the CON TROL knobs will be dedicated to the event parameters of the various steps beats of the Step Sequencer Ez SEQ E8 ER serur Enab attern 18 9 16 Step Hold Bank THe In this situation no LED will be litin the KNOB PARAMETER GRO UP section and the name of the current step event parameters will appear in the LCD when you turn or press a knob KNOB PARAMETER GROUP ofan oE o often oise eve A LED ow o PE Simply pressing a KN OB PARAMETER GRO UP switch will revert the status back to normal tone generator parameter control as will selecting a different Edit menu with the EDIT ROTARY switch As long as the EDIT ROTARY Switch is still set to the SEQ EDIT SETUP menu however you can press the selected KNOB PARAMETER GRO UP switch again to revertto Step Sequencer control by the knobs e you can toggle back and forth between knob parameter control and step event data edit by pressing the switch 1101139 For more information about the KNOB PARAMETER GROUP switches see page 16 For more information about the CONTROL knobs see page 16 For information about the Step Sequencer see page 37 Foot Controllers The AN 1x features FOOT CONTRO LLER FOOT VO LUME and FO OTSW ITCH jacks for connecting various foot pedals each of which can be assig
108. e and power as well as provide an excellent basis for study of how voices are constructed They are also great for use as a Starting point for creating your own voices by making slight or significant modifications to suit your needs or taste which you can then store in the AN 1x s memory for instant recall at any time Of course if you want to roll up your sleeves and get your hands on the VCO VCF and VCA to build up an original voice from scratch you can easily initialize a voice e reset each parameter value to its initial setting and start from there The AN 1x even provides a few handy templates which save you time and all the tedious effort by making all the basic settings for certain types of sounds for you so you can pick up from there and concentrate on just the fun and creative stuff See page 30 Voice Select Operation Each of the 128 voices has a Program N umber between 001 and 128 You select a voice using the PROGRAM CHANGE keypad There are two ways to do so as follows METHOD 1 Input a number between 1 and 128 then press EN TER PROGRAM CHANGE VWX YZu OTHERS ag B MNO PQR STU EBD P B DEF GHI JKL ag B ABC EB B NO YES ENTER METHOD 2 Press or to increment or decrement through the voices sequentially Voice name SR EEN NO YES ENTER Voice number Voice Category The voice name as well as voice Category and Program N umber appears in the LCD Vo
109. e controlled by the M O DULATIO N W heel each of the eight CONTROL knobs the RIBBON Controller etc by assigning Control Change numbers to specific controllers devices There are two parameters available Device and Control N umber Based on settings made here as well as in the Control Matrix see pages 51 73 you can use a single controller to control one parameter of the internal tone generator and another parameter of an external MIDI device both at the same time It also lets you determine which device MW FC etc to use for Scene Control O Device The Device parameter lets you select the controller to which you want to assign a Control N umber O Ctrl No Control Number The Control N umber parameter lets you designate the Control Change number type of parameter which the Device controller will control IS For information about MIDI and MIDI Control Change messages see page 109 Settings 0 off CC 1 95 After Touch Procedure 1 Press Device UP DOWN to select the name of the controller to which you want to assign a controller number l1iExrrez DUAL SEQ Controllers MW M odulation W heel FV Foot Volume FC Foot Controller FS Footswitch RbnX Ribbon Controller X axis RbnZ Ribbon Controller Z axis Knob1 8 Assign group knobs 1 8 SCENE Scene Control controller 2 Press Ctrl No UP DOWN to select the control function The control function name appears besid
110. e controlled by the attack time decay time sustain level and release time of the AEG Amplitude Envelope Generator to let you shape how the volume level changes over time from when a key is pressed held then released and subsequently how long it takes for the sound to terminate LD For more information about the VCA see pages 11 32 Attack The Attack setting determines the attack time of the AEG which Is the time it takes for the signal to reach its maximum volume level after a key is pressed key on Turning the knob to the right produces a longer Attack time Settings 0 127 Decay The Decay setting determines the decay time of the AEG which Is the time it takes for the signal to reach the sustain level from a maximum volume level while the key is held Turning the knob to the right produces a longer Decay time Settings 0 127 Sustain The Sustain setting determines the level of sustain of the AEG which is the level at which the volume will be maintained for as long as a key is held Turning the knob to the right increases the Sustain level Sustain 1297 POLY DUAL INN Settings 0 127 Release The Release setting determines the release time of the AEG which is the time it takes for the signal to reach a level of 0 after a key is released key off Turning the knob to the right increases the Release time Settings 0 127 Level Time Sustain Attack D
111. e the available control numbers Fee flainvoal DUAL SEG 1141139 When set to a Knob 1 8 Tempo and Data Entry can also be selected for control 10139 For a list of available controllers see the separate Data List book 3 Repeat steps 1 and 2 above to assign all controllers as desired Scene Control Assign 1 Press Device UP DOWN and select Scene 2 Press Ctrl No UP DOWN to select a Control Change number to control Scene Control 3 Press Device UP DOWN again to select the controller you want to use 4 Press Ctrl No UP DOWN again to select the same Control Change number as selected in step 2 above Voice Recall If you edit a voice and then inadvertently select another voice before storing the edited voice you can retrieve the edited data using the Voice Recall function 1 Enter 129 in the PROGRAM CHANGE keypad The number 129 begins flashing in the LCD VWX GAS OTHERS S Me3abrone DEF GHI JKL Ldi i d UNESOW ABC EJ E NO YES ENTER 2 Press YES ENTER Recall Y N appears in the LCD Recall ra y A E Control Change Modes The AN 1x has two Control Change modes Mode 1 is the official MIDI standard which is set at the factory Mode 2 is a special listof Control Change parameter settings unique to the AN1x To change between modes first turn off the power Then press and hold ASSIGN and press the PO W ER switch Either model
112. e used for real time control and edit of the various tone generator parameters depending on which KNOB PARAMETER GRO UP select switch is currently selected plus instant access to each step event when the EDIT RO TARY switch is set to the SEQ EDIT SETUP menu Press a CON TROL knob push switch to confirm the current parameter in the LCD Turn a CONTROL knob left to decrease values or right to increase them Make fine edit adjustments by turning a knob while pressing it Since all CON TROL knobs are assignable you can have each one access one of many different available parameters to give you maximum real time control over specific aspects of your sound including versatile control of external instruments via MIDI output MIDI terminals Rear Panel MIDI IN OUT and THRU terminals let you connect external MIDI MID OUTPUT PHONES devices such as a MIDI keyboard tone generator sequencer or computer or others using a MIDI cable IN is for input of MIDI data including data dumps from another AN 1x or MIDI data storage device O UT is for output of MIDI data including data dumps to another AN 1x or MIDI data storage device THRU is for daisy chain connection of additional MIDI instruments as the MIDI data received at the AN 1x s IN terminal is passed along unchanged to the THRU terminal _ FOOT FOOT FOOT POWER THRU OUT IN SWITCH CONTROLLER VOLUME ON ELOFF DC IN R L MONO 0
113. e variety of sounds than usual Puls Width sa DUAL Pulse Width is Pulse Width is Pulse Width is Small 64 50 Large gt lt gt Ut ILI More Harmonics Basic Pulse Wave More Harmonics with only odd numbered harmonics W hen set to 64 the Pulse W idth is equally balanced generating only odd numbered harmonics Settings 0 64 127 0 50 99 PWM Depth Puise width Modulation Depth The PW M Depth setting determines the amount of depth of the pulse width modulation of the VCO1 based on the PW M Source wave see next page Turning the knob to the right produces a deeper modulation PWM Derth E POLY DUAL MM Settings 64 63 PWM Src Pulse Width Modulation Source The PW M source setting selects the source wave which changes the VCO 1 s pulse width over time thus determining the behavior of the pulse width PUM Source fixed am ARP Settings fixed PEG FEG LFO 1 LFO 2 LFO 2p LFO 2f 110119 When set to fixed there is no change in modulation over time ULSD The Low Frequency Oscillator 2 Phase LFO2p shifts the LFO2 wave later by 60 degrees The Low Frequency Oscillator 2 Fast LFO2f slightly speeds up the LFO2 cycle PmodDepth pitch Modulation Depth The Pitch Modulation depth setting determines the depth of the pitch modulation of VCO 1 by the LFO 1 Pitch Modulation adds a cyclical change to the pitch to create a vibrato ef
114. eases the volume level with a softer playing style and increases the volume with a stronger playing Style resulting in a wider dynamic range overall Volume Keyboard Playing Strength hard This curve increases the volume level with a stronger playing style and is suitable for people with a heavy key touch Volume Keyboard Playing Strength Vel Fix Velocity Fix 1 127 This sets the velocity of the AN 1x s keyboard to a specific value which lets you play the sound ata fixed velocity regardless of playing strength Volume EEN Keyboard Playing Strength MIDI MIDI parameters are related to transmission and reception of MIDI messages to and from an external MIDI device There are five parameters available including Tx Ch Transmit Channel Rx Ch Receive Channel Device N umber Local and Bulk Dump Tx Ch transmit Channel The Transmit Channel parameter sets the MIDI channel on which the AN 1x s keyboard controllers and Switches transmit MIDI messages W hen not transmitting to an external device set Tx Ch to off 1101139 Although MIDI Tx Ch and MIDI PtnTxCh can be set to the same channel the notes played on the keyboard may interfere with the notes of the Arpeggiator or Step Sequencer pattern Therefore it is best to set each to a different channel number Settings 1 16 off 1101139 The AN1x can play and control and be controlled by other MIDI devices such as tone generators sequencers
115. ecay Release d Key on Key off Feedback The Feedback setting determines the level of feedback output from the VCA and fed back into the input of the mixer causing the signal to build up in amplitude according to the level you set Turning the knob to the right increases the Feedback level resulting in a fatter sound Feedback A POLY DUAL ARP A Settings 0 127 111139 Feedback should be applied slowly and with caution Too much feedback can create extremely high frequencies potentially resulting in damage to your speakers 1111139 Too much feedback may drastically change the VCF characteristics Volume The Volume setting determines the overall output level from the VCA before the signal passes to the Effect block Turning the knob to the right increases Volume level Wo lume d 1 5 POLY DUAL WII Settings 0 127 Amod De pth Amplitude Modulation Depth The Amplitude Modulation Depth setting determines the depth of the amplitude modulation of the VCA by the LFO 1 Amplitude Modulation adds a cyclical change to the volume level to create a tremolo effect Turning the knob to the right widens the range of the volume change Negative value settings reverse the phase of the LFO 1 by 180 degrees Amod berth DUAL Settings 64 63 Vel Sens velocity Sensitivity The Velocity Sensitivity setting determines the amplitude range of the VCA according to playing stren
116. ecified cutoff point with a cutoff curve of 12dB octave Level Cutoff range Range passed Cutoff frequency Frequency Settings 0 127 LUS This High Pass Filter is applied to the signal after the mixer and is different than Cutoff frequency Frequency the one available in the VCF Type BEF VCF Type The Band Eliminate Filter passes only those frequencies outside the specified frequency range The Resonance setting by the VCF The VCF passes only a specified range of frequencies while cutting off the rest to give you KS eve versatile control over the timbre There are six types of Range passed filters as described below Cutoff range A y 1 1 1 1 1 1 1 A Range passed Settings LPF24 LPF18 LPF12 BPF HPF12 BEF 4 a D 1 D D D D D U Y F LPF24 LPF18 LPF12 Center frequency requency The Low Pass Filter passes only those frequencies below the specified cutoff point A cutoff curve of 24dB octave LPF24 111139 The filters listed above apply to the signal output from the HPF located between 18dB octave LPF18 and 12dB octave LPF12 can be the Mixer and VCA For more information about the signal path see page 10 selected Level Cutoff range 12dB oct 18dB oct 24dB oct Cutoff frequency Frequency 67 Fmod Depth ter Modulation Depth The Filter Modulation Depth setting determines the depth of the filter modulation of the VCF by the LFO 1 Filter Modulation adds a cyclical c
117. ed voice and 23 different User Patterns can be selected by playing keys C 1 B2 and shifted in pitch by pressing C3 and above with C4 triggering the original base pitch of the sequence User Bank User Patterns 128 Y Y 1 Y Y Y Y Y Y Y Y Y Y Y qa EE Cbr q UU REESEN Patterns Voice Pattern SPLIT POINT Base pitch Oat Shifts pattern notes NLD When sel amp shift is selected and the Split Point is assigned above C4 then sequence pitch can only be shifted above the base pitch 0139 For more information about Keyboard Mode see page 86 For information about assigning the Split Point see page 77 Base Unit And Length The Base Unit parameter together with the current Tempo setting see page 77 designates and completes the timing resolution for the sequence pattern Knob Pattern SEQ SEQ Event 1 8 9 16 f Step Hold Bank No aseUnitf Length LoopType trl No Store EDIT SETUP Base Unit 178 POLY SINGLE SEQ The Length parameter setting determines the length of the sequence pattern based on number of steps One step is equivalent to one note so based on the Base Unit setting you can also select odd numbered steps to create odd numbered beats such as setting the Length to 3 for 3 4 ime or to 5 for 5 4time as well as create completely unconventional rhythms Knob attern S
118. edit and play parameters are available in the SEQ EDIT SETUP menu For details see page 89 ULSD To start the Arpeggiator or Step Sequencer pattern press the ARPEGGIO SEQ switch VOICE Velocity GateTime ARPEGGIO SEQ AAA AO 139 For information about how to use the Arpegg ator see page 33 For information about how to use the Step Sequencer see page 37 Common Common parameters are related to both the Arpeggiator and Step Sequencer There are five parameters available including Arp SEQ Type No Number KbdM ode Keyboard Mode Hold and SceneSw Scene Switch O Arp SEQ Arpeggiator Sequencer The Arp SEQ setting designates either the Arpeggiator or the Step Sequencer to play when the ARPEG G IO SEQ switch is on Either one or the other can be designated to play for each voice Arre39910 Ptr POLY ES ARP Settings Arpeggio Arpeggiator Step SEQ Step Sequencer O Type NO Type Number For selecting an Arpeggiator pattern type when Arpeggio is designated in Arp SEQ W hen Step SEQ is designated in Arp SEQ and KbdM ode is set to sel amp norm or sel amp shift you can assign a User pattern number to the C 1 key for Pattern Select play see C 1 Assign page 40 W hen Step SEQ is designated in Arp SEQ and KbdM ode is set to norm or shiftenorm SEQ will be displayed in the LCD and no setting can be made Step Sequencer patterns are designated in the SEQ EDIT SETUP m
119. el Sens respectively KNOB PARAMETER GROUP oD eer l aj 2 Press a CONTROL knob without turning it The parameter name current value and a horizontal knob data graph will display in the LCD A flashing segment in the data graph indicates the value position of the knob whereas shaded segments indicate the actual current position of the knob Parameter name Parameter value Knob position of the parameter value flashing segment Data graph Actual knob position 3 Turn the knob one way or the other to edit the value of the parameter Turning the knob to the right increases the value and turning itto the left decreases the value The knob data graph provides a visual reference of the current knob position as you turn the knob Leftward positions are indicated by a shorter horizontal bar and rightward positions are indicated by a longer bar Decay POLY aa u IN soc Length of graph indicates current knob position 14139 You can omit step 2 and edit the parameter directly by turning the Knob Edit information will display in the LCD accordingly Simply turning a knob will increase or decrease the parameter value in coarse values large amounts and will cancel the flashing indicator Turning a knob while pressing it will increase or decrease the parameter value in fine values small amounts and will position the flashing indicator which will remain flashing when you subsequently release the Knob The
120. elate to the disposal of prod ucts that contain lead batteries plastics etc If your dealer is unable to assist you Please contact Yamaha directly NAME PLATE LOCATION The name Plate is located on the bottom of the product The model number serial number power requirements etc are located on this plate You should record the model number serial number and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase Model Serial No Purchase Date PLEASE KEEP THIS MANUAL 92 BP
121. ene2 both Scenes 1 and 2 Track Job Track Job parameters let you record a selected Free EG track perform track copy operations and undo redo a Free EG recording or copy operation There are three parameters including Rec Record Copy and Undo O Rec Record The Record parameter lets you determine how a Free EG record operation of knob movement data will be executed 14139 After recording a track the next highest numbered track will automatically be selected for recording Settings REC OFF Free EG is not recording REC STBY Trk Standby situation for the selected track The Free EG is ready to record based on the Trigger setting REC STBY All Standby situation for recording on all four tracks at the same time a different parameter for each The Free EG is ready to record based on the Trigger setting Free EG Base Position Knob positions are recorded in a Free EG track as increases positive values and decreases negative values to the base position of the knob or the position at which the knob is located when you first move it After Free EG recording if you change the knob parameter you also change the base position accordingly For example if the knob base position is set too high the Free EG data changes may occur out of the range of the assigned track parameter Therefore take care not to set the knob base position too high O Copy The Copy function lets you copy the Free EG data
122. enu see page 89 C 1 Assign determines the first accessed User Pattern number D1 plays the next highest User Pattern number above C 1 plays the next highest User Pattern number etc LAL Settings When Arp SEQ is set to Arpeggio Arp 01 30 You can select one Arpeggio pattern from the 30 available patterns For a list of available patterns see the Arpeggio Pattern List in the separate Data List book When Arp SEQ is set to Step Sequencer and KbdMode is set to sel amp norm or sel amp shift C 1 Usr001 128 You can assign the first User Pattern number to play at the C 1 key For example if you designate Usr025 then pressing C 1 will trigger User Pattern number 25 pressing D1 will trigger User Pattern number 26 pressing D 1 will trigger User Pattern number 27 and so on For more information see C 1 Assign page 40 O KbdM ode Keyboard Mode The Keyboard Mode setting designates how the Arpeggiator or Step Sequencer patterns respond to notes played on the keyboard Depending on the setting in Arp SEQ available parameters will be different chrd nor Ba M I Doug ARP Settings When Arp SEQ is set to Arpeggio chrd Chord Arpeggiated chords can be played across the entire keyboard chrd amp norm Chord amp Normal Arpeggiated chords can be played by keys to the left of the current Split Point see page 77 and you can play normally to the right SPLIT POINT M i P
123. epend on the current SYNC status on off Settings When SYNC off saw pulse saw2 mix When SYNC on saw pulse Innrl Innr2 Innr3 1101139 The difference between saw pulse Sync on and Sync off is only a slight nuance in sound which becomes especially distinctive when the Pulse Width see page 62 is set to a value other than 64 saw Sawtooth The saw Sawtooth wave derives its name from its shape and is used to create a trumpet or violin sound Since it contains all harmonics in the spectrum it produces a full rich sound W hen used with the Pulse W idth function see page 62 increasing the even harmonics can raise the pitch to a maximum of a full octave YW PW below 64 pulse Square The pulse Square wave is used to make woodwind clarinet type sounds Its spectrum is similar to a sawtooth wave but since every second even numbered harmonic is missing the waveform contains only odd numbered harmonics when Pulse W idth see page 62 is set to 64 61 saw2 Sawtooth2 The spectrum of the saw2 wave is created by a sawtooth wave combined with a pulse wave and therefore is slightly different than the saw1 wave W hen the Pulse W idth see page 62 Is set to 64 the shape of the wave is the same as Sawl Even if you increase the even numbered harmonics by the Pulse W idth the basic pitch remains the same Yt PW below 64 mix The mix wave is formed by a combination of saw and pul
124. er is off When the backup battery needs replacing the message Battery Low will display in the LCD When this happens immediately back up your data using an external device such as the floppy disk based Yamaha MIDI Data Filer MDF2 then have qualified Yamaha service personnel replace the backup battery Do not attempt to replace the backup battery yourself in order to prevent the possible serious hazards Always have qualified Yamaha service personnel replace the backup battery Never place the backup battery in a location that a child can reach since a child might accidentally swallow the battery If this should happen consult a physician immediately E SAVING USER DATA e Save all data to an external device such as the Yamaha MIDI Data Filer MDF2 in order to help prevent the loss of important data due to a malfunction or user operating error Yamaha cannot be held responsible for damage caused by improper use or modifications to the instrument or data that is lost or destroyed Always turn the power off when the instrument is not in use The LCD screens and diagrams in this owner s manual are for instructional purposes only and may be different from the ones on your instrument CA Congratulations And thank you for choosing Yamaha You are now the proud owner of the AN1x Control Synthesizer a fully professional digital keyboard with powerful sound and versatile real time control features The AN1x is a modern
125. ern from any key with C2 as the base pitch of the programmed pattern Base pitch SPLIT POINT Normal play Shifts pattern sel amp norm Select amp Normal Playing a key to the left of the Split Point will trigger select a specific User Pattern based on C 1 Assign setting C1 will trigger the Voice Pattern for the current voice and playing keys to the right of the Split Point will play notes normally without affecting the sequence Each User Pattern will play at its programmed pitch If you set the Split Point to a very high setting above C6 for example you can select a different pattern from any key User Bank User Patterns 128 Y Y Y Y Y Y Y Y Y Y Y Y Y Y SPLIT POINT CADA o rs ees passen oo KE SCH e SSES 5 oo EAS be oo OCH CJ OA Wes CO OCH Normal play me o User Patterns Voice Pattern sel amp shift Select amp Shift Playing a key to the left of the Split Point will trigger select a specific User Pattern based on C 1 Assign setting C1 will trigger the Voice Pattern for the current voice and playing keys to the right of the Split Point will shift the pitch of the selected pattern accordingly C4 always determines the base pitch of the selected pattern For example if the Split Point is set to C3 then C1 plays the Voice Pattern for the select
126. ers including MO DULATION wheel RIBBO N controller X or Z axis the eight assignable CONTROL knobs a connected FOOT CONTROLLER keyboard After Touch and more including M IDI Control Change messages received at the MIDI IN terminal The AN 1x s Control M atrix and UTILITY SETUP Control Assign function work together flexibly to give you complete authority over which on board or external controller controls which individual internal or external parameter For more information see as follows Control Features page 49 Control Matrix pages 51 73 Utility Control Assign pages 50 95 rw System Examples There are many ways to incorporate the AN1x into a simple or expanded music system Following are a few of the most common examples The AN1x By Itself At the simplest level all you need to do is connect stereo headphones to the PHONES jack located on the rear panel and you re ready to go To use the AN 1x as a stand alone performance instrument simply connect it to amplified speakers and optional FC Foot Controller and Footswitch pedals as shown in the diagram at right Setting Up Your AN1x The AN 1x Control Synthesizer is an ideal stand alone performance based electronic musical instrument as well as a powerful component in an expanded MIDI music system Following are instructions for proper setup of the AN 1x and connection to external devices 1 After carefully taking your new AN1x
127. es or play one Scene to the left of the Split Point while you play the other Scene normally to the right You can choose from various types of arpeggio patterns including Up Down and Up amp Down across one or more octaves plus various special patterns including Techno House Random and more The arpeggio pattern data can be output via MIDI on its own MIDI channel Easy play edit Step Sequencer with 128 Voice Patterns and 128 User Patterns The Step Sequencer permits quick easy creation of highly sophisticated looped patterns which can be triggered from the keyboard in a variety of ways Each individual step event Note Velocity Gate Time and Control Change can be accessed and edited by a specific CONTROL knob over a maximum of 16 steps There are a variety of handy Step Sequencer edit and play options including Play Effects which give you detailed control over the feel of your sequence Pattern event data can be output via MIDI on its own MIDI channel 4 track Free EG records and plays real time changes of knob positions for up to four different parameters The 4 track Free EG lets you record real time CONTROL knob movements in order to hand draw filter resonance LFO and many other available parameters over time and have them play back automatically by simply playing a voice You can control up to four different parameters independently each recorded into its own Free EG track Ideal for those times
128. es and more see page 101 Tone Generator and Panel Parameter Editing By editing the tone generator parameters you can determine the fundamental characteristics of the voice These are accessed by pressing a KNOB PARAMETER GROUP switch and turning specific CO N TROL knobs There are four key steps in the process of editing the tone generator parameters as follows 1 VCO edit to select the fundamental waveform and determine the pitch 2 VCF edit to apply filtering and determine the tone or timbre 3 VCA edit to apply amplification to the voice 4 LFO edit to apply modulation to the VCO VCF and VCA 1111139 Tone generator parameter editing affects the selected Scene loaded in the Scene edit buffer or the Scene Control sound in the Scene Control buffer For details see page 20 By editing the various panel Edit menu parameters you can determine a voice s keyboard and Scene related modes configure effect types and settings record Free EG tracks create and assign Step Sequencer patterns or configure the Arpeggiator For details see page 71 1111139 Certain panel parameters apply to individual Scenes or both Scenes equally for the voice For details about each menu and available parameters see page 72 1 VCO Edit Pressing the VCO 1 KNOB PARAMETER GRO UP Switch gives you access to the main voltage controlled oscillator parameters which let you select the basic waveform and determine the fundamental pitch of the
129. fect Turning the knob to the right widens the range of the pitch change N egative value settings reverse the phase of the LFO 1 by 180 degrees Prod berth DUAL IN Settings 127 127 VCO2 W hen KNOB PARAMETER GRO UP switch VCO 2 is selected the eight CON TROL knobs will access specific Voltage Controlled Oscillator 2 related parameters including wave selection pitch specification and wave control LSD For more information about VCO2 see pages 10 30 Wave The W ave setting determines the VCO 2 wave when the SYNC see page 59 is turned off DUAL Settings saw pulse saw2 mix LUIS Available waves are the same as for VCO1 For a description see page 61 Pitch Fine Edge PW PWMDepth PWM Src PmodDepth All parameter descriptions are the same as for VCO 1 see page 61 VCF W hen KNOB PARAMETER GRO UP switch VCF is selected the eight CON TROL knobs will access specific Voltage Controlled Filterrelated parameters The VCF is a filter which permits a specific range of frequencies to pass while cutting off the rest thus giving you considerable control over many aspects of the timbre Available parameters include cutoff frequency range of the VCF and range of the resonance The VCF can also be controlled by the attack time decay time sustain level and release time of the FEG Filter Envelope Generator which lets you shape how the timbre of the voice changes over time fro
130. ffect i e a lighter touch increases the dynamic range and a heavier touch decreases it A setting of 0 creates no change in dynamic range by playing strength Settings 64 0 63 MIX VCF mixer VCF W hen KNOB PARAMETER GRO UP switch M IX VCF is selected the eight CON TROL knobs will access specific Mixer and Voltage Controlled Filter related parameters including VCO 1 and VCO 2 signal level N oise and Ring Modulator levels VCF Type and HPF High Pass Filter and Key Track settings and depth of frequency modulation LSD For more information about the VCF see page 31 VCO1 Level The VCO 1 Level setting determines the balance of the VCO 1 level in relation to the VCO 2 Ring M odulator N oise and VCA Feedback levels Turning the knob to the right increases the VCO 1 Level W hen using the VCO 2 only set this value to 0 NCO1 Level 26 DUAL MNI Settings 0 127 VCO2 Level The VCO 2 Level setting determines the balance of the VCO 2 level in relation to the VCO 1 Ring M odulator N oise and VCA Feedback levels Turning the knob to the right increases the VCO 2 Level W hen using the VCO1 only set this value to 0 Settings 0 127 Ring Mod Ring Modulator Level The Ring Modulator setting controls the balance of the Ring Modulator level in relation to the VCO 1 VCO2 N oise and VCA Feedback levels Turning the knob to the right increases the Ring Modulato
131. gnated as available for recording When you start recording the Free EG the currently selected Scene will be automatically assigned to the Scene Switch for the selected track and the parameter of the first Knob you move will be assigned to track Parameter 1 e that parameter will be recorded in the track This is convenient for initiating a Free EG recording immediately without making all settings beforehand 111119 When Scene Control is activated setting the Free EG to Record Standby mode automatically selects Scene 1 4 Recording automatically stops when the end of the set Length is reached VOICE ARPEGGIO SEQ This menu includes common and specific parameters related to the Arpeggiator and Step Sequencer Arpeggiator and Step Sequencer parameter settings are voice data saved in each voice The Arpeggiator lets you play arpeggiated chord patterns atthe press of a key There are 30 Arpeggiator patterns to choose from for each voice and Arpeggio Subdivide plus Play Effect parameters give you a wide range of control and customization over the arpeggio pattern The Step Sequencer lets you create your own 16 step arpeggiated patterns by assigning note velocity and other events to each step beat in the looped sequence You can create a Voice Pattern for each voice as well as create and store a total of 128 User Patterns You can trigger the patterns from the keyboard in a variety of ways 1111139 Step Sequencer record
132. gram below shows an example of how they can be set to different channels to control two different external tone generators Rev Ch2 Rev Chi UULS For information about setting the MIDI Pattern Transmit Channel MIDI PtnTxCh see page 87 1101139 The MIDI PtnTxCh setting is a system parameter and will not be saved as voice data Using The Step Sequencer The Step Sequencer lets you create your own 16 step looped patterns by setting Note Velocity Gate Time and Control Change event values for each step beat in the sequence using the CONTROL knobs where each knob gives you access to the events in a specific step when the EDIT ROTARY switch is set to the SEQ EDIT SETUP menu Each of the 128 voices has its own Voice Pattern memory for storing a single sequence There is also a separate bank of 128 User Patterns Patterns can be triggered from the keyboard in a variety of ways de SEERRITE The specific Step Sequencerrelated parameters are available in the SEQ EDIT SETUP menu Also Pattern Number Keyboard Mode Hold Scene Switch and Play Effect parameters in the VOICE ARPEGGIO SEQ menu have special functions related to the Step Sequencer O ther settings which will have a bearing on your sequences include Tempo and Poly mode settings and depending on Layer mode the Split Point assignment as well EN SEQ EME SR 10139 For information about each SEQ EDIT SETUP menu parameter
133. gth or how fast you strike the keys Turning the knob to the right positive values results in a higher sensitivity requiring greater playing strength to increase amplitude Turning it to the left negative values requires a lighter touch to increase amplitude A value setting of 0 maintains the same amplitude regardless of playing strength Settings 64 0 63 ASSIGN W hen KNOB PARAMETER GRO UP switch ASSIGN is selected each of the eight CON TROL knobs can be used as an individual controller for specified Control Change parameters which can be freely assigned Assign 1 8 As MIDI controllers knob movements output control data from the MIDI O UT terminal Turning each knob to the right increases the value setting for the assigned parameter Turning it to the left decreases the value setting Settings 0 127 LD A Control Change parameter can be assigned to each CONTROL knob using the Control Device and Control Number parameters located in the UTILITY SETUP menu For details see page 95 YI You can assign Tempo and Data Entry to be controlled directly by the CONTROL knobs IES You can confirm the parameter name by pressing the knob s push switch Panel Parameter Edit The AN1x s matrix of panel Edit parameters gives you quick and easy access to voice Scene Free EG Arpeggiator Step Sequencer and System parameters All voice related parameters can be stored as voice data in each of the 128 user
134. han one set If you attempt to lower numbered sets will take priority and will appear in the LCD for higher numbered sets When you select RIBBON controller A RbX as the Source controller and Pitch Up Pitch Down as the Parameter the RIBBON controller value will be reset to the center position when you release your finger from the RIBBON The sets with different Parameters other than Pitch Up Pitch Down keep the position at which you release your finger O Depth The Depth setting determines the control range of the Source controller FEG Derth HS e Du ARP Settings Depending on the selected Parameter the available settings may be different For details see the table of Control M atrix parameters in the separate Data List book Direct Control Function W hen Depth Dirct is selected 0 setting the Direct Control function is activated and you can directly edit the parameter assigned to the controller within its original range Relationship Between Control Matrix And Utility Control Assign Function There are two types of Control Change assignment functions the Control M atrix and the Utility Control Assign function Between the Control M atrix and Utility Control Assign function see page 95 you can configure a sophisticated controller setup to control specific parameters of the internal tone generator and an external tone generator at the same time by the eight CON TROL knob
135. hange to the filter cutoff frequency to create a wah effect Turning the knob to the right widens the range of the cutoff frequency change N egative value settings reverse the phase of the LFO 1 by 180 degrees Frod berth a POLY DUAL Settings 64 63 Key Track The Key Track setting determines the key tracking of the VCF raising or lowering the cutoff frequency point in accordance with the notes played on the keyboard W hen Key Track is applied the cutoff range shifts accordingly at every note with C3 as the base Turning the knob to the right positive values will cause higher notes to have a higher cutoff point Turning it to the left negative values causes higher notes to have a lower cutoff frequency A value setting of 0 will apply no key tracking Key Track POLY H DUAL H Key Track Guloft Lower Upper Keyboard Keyboard C3 Key Track Cutoff Lower Upper Keyboard Keyboard C3 Settings 32 63 VCA W hen KNOB PARAMETER GRO UP switch VCA is selected the eight CON TROL knobs will access specific Voltage Controlled A mplifier related parameters The VCA is an amplifier used to increase the gain of the input signal as received from the VCF which is then passed to the Effect block in the signal path Available parameters include level controls for feedback volume and keyboard velocity sensitivity as well as depth control for amplitude modulation The VCA can also b
136. he VCO 1 is always fixed as the FM carrier but the carrier can either be the master or slave oscillator depending on the selected algorithm The FM modulator can be selected from a second VCO VCO 2 the PEG FEG LFO1 LFO 2 or others The Pitch Envelope Generator PEG lets you determine how the pitch of the VCO changes over time and the LFO can be used to modulate the VCO to create vibrato For more information see as follows VCO1 page 61 VCO 2 page 63 SYN C FM page 58 PEG LFO page 54 MIX VCF The MIX VCF module is where the mixing of VCO1 VCO2 Ring Modulator N oise and Feedback signals take place which can then be filtered by the VCF High Pass Filter HPF Low Pass Filter LPF Band Pass Filter BPF and Band Eliminate Filter BEF You can determine the cutoff frequency of the VCF as well as amount of Resonance or emphasis around the frequency cutoff point The Filter Envelope Generator FEG lets you determine how the timbre of the signal changes over time and the LFO 1 can be used to modulate the VCF to create wah For more information see as follows M IX VCF page 66 VCF page 64 HPF page 67 AN1x Tone Generator Block Diagram E LPF HPF BPF BEF page 67 FEG page 31 PEG LFO page 54 RING MODULATOR page 66 NOISE page 66 VCA The VCA module is where the overall output level of the signal gets determined as well as the Feedback le
137. he new data and the original data Free EG Recording Procedure 1 Press the Rec UP DOWN switch and enter Record Standby Track or All mode Rec gt tndby Trk 1 e Rec Strnda All ow 84 1111139 In Record Standby mode Length and Track Number parameters are available but others cannot be accessed Also MIDI control will be ineffective LIS In Record Standby mode or during recording you can stop the record operation by turning the EDIT ROTARY switch and return to the REC OFF status ALD If you want to record in the selected track choose REC STBY Tk If you want to record in all four tracks choose REC STBY All 2 Change the Free EG Length see page 82 or select a Track Number for the selected Parameter see page 83 W hen the Length parameter is set to bar the length is determined by the Tempo setting and a click will sound in quarter note beats to use as a timing guide 3 When you press a key on the keyboard recording will begin so you can start moving the knob or knobs as desired 1101139 Recording time is visually displayed by the horizontal data graph in the LCD 1101139 When the KNOB PARAMETER GROUP ASSIGN switch is selected knob movements will not be recorded in the track In step 1 above if REC STBY Trk is selected the knob most recently moved is already designated as available for recording If REC STBY All is selected the four most recently moved knobs are already desi
138. he product 2 IMPORTANT When connecting this product to accessories and or another product use only high quality shielded cables Cable s supplied with this product MUST be used Follow all installation instructions Failure to follow instructions could void your FCC authorization to use this product in the USA 3 NOTE This product has been tested and found to comply with the requirements listed in FCC Regulations Part 15 for Class B digital devices Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices This equipment generates uses radio frequencies and if not installed and used according to the instructions found in the user s manual may cause interference harmful to the operation of other electronic devices Compliance with FCC regulations does not guarantee that interference will not occur in all installations If this 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
139. ice Categories Voices can be organized into Category types and assigned a two letter Category code during the voice Name operation For a list of the available Category types see page 81 Scenes Each voice has two Scenes or two distinct sounds available for instant recall at the press of a SCEN E Switch Since the specific Scene on off status is stored as voice data when you select a voice an LED beside one of the SCEN E switches will light to indicate which Scene is active If both Scene LEDs light the Scene Control on status has been stored as part of the voice which means you can morph or cross fade between Scenes using the assignable MO DULATIO N wheel or any other assigned continuous controller as you play For more information about Scenes see page 19 Knob position settings 2 O CTRL O tion settings 1 ecay f Sync PEG Depth Ge PEG Sw ome Pitch Port Time itch Fine Edge Voice Name Display As you edit a voice by turning the knobs or changing parameters in the Edit menu the information in the screen changes accordingly To display the voice name and number in the LCD at any time press or once Press once NO YES ENTER Indicates a voice has been edited gt Galli but not stored Voice Recall If you re editing a voice and inadvertently select another voice before performing a Voice Store Operation or simply change your mind you can recall the most recently edited
140. ign Modulation Wheel For controlling with the Modulation W heel and or by incoming MIDI messages with the same Control Change number as assigned to the MW A FV Assign Foot Volume For controlling with a connected Foot Volume controller and or by incoming MIDI messages with the same Control Change number as assigned to the FV A FC Assign Foot Control For controlling with a connected foot controller and or by incoming MIDI messages with the same Control Change number as assigned to the FC A FS Assign Footswitch For controlling with a connected Footswitch and or by incoming MIDI messages with the same Control Change number as assigned to the FS A RbX Assign Ribbon Controller X For controlling with the Ribbon controller X axis left and right and or by incoming MIDI messages with the same Control Change number as assigned to the RbX A RbZ Assign Ribbon Controller Z For controlling with the Ribbon controller Z axis push and or by incoming MIDI messages with the same Control Change number as assigned to the RbZ Kn1 8 Knob 1 8 For controlling with a specified CONTROL knob when KNOB PARAMETER GRO UP ASSIGN is on 1111139 Depending on selected Parameter the available Source for assignment may be different For details of available parameters see the table of Control Matnx parameters in the separate Data List book e 111139 You cannot assign the same Source controller and Parameter to more t
141. 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 your 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 CA 90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries ADVARSEL NEDERLAND Lithiumbatteri Eksplosionsfare ved fejiatig handtering Udskiftning ma kun ske med batteri af samme fabrikat og type NETHERLAND EeePC ei Dg IO GANEN MOARGEN JEVEraNGOrEN O Dit apparaat bevat een lithium batterij voor geheugen back up VARNING O This apparatus contains a lithium battery for memory back up Explosionsfara vid felaktigt batteribyte Anvand samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren Kassera anvant batteri enligt fabrikantens instruktion O Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing Yamaha Music Nederland Service Afdeiing Kanaalweg 18 G 3526 KL UTRECHT Tel 030 2828425 For the removal of the battery at the moment of the disposal at the end of the service life please consult your retailer or Yamaha Service Center as follows Yamah
142. in professional recording studios and its myriad sounds started gracing the ears of millions through popular recordings in literally all genres of music Then came the 1980s and the introduction of wildly popular affordable forthe masses greatsounding and easy to use digital synths like the famous Yamaha DX7 W hat followed was the MIDI revolution which drove the rapid development of ever more sophisticated multi timbral digital synthesizers and tone generators along with the overwhelming acceptance of digital sampling which has literally changed the way we create and listen to music And all of which have gone hand in hand with the desktop music revolution M ost recently there has been the introduction of breakthrough physical modeling synthesis technology which has been successfully applied to the accurate reproduction of acoustic instrument sounds through purely electronic means as well as the creation of new hybridtype acoustic oriented sounds ce Enter Analog Physical Modeling The classic analog synth never fell out of favor with the world s most innovative musicians That s because it has a special punch power plus important elements of interactivity that digital synths and samplers have tended to lack by comparison And now with the demand for that classic analog sound due to the global popularity of techno trance and other modern forms of dance music it s hardly Surprising that Yamaha a company c
143. information about the Step Sequencer see page 37 Using The Panel Edit Matrix The AN1x s panel matrix of Edit menus gives you quick and easy access to hundreds of parameter settings All you have to do is set the EDIT ROTARY switch to one of the six menus and press the parameter value UP DOWN switch located beneath the name of the parameter you want to edit Select a menu 1 6 Mode Jj Poly Port nison VOICE e SCENE SETUP VOICE Char COMMON ass ursor Track J ob VOICE Rec Copy Undo FREE EG eggio ER VOICE Cc r rl e No ode o cene ubdivide in Velocity f GateTime ARPEGGIO SEQ L Knob Pattern SEQ SEQ Event 1 8 9 16 f Step Hold Bank o i en 00 e rl No Store EDIT SETUP e i o oca rl UTILITY evice Ctrl No SETUP S Press this area to increment settings hold to scroll Press this area to decrement settings hold to scroll Press once to display information in LCD Press the UP DO W N switch once to display the name of the parameter and current value setting in the LCD Press the upper or lower area of the switch repeatedly to increment or decrement through the settings or hold the upper or lower area of the switch to scroll through the settings EN Mode rl Matrix ayer i VOICE Poly Port ara ource an Separate etune SCENE SETUP VOICE Char COMMON VOICE Undo FREE EG VOICE E Q e rl No Ctrl UTILITY Device Ctrl No SETUP Utility Menu Step Sequencer Menu
144. ing it to the right raises the pitch W hen the knob is set to center position basic pitch the pitch will not change Settings 64 0 basic pitch 63 IL See the PEG Decay graphs at left for an illustration of the relationship between PEG Depth and PEG Decay PEG SW PEG switch The PEG Switch setting determines which VCO the PEG is applied to VCO1 VCO2 or both VCO1 and VCO 2 Applying the PEG to the VCO1 or VCO2 can simulate the delicate pitch change of a wind instrument PEG Sw both POLY ine WI a Settings VCO 1 VCO2 both Port Time Portamento Time Portamento is an effect commonly used in singing or when playing a bowed instrument where the sound is carried in a continuous glide from one note or more to the next through all the intermediate pitches The Portamento Time setting determines the time it takes for the pitch to reach the subsequent note played Lower values result in a faster pitch change and higher values result in a slower pitch change Settings 0 127 1141139 For more information about Portamento see page 24 1111139 When the Portamento is turned off by the PORTAMENTO switch will flash in the LCD to indicate that the portamento function is not available for confirmation LFO1 Wave The LFO 1 W ave setting determines the type of wave for LFO 1 The wave set here determines the characteristics of the modulation applied to the VCO vibrato VCF wah and VCA
145. ison VOICE etune_ SCENE SETUP ayer Uni Para ource an eparate u Dly Rev EF EF Name VOICE e Param Data Bypass Cursor Char COMMON ICE cene MIDI r i a Ptn Tx Ch J Subdivide wing ni en VOIC Undo FREE EG VOICE SEQ SEQ o Store EDIT SETUP rl UTILITY evice Ctrl No SETUP Stored as System data Stored in each voice Stored in Scenes VOICE SCENE SETUP This menu includes M ode Control M atrix and Layer parameters which can be set and stored as voice data Mode and Control M atrix parameters can be stored as Scene data for each voice VOICE Mode Poly Port LFO Rst Set N ne j SCENE SETUP AAA ADOS A Scene memory is simply a snapshot of the parameters as set by the eight CONTROL knobs There are two Scene memories which you can store in each voice and easily recall by pressing the SCENE 1 or SCENE 2 switch as you play For more information about Scenes see page 19 Mode M ode settings determine the way the AN 1x s tone generator responds as you play the keyboard There are three groups of parameters including Poly mode setting Portamento characteristics and LFO Reset setting O Poly The Poly mode setting determines the polyphony or number of notes the tone generator will sound when notes are played on the keyboard or Note On messages are received at the MIDI IN terminal There are three Poly mode settings RK Settings poly You can play maximum 1
146. istics of the electric piano Press KNOB PARAMETER GRO UP switch VCO 1 then press CON TROL knob 4 once to display the Edge parameter in the LCD Turn the knob to seta value of about 50 to smooth out the sound Press KNOB PARAMETER GRO UP switch SYN C FM e Turn CONTROL knob 1 to set the Algorithm parameter to Sync FM bth which enables the sync and applies FM to both master and slave oscillators of VCO1 110139 Other settings except for only FM will also produce effective results e Turn CONTRO Lknob 2 to set the Sync Pitch parameter to a value of about 33 The sound will become very tinny 3 Set up the VCO2 to fill out the sound Press KN OB PARAMETER GRO UP switch VCO 2 then press CONTRO Lknob 4 once to display the Edge parameter in the LCD Turn the knob to seta value of about 50 Press KN OB PARAMETER GRO UP switch M IX VCF then press CON TROL knob 2 to display the VCO 2 Level parameter in the LCD Turn the knob to seta value of about 127 in order to hear the VCO 2 4 Fine tune the AEG and VCA velocity sensitivity Press KNOB PARAMETER GRO UP switch VCA Turn CON TROL knob 3 to set the Sustain parameter to a value of 0 Turn CON TROL knob 2 to set the Decay parameter to a value of about 83 Turn CON TROL knob 8 to set the Vel Sens Velocity Sensitivity parameter to about 30 to increase the sensitivity level 5 Fine tune the FEG Sustain and Decay
147. ix parameters are voice settings they are stored as voice data which means that each voice can have customized knob assignments for each Scene NCO1 Pi D Knob eso 1101139 For details on how to assign Control function parameters to the CONTROL knobs see page 95 For details on how to assign Control Matrix parameters to the CONTROL Knobs see page 73 LUS For a list of available parameters which can be assigned to each CONTROL knob see the separate Data List book Step Sequencer Event Edit If you set the EDIT RO TARY switch to the SEQ EDIT SETUP menu position 5 or if you select a voice when the EDIT RO TARY switch is already set there no LED will be lit beside a KNOB PARAMETER GRO UP switch and turning a CONTROL knob will edit the selected event data of the Sequencer step assigned to that knob W hen you turn a knob to edit an event the step event name and value and step number will automatically appear in the LCD and the knob data graph will track knob movements accordingly Also if you simply press a knob push switch without turning it the information will display in the LCD for confirmation Pressing a KNOB PARAMETER GRO UP switch will activate its group of tone generator parameters its LED will light and pressing the same switch again will return to Step Sequencer edit status Setting the EDIT RO TARY switch to another position will also disengage Step Sequencer edit 1101139 For more
148. just LFO 1 Speed and CONTROL knob 7 lets you determine the LFO 1 Delay time of the modulation CON TROL knob 8 lets you adjust the LFO 2 Speed for the LFO 2 wave which is fixed to a triangle wave 11139 For more information about LFO parameters see page 54 Storing A Voice As you edit your voice depending on whether you re working on Scene 1 Scene 2 or the Scene Control sound you may want to perform Voice Store operations Store Operations The STORE switch is used for performing Voice Store operations DEMO PORTAMENTO LAYER STORE ARPEGGIO SEQ For information about performing a Voice Store operation see page 98 1101139 For information about types of data stored in a voice see page 9 1101139 For information about Scene related Store functions see page 21 For information about SEQ Store see page 46 Turning ARPEGGIO SEQ On And Off The ARPEGGIO SEQ switch is used to turn the Arpeggiator or Step Sequencer on and off Either ARP or SEQ will appear in the LCD to indicate which one is active for the voice determined by the Common Arp SEQ setting in the VOICE ARPEGGIO SEQ menu DEMO PORTAMENTO LAYER STORE ARPEGGIO SEQ 1101139 For information about the Arpeggiator see page 33 For information about the Step Sequencer see page 37 For information about the Arp SEQ setting see page 85 Using The Arpeggiator The Arpeggiator lets you play arpeggiated chord pa
149. knob movements of another track in the current voice to the currently selected track or copy the data of any track in any voice to the currently selected track of the Current voice Settings Trk 1 Trk 4 Voice 1 128 Trk 1 Trk 4 Copy Procedure 1 Press Track No UP DOWN to select the track to which you want to copy Free EG data to destination 2 Press Copy UP DOWN to select the track from which you want to copy Free EG data source The Copy operation is completed W hen the Cpy fm Copy from page is displayed in the LCD you can press Copy UP DOW N to select a track from either the current voice or from another voice As you select a track you can play the keyboard to hear how the new Free EG data affects the voice W hen the new track number is selected step 2 the copy Operation is completed 1111139 There is no specific copy confirmation function but you can retrieve the original track Free EG data using the Undo function 110119 Remember that Free EG data consists of knob movement data and not actual parameter values This means that the parameter controlled can be anything you set for the Track Number using the Param setting O Undo The Undo function lets you undo as well as redo the most previous Free EG copy or record operation CeallndaoL POLY After a copy or record operation simply press Undo Redo UP DOWN to toggle back and forth between t
150. l voice normally when you play to the right of the Split Point Layer mode SPLIT O If scnel is selected and KbdM ode is set to chrd you can play arpeggios with Scene 1 to the left of the Split Point and arpeggios with Scene 1 and normal chords with Scene 2 to the right If scne2 is selected and KbdM ode is set to chrd you can play arpeggios with Scene 2 and normal chords with Scene 1 to the left of the Split Point and arpeggios with Scene 2 to the right O If scnel is selected and KbdM ode is set to chrd amp norm you can play arpeggios with Scene 1 to the left of the Split Point and play normally with Scene 2 to the right ER Scene 1 only O If scne2 is selected and KbdM ode is set to chrd amp norm you can play arpeggios with Scene 2 and normal chords with Scene 1 to the left of the Split Point and play normally with Scene 2 to the right Layer mode SINGLE O lfKbdMode is set to chrd you can play arpeggios with the selected SCEN E switch only or Scene Control sound across the entire keyboard O If KodMode is set to chrd amp norm you can play arpeggios with the sound of the selected SCEN E switch only or Scene Control sound to the left of the Split Point and normal chords with the sound of the selected SCEN E switch only or Scene Control sound to the right both W hen the Scene Switch is set to both both
151. lays arpeggios Normal play When Arp SEQ is set to Step Sequencer norm Normal For triggering the Voice Pattern of the currently selected voice at its base pitch from any key on the keyboard and playing the voice normally across the keyboard If Hold is set to off then the pattern will start each time you press a key shift amp norm Shift amp Normal Playing a key to the left of the Split Point will shift the pitch of the pattern accordingly and playing keys to the right of the Split Point will play notes normally without affecting the sequence For example if the Split Point is set to C3 then you can shift the pitch of the sequencer pattern with C1 B2 with C2 as the base pitch and play normal notes to the right For more information about the Split Point see page 77 SPLIT POINT Y Shifts Pattern pitch mm 4 Shifts low Shifts high Normal play Base pitch C2 sel amp norm Select amp Normal Playing a key to the left of the Split Point will trigger select a specific User Pattern and playing keys to the right of the Split Point will play notes normally without affecting the sequence For example if the Split Point is set to C3 then C1 plays the Voice Pattern for the selected voice and 23 different User Patterns can be selected by playing keys C 1 B2 For more information about the Split Point see page 77 a I l UM Il i User Pattern SPLIT POINT Normal pla
152. le knobs for controlling every nuance of the sound and even an on board Arpeggiator and Step Sequencer for generating pattern loops at the press of a key W hats much more however is that the AN 1x Incorporates features that vintage synths could only dream about like three on board programmable digital multi effects units and a 3 band stereo EQ a multiple controllerto para meter assignment architecture a 4track Free EG for hand drawing real time knob position movements of up to four different tone generator parameters plus realtime morphing between two different sounds and more all of which can be customized for each of the 128 voices and stored as individual voice data The History W hy is the analog sound so popular in a digital age W hatlong and winding road had to be traveled just to end up right back where we started from Let s take a quick look athow we got from there to here and where here really is anyway Electronic music synthesis has been around in one form or another since the beginning of the 20th Century But it wasn t until the early 1970s that developments in voltage controlled synthesis technology made the concept practical and affordable As such the voltage controlled synthesizer became less and less an experimental curiosity in the world s great universities and sound labs and more and more a valid and revolutionary musical instrument in its own right It quickly became a staple
153. lk flows through the key blocks or components of the AN 1x s tone generation architecture which is helpful when manipulating the various parameters during voice editing or real time sound control Keyboard The 61 key touch sensitive keyboard features Initial velocity and After Touch pressure control PROGRAM CHANGE keypad The PROGRAM CHANGE keypad is primarily PORTAMENTO switch ARPEGGIO SEQ switch For turning the portamento function on and off For turning the Arpeggiator or Step Sequencer used for selecting a voice or confirming the on and off currently selected voice name and number LAYER switch O ther functions include selecting letters when For selecting one of the six Layer modes DEMO naming a User voice and confirming YES or Pressing PO RTA M EN TO and LAYER canceling UN O specific store and other STORE switch simultaneously lets you access the operations For initiating Store operations Demonstration songs FOOTSWITCH jack DC IN terminal An optional Yamaha FC4 or FC5 Footswitch connected to the FO O TSW ITCH jack can be Connect the supplied Yamaha PA 3B Power Adaptor to the DC IN terminal used to control hold on off Portamento on off and other discrete controllers CAUTION Do not attempt to use an AC adaptor other than the Yamaha PA 3B or equivalent since the use of an incompatible adaptor may cause irreparable damage to FOOT CON
154. ll become the new Voice Pattern for the voice Pattern Select Play During Pattern Select Play you can trigger more than one Step Sequencer pattern from the keyboard Each pattern is assigned to a different key For Pattern Select Play the Keyboard Mode parameter VO ICE ARPEGGIO SEQ menu must be set to either sel amp norm or sel amp shift As the Pattern Play Select diagram illustrates when you select a voice with the PROGRAM CHANGE keypad Voice Pattern data is loaded into the Voice Pattern edit buffer and all 128 User Patterns are loaded into the User Pattern Edit buffer PATTERN SELECT PLAY Voice Bank User Bank Voice Pattern User Pattern Edit Buffer Edit Buffer 128 SPLIT POINT CH to Split Point C1 Pressing different keys on the keyboard will select different patterns and C1 will always play the Voice Pattern for the current voice C 1 and above will select and trigger different User Patterns in ascending order across the Key Code keyboard notes up to the Split Point based on which User Pattern number is assigned to C 1 If you set the EDIT RO TARY switch to the SEQ EDIT SETUP menu and press Pattern No UP DOWN once the pattern number will appear in the LCD each time you press the corresponding key C 1 Ls ra Since the triggered Voice and User Patterns are selected and played from edit buffers you can edit any pattern at will i e you can trigger one pattern and e
155. llator in semitones available only when the Sync is on This lets you create a difference in pitch between master and slave oscillators and control the resulting harmonic interval W hen the knob is in the center position the pitch is the Same as the master oscillator Turning the knob to the right increases the interval and turning it to the left results in a softer sound Syne Pitch POLY H DUAL ARP Settings 64 0 63 IS To achieve a discernible result make sure the VCO1 Level page 66 is tumed up high enough 1111139 The Sync Pitch function is effective only when the Algorithm type is set to one besides only FM Sync Pitch Depth The Sync Pitch Depth setting determines the amount of depth of control from the Sync Pitch Source determined by the Sync Pitch Source setting below over time Turning the knob to the right increases the Depth Pitch Beth a POLY DUAL IDN a Settings 64 0 63 Sync Pitch Src sync Pitch Source The Sync Pitch Source setting determines the source which applies the modulation over time to the slave oscillator Pitch Spe fixed H AAP Settings fixed PEG FEG LFO1 LFO2 114119 When set to fixed there is no change in modulation over time Sync Pmod SW sync Pitch Modulation Switch The Sync Pitch Modulation Switch setting determines which oscillator master slave or both is modulated by the LFO1 Depth rate is determined by the VCO1
156. m when a key is pressed held then released and subsequently how long it takes for the sound to terminate HL For more information about the VCF and FEG see page 31 Attack The Attack setting determines the attack time of the FEG which is the time it takes for the signal to reach its maximum cutoff frequency level after a key Is pressed key on Turning the knob to the right produces a longer Attack time Settings 0 127 Decay The Decay setting determines the decay time of the FEG which is the time it takes for the signal to reach its sustain level from the maximum level while a key is held Turning the knob to the right produces a longer Decay time Settings 0 127 Sustain The Sustain setting determines the level of sustain of the FEG which is the fixed level of the cutoff frequency maintained as long as the key is held Turning the knob to the right increases the Sustain level Settings 0 127 Release The Release setting determines the release time of the FEG which is the time it takes for the signal to reach a level of 0 after a key is released key off Turning the knob to the right increases the Release time Settings 0 127 Cutoff frequency Time Sustain Attack Decay Release d Key on Key off VCF Cutoff The VCF Cutoff setting determines the cutoff frequency of the VCF The value set here is related to the assigned VCF Type in the MIX VCF parame
157. meters see pages 62 63 Sync Algorithm Pressing the SYN C FM KNOB PARAMETER GRO UP Switch lets you use the CON TROL knobs to access the parameters which affect the master and slave oscillators which are part of the VCO1 as well as configure how the FM Frequency Modulation signal is applied to the master and or slave oscillators W hen the sync is enabled VCO 1 literally becomes two oscillators in one with the slave synced to the master By turning CON TROL knob 1 you can configure the sync Algorithm which either turns off the sync and makes only the FM signal available or lets you apply the FM signal to either master or slave or both oscillators CON TROL knob 2 lets you access the Sync Pitch parameter to create a difference in pitch between the master and slave oscillators and control the resulting harmonic interval O ther parameters available let you apply modulation to the VCO 1 oscillators with the LFO 1 and other waves UV For details about the SYNC FM parameters see page 58 PEG Pressing the PEG LFO KNOB PARAMETER GRO UP Switch let you use the CON TROL knobs to access parameters which control the Pitch Envelope Generator PEG which determines how the pitch of a voice changes over time from when a key is pressed held then release and how long it takes for the sound to terminate CONTROL knob 2 lets you set the PEG Depth or pitch in semitones CON TROL knob 1 lets you adjust the PEG Decay o
158. mp norm Voice Pattern data for the voice is loaded Subsequently you can select a Voice Pattern bank or number or User Pattern bank or number and then edit the pattern User Bank User Patterns 128 1 Y Y Y Y Y Y Y Y Y Y Y Y Voice Bank Voice Patterns 128 4 Y Y Y Y Y Y Y Y Y Y Y Y Y 7 Y Y a a Voice Pattern Edit Buffer W hen you select a voice which has the Common KbdM ode parameter set to sel amp norm or sel amp shift the Voice Pattern data for the voice is loaded Subsequently pressing a key to the left of the Split Point loads the pattern assigned to that note number and then you can edit the pattern User Bank Voice Bank Voice Pattern Edit Buffer 7 Y Y Y Y Y Y Y Y Y Y User Pattern Edit Buffer 128 Keyboard O Base Unit The Base Unit parameter designates the timing resolution for the sequence pattern This together with the current Tempo setting see page 77 determines the interval between steps Settings 3 8 1 4 3 16 1 6 1 8 3 32 8 1 12 DI 1 16 1 24 EI 1 32 8 O Length The Length parameter setting determines the length of the sequence pattern based on number of steps O ne step is equivalent to one note so based on the Base Unit setting see above you can also select odd numbered steps to create odd numbered beats such as setting the Length to 3 for 3 4 ime or to 5 for 5 4 time
159. n Press CON TROL knob 3 to display the Sustain parameter in the LCD Turn the knob to set a value near 0 which will get rid of the flabbiness of the sound Beef up the volume Press KNOB PARAMETER GRO UP switch VCA then press CON TROL knob 6 once to display the Volume parameter in the LCD Turn the knob to set a value near 110 to increase the overall level of the sound 101 Next let s tweak a few parameters to add extra depth and dimension to the sound 6 Fine adjust the sensitivity filter and FEG Press KN OB PARAMETER GRO UP switch VCF then press CON TROL knob 8 once to display the Vel Sens Velocity Sensitivity parameter in the LCD Turn the knob to seta value of about 30 to increase the sensitivity applied to the VCF with playing strength N ext use CONTROL knob 5 to further adjust the VCF Cutoff Use knob 7 to set the FEG Depth to your liking and use knob 8 to further define the Vel Sens according to your playing style 1141139 The Velocity Sensitivity setting affects the rate of change of the FEG Depth The FEG Depth setting determines the range of the change Set up the synth bass sound for legato play Set the EDIT RO TARY switch to the VOICE SCENE SETUP menu and press Poly UP DOWN J to set the Poly mode to legat legato Playing the keyboard produces only a monophonic note and you can slur the bass notes into each other Fatten up the sound with Unison play
160. n assignable Foot Controller or any other continuous controller a OUTPUT VOLUME knob This knob controls the AN 1x s overall volume level output from the PHONES and OUTPUT jacks Turn the VO LUME between left most minimum and right most maximum positions to set the proper listening level whether using headphones or amplified speakers FOOT _ FOOT _ PO VOLUME CONTROLLER SWI h Syne Pitc Depth ustain PEG LFO RIBBON controller fou The assignable RIBBON controller gives you horizontal slide X and pressure Z control of FS eg gt gt designated controllable parameters as you play including filter cutoff resonance LFO panpot reverb and more PITCH wheel The PITCH wheel lets you bend the pitch up or down as you play Itis spring loaded to automatically return to center position when you let go of it You can use the Control M atrix to designate specific Pitch Bend parameters for the upper and lower bend ranges for each Scene MODULATION MODULATION wheel The assignable MO DULATION wheel lets you apply modulation or another designated controllable parameter as you play or morph between Scenes when the Scene Control function is active and the MO DULATION wheel is designated as the source controller CONTROL knobs with push switch knob parameters The eight assignable CON TROL Knobs ar
161. nd the sound starts Increase the release time of the sound Press CON TROL knob 4 once to display the Release parameter in the LCD Turn the knob to seta value near 60 so that the sound lingers for a short time when you release a key Next let s tweak a few parameters to add extra depth and dimension to the sound 6 Multiply the string sounds with Unison Detune Press the LAYER switch once to select the Unison mode UNISON appears accordingly in the right area of the LCD Set the EDIT RO TARY switch to the VOICE SCENE SETUP menu and press Unison Detune UP DOWN to seta value of about 12 to increase the detuning between the Unison notes 7 Apply the Chorus effect to the sound Set the EDIT RO TARY switch to the VOICE COMMON menu and press Vari EF Dry W et UP DO W N to set the balance between original and Chorus to about D lt W 10 Chorus 1 is already assigned as the current Variation Effect 8 Set the velocity sensitivity of the VCA Press KNOB PARAMETER GRO UP switch VCA then press CON TROL knob 8 to display the Vel Sens Velocity Sensitivity parameter in the LCD Turn the knob to seta value near 15 to increase the sensitivity 9 Adjust the cutoff frequency and set the velocity sensitivity of the VCF Press KNOB PARAMETER GRO UP switch VCF then press CON TROLknob 5 once to display the VCF Cutoff parameter in the LCD Turn the knob to seta value near 75
162. ne Control In DUAL And SPLIT Modes Depending on whether the Layer mode is set to DUAL or SPLIT the Scene Control will morph in different ways In DUAL mode the Scene Control will morph from the Scene 1 sound to the Scene 2 sound Layer mode DUAL Scene 2 Scene Control Edit Buffer In SPLIT mode the Scene Control will morph from the Scene 1 sound to the Scene 2 sound when the keyboard is played to the left of the Split Point only W hen the keyboard is played to the right of the Split Point only the Scene 2 sound will be played Layer mode SPLIT SPLIT POINT Scene Control Edit Buffer Scene 1 LUIS For more information about Layer modes see page 22 Confirming Controller Assigned To Scene Control You can confirm at any time which controller is assigned to perform Scene Control Simply press and hold both SCEN E Switches and the name of the currently assigned controller will display in the LCD Scene Ctrl NU 110139 For information about assigning a controller for Scene Control see page 95 Scene Store Function The Scene Store function lets you store the data in one Scene Edit buffer to the other or the data created during Scene Control to either of the Scene edit buffers 1 Hold STORE and press the SCENE 1 or SCENE 2 switch depending on which one you want to store the current Scene setting into SURE Y N flashes in the LCD Lo Scenel M THI
163. ned to control one of many types of available on board and external parameters 1101139 For more information about assigning controllers see page 49 Layer Modes And Portamento One of six Layer modes can be assigned to each voice by pressing the LAYER switch and Portamento on off status can be set by pressing the PO RTAM EN TO switch DEMO PORTAMENTO LAYER STORE ARPEGGIO SEQ 1101139 For more information about Layer modes see page 22 For more information about portamento see page 24 AN1x Quick Tour This section provides a hand s on journey through the key features you ll access regularly as you select voices tweak sounds and adjust settings for the various parameters Exploring The Factory set Voices Taking the time to systematically explore various aspects of the 128 factory set voices is an excellent way to get a thorough understanding of the AN 1x s sonic range and power It s also a natural way to quickly familiarize yourself with some of the fundamental operations you ll use during performance as well as in voice Arpeggiator Step Sequencer and Free EG creation and editing sessions Try the simple operations which follow as you select and play each preset voice and take note of what happens to the sound as you change the various settings If along the way you stumble upon a sound you want to keep simply perform a Voice Store operation see page 98 If however you mess up a sound too m
164. ns are recorded in a Free EG track as increases positive values and decreases negative values to the base position of the knob or the position at which the knob is located when you first move it After Free EG recording if you change the knob parameter you also change the base position accordingly For example if the knob base position is set too high the Free EG data changes may occur out of the range of the assigned track parameter Therefore take care not to set the knob base position too high Continuous And Discrete Controllers Continuous type controllers send a continuous stream of Control Change data between 000 or minimum and 127 Or maximum as you move them The FOOT CONTROLLER and FOOT VOLUME jacks on the AN 1x s rear panel is for use with continuous Foot Controllers such as the Yamaha FC7 The FOO TSW ITCH jack is for use with discrete on off Footswitches such as the Yamaha FC4 or FC5 These can be used to control various AN 1x functions as well as external MIDI devices Continuous parameters which can be controlled include Modulation Depth Volume Panpot Expression Pitch Control Attack Decay Release Vibrato Speed Pan Range Effect Depth Reverb Depth and much more if you make appropriate settings in the Control M atrix Continuous discrete parameters which can be controlled include Sustain Sostenuto and Soft You can use a continuous controller to send discrete mes
165. o then one Note On message will use five notes of polyphony if itis set to poly then one Note On message will use two notes of polyphony 1111139 The Unison Detune function see page 76 lets you decide the detuning for the Unison in order to fatten the sound EN DUAL This mode layers the two sounds of Scene 1 and Scene 2 i e it plays both Scenes simultaneously In this mode the AN 1x is capable of multitimbral play max 2 sounds where an external MIDI sequencer or device can play each Scene on separate MIDI channels as set by the UTILITY SETUP Rx Ch Receive Channel parameter see page 93 External sequencer Two incoming MIDI signals play each Scene independently across the entire keyboard according to Rx Ch settings Scene 1 range MIDI ch 1 Scene 2 range MIDI ch 2 1111139 To select a Scene for MIDI channel assignment simply press a SCENE switch DUAL UNISON In this mode each Dual layer plays in Unison one Note On message uses five notes of polyphony when the Poly mode is set to mono or legato If both Scenes are set to poly the result is the same as DUAL mode Multitimbral play from an external MIDI source max 2 sounds is also possible as set by the UTILITY SETUP Rx Ch Receive Channel parameter see page 93 DUAL SPLIT In this mode Scene 1 is assigned to the keys to the left of the variable Split Point see page 77 and Scene 2 is
166. o the most previous Free EG copy or record operation Cerallndo a POLY UHNFSON LUS For more information see page 84 1111139 When copying a track only track data is copied Scene status is not copied Using The Control Features The AN1x is equipped with a variety of control features that can be used while playing or editing the instrument and flexible controller assignment features which determine the parameter that will be controlled by any given controller These functions work together to give you sophisticated expressive control over the sound of both the AN 1x itself as well as any connected MIDI instruments Real time Control The AN 1x s real time controllers include all on board sound control features manipulated by hand or foot which also can output continuous Control Change data via MIDI including the eight CON TROL knobs the MO DULATION wheel the PITCH wheel the RIBBON controller with both horizontal X axis and Z axis push control and FOOT CONTROLLER FOOT VOLUME and controllers as assigned in the Utility Control Assign function Also included are the various switches such as the FO O TSW ITCH and PO RTAMEN TO and other panel Switches which output a specific discrete on off M IDI Control Change message each time they are pressed The PROGRAM CHANGE keypad outputs MIDI Program Change messages each time a voice is selected Free EG Base Position Knob positio
167. oise Level HPF VCF Type Fmod Depth Key Track ASSIGN ASSIGN 1 ASSIGN 2 ASSIGN 3 ASSIGN 4 ASSIGN 5 ASSIGN 6 ASSIGN 7 ASSIGN 8 KEYBOARD Specifications 61 Keys Initial After Touch TONE GENERATOR POLYPHONY MULTI TIMBRES EFFECT VOICE MEMORIES ARPEGGIATOR Analog Physical Modeling 2 VCOs Sync FM Ring Mod Noise 2 LFOs PEG VCF FEG VCA AEG 10 notes maximum 2 timbres maximum with polyphony of 5 5 notes Variation 14 EQ 1 Stereo 3 Band Delay 5 Reverb 8 User 128 30 Preset patterns STEP SEQUENCER Voice Pattern for each Voice plus 128 User Patterns FREE EG No of Tracks 4 Parameter tracks per voice 16 0 sec maximum per track CONTROLLERS Pitch Bend Wheel Modulation Wheel Assignable X Z Ribbon Controller Assignable Edit Rotary Switch 6 segment Control Knobs with push switch x 8 Assignable Volume Knobs PANEL SWITCHES Knob Parameter Group Select x 8 PEG LFO VCO1 VCO2 SYNC FM MIX VCF VCF VCA ASSIGN Data x 20 Layer x 1 Portamento x 1 on off Arpeg SEQ x 1 on off Store x 1 Voice Select x 2 NO YES ENTER Data Entry x 10 0 9 Scene x 2 Scenel 2 DISPLAY LCD Custom 15 Characters with LED Backlight LED Scene x 2 Red LED Knob Parameter Group Select x 8 Red CONNECTORS Head Phones L R Stereo Stereo Output L Mono R Phone x 2 Foot Controller Assignable Foot Volume Assignable Footswitch Assignable MIDI IN OUT
168. olume off The message 007 Main Volume will be transmitted using an optional controller connected to the FOOT VOLUME jack on the rear panel according to the factory set Pan Control 010 Messages which control the stereo panning position of each voice for stereo output Setting the value to 127 positions the sound to the far right and 0 positions the sound to the far left Expression Control 011 Messages which control intonation expression of each voice during performance Setting the value to 127 produces maximum volume and 0 results in volume off Sustain Switch 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 Harmonic Content Control 071 Messages which adjust the VCF resonance set for each voice 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 Release Time Control 072 Messages which directly adjust the AEG release time set for each voice Attack Time Control 073 Messages which directly adjust the AEG attack time set for each voice Brightness Control 074 Messages which directly adjust the V
169. on Effect type and data settings as well as EQ data settings for the voice There are three parameters including Param Parameter Data and Variation Effect Dry W et 111139 The signal enters the Effect block from the VCA output and passes to the Variation Effect and Equalizer in a serial connection For more information see page 11 Also see the separate Dat List book O Param Parameter The Parameter setting determines the Variation Effect type and select parameters of the selected effect as well as the EQ 4 SamPhnic UarEt ARP O Data The Data parameter lets you select the Variation Effect Setting the Equalizer type and change data values of the selected effect or 1 Press Param UP DOWN to select an EQ EQ Parameter parameter There are seven EQ parameters see the separate Data List book 9 Phaser Lowrra Hz E268 on AAP WarEF ARP Settings For information about each Parameter and available settings see the Effect Type List in the separate Data List book 2 Press Data UP DOWN to set the value of the selected parameter as desired Lowrra Hz ESA e EDIT ARP Setting the Variation Effect 1 Press the lower area of the Param UP DOWN switch to select Variation Effect li Chorus 1 WarEF a ARP 3 Repeat steps 1 and 2 above as many times as necessary to select other parameters and set their data values 1111139 For more information about the EQ parameters
170. onsistently at the very pinnacle of electronic musical instrument technology would react to that demand and create a completely new performance oriented contro synthesizer that takes the company s original breakthroughs in physical modeling synthesis and uses it to digitally model the analog sound generating components which gives voltage controlled synthesis its unique character and virtually unlimited range of sound And package it with a host of digital extras to bring the technology full circle with a completeness and utility never before possible In short the AN 1x is a logical and timely development in the evolution of electronic musical instrument history based on the modern needs and demands of the world s cutting edge musicians And once again asis often the case with creations from Yamaha music history will never be the same All the tools are in the box The rest is up to you What Is A Voice O ver the years the meaning of the term voice when applied to synthesizers has varied depending on manufacturers and models In general it means a sound which in some synths is called a patch and in others a program W ith the AN 1x a voice is a configuration of all tone generator and other parameter settings including effects setups and data for a single Voice Pattern but excluding system settings or the bank of Step Sequencer User Patterns Therefore each of the 128 voices in memor
171. ory Track Common Parameters Trigger Determines how the track playback is triggered either by pressing a key on the AN 1x s keyboard after selecting a voice free a Note On message from the keyboard or an external MIDI device kbd or by a Note On message from either the keyboard an external device the Arpeggiator or Step Sequencer all Track J ob VOICE e Sw Rec Copy Undo FREE EG NLD For more information see page 81 Loop Type Determines the type of loop for play of the Free EG sequence either to play once but not loop off to loop forward from beginning to end fwd to loop forward from middle to end half to Alternate e loop from beginning to end then end to beginning D lalt or to Half Alternate e loop from middle to end then end to middle J half Loor Ture halt ue Du LUS For more information see page 82 Length Determines the time for recording and play of the Free EG sequence either by number of measures between 1 2 and 8 bars determined by Tempo setting or in absolute time between 1 0 and 16 0 seconds NLD For more information see page 82 Key Track Determines the length of the Free EG in relation to notes played on the keyboard using C3 as the basic note length where positive values decrease the length when you play in the higher register and negative values decrease the length when you play in the lo
172. ous Portamento modes available depending on Poly mode setting These are accessed by the VOICE SCENE SETUP menu VOICE ne SCENE SETUP ULSD For more information see page 73 Selecting Parameter Groups The KNOB PARAMETER GROUP switches determine which group of tone generator parameters you can edit by turning the CONTROL knobs You can change the voice drastically by editing the various parameters Simply press a switch to access a group of parameters The selected switch will be indicated by a lit LED to the left of it KNOB PARAMETER GROUP The name of each parameter in the group is printed on the panel next to the knob by which itis edited color coded and arranged in relation to each KNOB PARAMETER GRO UP switch A description of each parameter group along with available parameters and settings available within each group is provided in the REFEREN CE section For details see as follows OPEG LFO page 54 OSYNC FM page 58 VCOl1 page 61 OvCO2 page 63 OVCF page 64 OMIX VCF page 66 VCA page 68 ASSIGN page 70 1101139 For details about assigning parameters to CONTROL knobs see page 95 For information about the AN1x s tone generator see page 10 Using The CONTROL Knobs The eight CONTROL knobs give you direct access to dozens of tone generator parameters that let you coax literally an unlimited range of sounds from the AN1x in real time They also let you
173. parameters Press KNOB PARAMETER GRO UP switch VCF e Turn CON TROL knob 3 to set the Sustain parameter to a value of about 40 e Turn CONTROL knob 2 to set the Decay parameter to a value of about 85 104 Set the VCF cutoff for a mellow EP sound In the VCF group turn CONTRO Lknob 5 to set the VCF Cutoff parameter to a value of about 70 Set the velocity senstivity of the filter In the VCF group turn CON TROL knob 8 to set the Vel Sens Velocity Sensitivity to a value of about 40 This lets you bring out the highs with greater playing strength Widen the sound with a chorus effect Set the EDIT RO TARY knob to the VOICE COMMON menu Press Vari EF Dry W et UP DOWN and seta value of about D lt W 10 Chorus 1 is already set as the current Variation Effect Apply reverberation to the sound In the VOICE COMMON menu press Dly Rev EF Param UP DOWN to display Rev Return in the LCD Press Data UP DOW N to seta value of about 20 Next le s tweak a few parameters to add extra control and subtle dimension to the sound 10 Set up the Control Matrix to control the AEG Decay by key tracking W ith key tracking you can make the AEG Decay quicker in the upper range and slower in the lower range for a more natural electronic piano sound Set the EDIT RO TARY switch to the VOICE SCENE SETUP menu Press Set No UP DOWN to display Set 1 in th
174. press Ay teva Sustain YY Release Due to the virtually unlimited number of results possible by selecting KNOB PARAMETER GRO UP switches and turning the CONTROL knobs each of the two Scenes can be as similar or radically different as you want This gives you two specific sounds to choose from at any time within each of the 128 voices at the simple press of a SCEN E Switch Scenes are especially handy for creating slight variations on the same sound for use during different parts of a song say one with fast attack that cuts through the mix during rhythmic phrases and one with a slower attack that s more suitable for a pad And of course if the two Scenes are completely different from each other say one sound prepared for verse and chorus and another for a solo break it s a lot simpler to switch back and forth between Scenes than itis to switch between voices especially under the pressure of a live situation RS Scene Edit Buffers W hen you select a voice the two Scenes are loaded into the Scene edit buffers Since each Scene has its own buffer you can work on each Scene separately For example if SCENE 1 is selected and you edit its parameters by turning the knobs this data will be maintained in Scene 1 even if you select SCENE 2 and start editing it W hen you switch back to Scene 1 it will recall your edited data and not the Original Scene 1 data stored with the voice Tone Generator
175. pt to disassemble the internal parts e Use the specified adaptor PA 3B or equivalent recommended by Yamaha only Using the wrong adaptor can result in damage to the instrument or overheating e Before cleaning the instrument always remove the electric plug from the outlet Never insert or remove an electric plug with wet hands e Check the electric plug periodically and remove any dirt or dust which may have accumulated on it SS er E Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others or damage to the instrument or other property These precautions include but are not limited to the following Do not place the AC adaptor cord near heat sources such as heaters or radiators and do not excessively bend or otherwise damage the cord place heavy objects on it or place it in a position where anyone could walk on trip over or roll anything over it When removing the electric plug from an outlet always hold the plug itself and not the cord Do not connect the instrument to an electrical outlet using a multiple connector Doing so can result in lower sound quality or possibly cause overheating in the outlet Remove the adaptor plug from the outlet when the instrument is not to be used for extended periods of time or during electrical storms Before connecting the instrument to other electronic components turn off the power for all components Before turning the power
176. r level W hen not using the Ring Modulator set this value to 0 Settings 0 127 1111139 The Ring Modulator combines the VCO1 and VCO2 signals and outputs the sums and differences of all the frequency components of both inputs It is particularly effective for producing dissonant interval sounds with a clangorous or metallic effect Noise Level The N oise Level setting determines the balance of the N oise signal in relation to the VCO 1 VCO 2 Ring Modulator and VCA Feedback levels Turning the knob to the right increases the N oise Level W hen not using N oise set the level value to 0 Hoizeleuel 1 A POLY DUAL ll anp 1001139 By mixing in Noise and selecting an appropriate Filter Type VCF HPF etc you can create a wide variety of unique special effect sounds Settings 0 127 HPF igh Pass Filter Cutoff BEE The HPF setting determines the cutoff frequency of the The Band Pass Filter passes only those frequencies in the High Pass Filter Frequencies above the setting are specified range with a cutoff curve of 12dB octave passed while those below are cut off Turning the knob to the right increases the HPF Cutoff frequency Level Cutoff range Range passed Cutoff range resulting in a brighter sound HPF Cutott 1 1 POLY DUAL il Center frequency Frequency ARP HPF12 Level The High Pass Filter passes only those frequencies above the Cutoff range Range passed sp
177. r time required for the sound to reach its basic pitch from the PEG Depth setting CON TROL knob 3 lets you set the PEG Switch to determine which VCO the PEG is applied to 1101139 For more information about PEG Depth PEG Decay and PEG Switch parameters see page 55 2 VCF Edit Pressing the VCF KNOB PARAMETER GRO UP switch gives you access to the voltage controlled filter parameters which let you determine the characteristics of the tone or timbre of the voice and configure the Filter Envelope Generator FEG VCF Cutoff And Resonance By turning CONTRO Lknob 5 you can set the cutoff frequency of the VCF Type as designated in the MIX VCF group which determines the point at which specified frequencies are passed or cut off i e filtered out CON TROL Knob 6 lets you boost the harmonics near the cutoff frequency to apply resonance These two parameters are critical in determining the timbre of the voice Cutoff range Range passed Cutoff frequency Frequency VCF Type Low Pass Filter FEG CONTROL knobs 1 4 let you determine the Attack Decay Sustain and Release values respectively to give you precision contro over how the timbre of the voice changes over time from when a key is pressed held then released and subsequently how long it takes for the sound to terminate CON TROL knob 7 lets you set the FEG Depth or range of movement of the cutoff frequency Cutoff frequency Time Sustain
178. r to which you want to assign Parameter O ff Common Volume Common Pan Variation Parameter Delay Return Reverb Return Source and Depth settings applied to both Scenes O Parameter The Parameter setting determines which parameter is assigned to the Set N umber 1 16 or Common Set 1 2 W hen Set No is set to PBT or PBL you don t need to select the Parameter because these are the parameters for Pitch Bend FEG Depth Seti AAP Settings For a list of Control Matrix parameters see the separate Data List book O Source The Source setting determines which controller by Control Change number is assigned to control the corresponding Parameter FEG Derth Ge CR ARP 111139 You can set the source by Control Change number or by controller name as shown in the Settings listed below Settings CcOff No controller assigned CC1 95 Selects the Source controller according to Control Change number when received by on board controllers or incoming MIDI messages AT After Touch For controlling with keyboard After Touch PB Pitch Bend For controlling with the Pitch Bend wheel KyTrk Key Track For controlling with note number messages generated by pressing the keys Vel Velocity For controlling with keyboard velocity or the strength with which you strike the keys KyRnd Key Random For controlling with random note number messages generated by pressing the keys A MW Ass
179. rd triggers the Free EG kbd Keyboard amp MIDI The Free EG is triggered by a note on message from the keyboard or an external MIDI device all The Free EG is triggered by either a Note On message from the keyboard or an external MIDI device or from the Arpeggiator or Step Sequencer 1111139 When set to bar the Free EG record and play time is determined by the Tempo setting in the VOICE COMMON menu This synchronizes the Free EG movement with the Arpeggiator or Step Sequencer Triggering The Free EG With Patterns The Free EG can be used in conjunction with the Arpeggiator or Step Sequencer W hen the Trigger is set to kbd the Free EG will be applied to the pattern O Key Track The Key Track setting determines the length of the Free EG in relation to notes played on the keyboard using C3 as the basic note length W hen set to 0 the length will be the same for all notes across the entire keyboard N egative values will cause the Free EG length to decrease when you play in the lower register and positive values will cause the Free EG length to decrease when you play in the higher register Hold on Key On Key Off KeyOn Each time you press a key the Free EG will be retriggered Key Track W hen the Trigger is set to all the Free EG will be POLY retriggered whenever the Arpeggiator or Step Sequencer is H DUAL played Gen ARP O Loop Type l l Settings 64 63 The Loop Type
180. rol the speed of the AN 1x s Arpeggiator or Step Sequencer For details about assigning AN1x MIDI transmit and receive channels see page 93 For details about assigning MIDI channels and other settings for the extemal sequencer or other devices which may be connected consult the owner s manual for each For more information about MIDI see the APPENDIX page 109 Connecting The AN1x To A MIDI Data Storage Device You can connect the AN 1x to a MIDI data storage device such as the Yamaha MDF2 MIDI Data Filer in order to bulk dump or save AN 1x voice Step Sequencer and other data to floppy disks This lets you build up complete libraries of your favorite sounds sequences and settings which you can easily load back into the AN 1x whenever you wish MIDI IN MDF2 etc MIDI OUT UULS For information about how to perform Bulk Dump operations see page 94 Switching On The Power Once all connections have been properly made you re ready to switch on the power and start making music with your AN 1x 1 Set the AN1x s VOLUME knob to minimum position 2 Press the POWER switch located on the rear panel After a brief greeting message which appears in the LCD the AN 1x will power up and be ready to go 3 Gradually turn the VOLUME knob to the right while playing the keyboard until you achieve a comfortable listening level VOLUME Playing The Demo Songs The AN1x comes preprogr
181. rtant voices beforehand to an external MIDI data storage device such as the Yamaha MDF2 MIDI Data Filer You can recall all factory voices at any time see page 100 1111139 To change the name of an edited voice see the Name function in the VOICE COMMON menu page 80 1 After editing a voice the EDIT mark will be displayed in the LCD press the STORE switch The STORE mark will display in the LCD DEMO PORTAMENTO LAYER STORE ARPEGGIO SEQ 2 Enter a number 1 128 using the PROGRAM CHANGE keypad representing the location in which you want to store the edited voice followed by EN TER or select the location with The voice name flashes alternately with HIT STORE HITCSTORE J 51005 1101139 Step 2 can be omitted if you want to store the voice to the same location number In such a case go straight to step 3 3 Press the store switch again SURE Y N appears in the LCD SURE H UI If a User Pattern has been edited All Ptns Y N appears in the LCD To overwrite all User Patterns press YES ENTER To cancel the operation press NO 4 Press YES ENTER to execute the Voice Store operation The LCD then returns to the normal voice name and number display After steps 1 3 pressing NO will cancel the Voice Store operation and the LCD will display the previously selected voice name and number 1111139 When you execute a Voice Store operation
182. s Event settings in context with the speed and timing of the sequence 1101139 When Step Hold is set to on you can select and check a step parameter by pressing a knob s push switch or turning It Ster Hold POLY or DUAL Settings on off Pattern Pattern parameters let you designate which pattern to play by the Step Sequencer as well as set timing resolution sequence length type of loop and event control number There are six parameters available including Bank No Number Base Unit Length Loop Type and Control N umber O Bank The Bank parameter lets you select the Voice pattern or User pattern bank when Common KbdM ode is set to norm or shiftenorm If Common KbdM ode is set to sel amp norm or sel amp shift the User Pattern bank is designated and the Voice Pattern bank cannot be accessed 1101139 For more information see page 40 Bank i Uce Hoppz a SEQ Settings Vce Voice User NO Number The Number parameter lets you select a Voice Pattern or User Pattern number 1 128 depending on which bank is designated with the Bank parameter above You can select from 128 patterns in each bank For a list of patterns see the Sequence Pattern List in the separate Data List book Bank lge NoB18 a SEQ Settings 1 128 Sequence Patterns and Banks W hen you select a voice which has the Common KbdM ode parameter set to norm or shift a
183. s and other controllers Control Change assignments made in the Utility Control Assign function are sent to both MIDI O UT as well as the Control Matrix where it can be rerouted at will before reaching the internal tone generator External Control Change signals received at MIDI IN can be routed through the Control Matrix to control the AN 1x tone generator parameter of your choice Control Signal Flow MIDI OUT Layer Layer parameter settings apply to the selected Layer mode and affect both Scenes These settings are stored as voice data There are three parameters including Pan Separate and Unison Detune 1101139 For more information about Layer modes see page 22 O Pan The Pan parameter sets the type of stereo panning or the way the sound moves between the left and right speakers Settings off W hen Layer mode is set to SINGLE see page 22 Pan control does not function W hen set to DUAL DUALUNISON SPLIT or SPLIT UNISON you can change the pan width for Scene 1 and Scene 2 using the Separate function see below alt Alternate Causes the sound to alternate between left right and center each time a key is played Use the Separate function to determine pan width rnd Random Causes the sound to move at random Use the Separate function to determine pan width O Separate The Separate parameter adjusts the amount of amplitude between left and right outputs The result depends on Pan type
184. s the Velocity setting high enough Page 92 Is the Split Point set properly Page 77 No Arpeggiator or Step Sequencer sound Is the Velocity setting high enough Page 70 Is the ARPEG GIO SEQ switch on Page 33 Is the current Scene the same as that set in the ARPEGGIO SEQ SETUP menu Page 87 Is the Keyboard Mode and Split Point settings appropriate Pages 77 86 Distorted sounds Are the effect settings appropriate Pages 77 79 Is the volume set too high Are the oscillator SYN C FM settings correct Page 58 Is the VCA Feedback level too high Page 69 Is the N oise Level too high Page 66 113 Sound is too low Is the MIDI volume or MIDI expression set too low e Is the UTILITY SETUP menu Keyboard Velocity parameter set too low Page 92 e Is the HPF Cutoff set too high Page 67 The pitch is off Are the tuning related parameters set to 0 See VCO Pitch Fine pages 61 62 Master Tune page 92 Keyboard Transpose page 92 e Are the oscillator SYN C FM settings appropriate Page 59 The sound is choppy and interrupted e Have the maximum number of notes of polyphony been exceeded e Is the Free EG changing the volume or cutoff frequency as you play Page 83 e Are the Step Sequencer N ote and Velocity event settings appropriate Page 89 Only one note sounds ata time e Is the Poly mode set to Legato or Mono Page 72 Can t hear the effects e Is the Effect
185. sages where 000 063 represents off and 064 127 represents on but for best results and ease of operation use an on off Footswitch 49 Step Sequencer Event Control The Step Sequencer s Ctrl No Control N umber parameter lets you determine the type of MIDI Control Change which can be output upon sequencer play Once the Control N umber is set the Control Change event is selected with Knob Event parameter UP DOWN and the value to be output via each step is edited with the CONTROL knobs For more information see page 91 SEQ SEQ trl No Store EDIT SETUP Utility Control Assign Function Control parameters in the UTILITY SETUP menu let you designate the type of Control Change messages which can be controlled by the MO DULATION wheel each of the eight CON TROL knobs the RIBBON controller X axis and Z axis etc by assigning Control Change numbers to specific Device controllers For more information see page 95 UTILITY u SETUP li Mod Det Based on settings in the Control Assign function as well as in the Control Matrix you can use a single controller to control one parameter of the internal tone generator and another parameter of an external MIDI device both at the same time It also lets you determine which device MW FC etc to use for Scene Control see page 20 Controllers which can be assigned using the UTILITY SETUP Control function MW Modulation W heel FV
186. se Waves Saw Mix Pulse innrl innr2 innr3 W hen SYNC is set to on three inner waves Innr1 3 are available This wave is effective when used with Pulse W idth see page 62 Pitch The Pitch setting determines the pitch of the VCO 1 in semitones Turning the knob to the right raises the Pitch while turning it to the left lowers the Pitch The center position value 0 is the basic pitch Settings 64 0 63 Fine The Fine fine tune setting determines the pitch of the VCO 1 in 1 cent steps over a range of 100 cents or One semitone Turning the knob to the right raises the pitch while turning it to the left lowers the pitch The center position value 0 is the basic pitch Fine Tune d POLY DUAL INN Settings 50 0 50 cents Edge The Edge setting adjusts the sharpness or smoothness of the edge of the VCO 1 wave Turning the knob to the right produces a sharper wave resulting in a harsher sound Turning it to the left produces a rounder wave resulting in a softer sound A value of 0 results in a sine wave Sharper wave Rounder wave Sine wave Settings 0 127 PW Pulse Width The PW setting determines the width of the VCO 1 pulse wave Turning the knob to the right produces more harmonics resulting in a fatter sound In general pulse width is used to control the pulse wave however the AN1x can use PW with other waves as well for a wider possibl
187. see the separate Data List book 2 Press Data UP DOWN to select the type of Variation Effect There are 14 types see the O Vari EF Dry Wet dreet The Variation Effect Dry W et setting determines the balance between wet effect and dry original signal Gs QurDe ive levels A setting e Ge will pass the dry signal only POLY and a setting of W 63 will pass the wet signal only LUartEt DUAL A setting of D W represents an equal balance of ARP wetand dry signals UarEf Geli Press Param UP DOWN again to select the specific parameter that you want to set The parameters for the Variation Effect which you selected in step 2 will be available DEA EGIT ARP Press Data UP DOWN again to set the Parameter value Settings D63 D W W63 Repeat steps 3 and 4 above to set data values OL When Vari EF Param type is set to AuralExc or Comprssr Data dry and for other parameters of the selected Variation wet settings are available When Vari EF Param type is set to OvrDrive or Effect Amp Sim Data dry both and wet settings are available IL For more information about the Variation Effect see the separate Data List book 1101139 Aural Exciter is a registered trademark of and is manufactured under license from Aphex Systems Ltd Dly Rev EF Delay Reverb Effect Delay Reverb Effect settings determine the Delay and Reverb effect types and
188. selecting another voice Step Sequencer MIDI Output You can use the MIDI Pattern Transmit Channel PtnTxC h parameter to designate a MIDI channel on which to output the Step Sequencer pattern data to either play an external tone generator or record the data into a MIDI sequencer or computer VOICE ateTime ARPEGGIO SEQ SEQ TrneCh This setting is independent from the MIDI Transmit Channel MIDI Tx Ch in the UTILITY SETUP menu see page 93 but you can either set them both to the same channel or different channels depending on your requirements The diagram below shows an example of how they can be set to different channels to control two different external tone generators Ext TG 2 Ext TG 1 Attack sound Pad sound Rev Ch2 Rev Ch1 Ptn TxCh2 MIDI TxCh1 Step Sequencer Depends on Keyboard Mode setting AL For information about setting the MIDI Pattern Transmit Channel MIDI PtnTxCh see page 87 1101139 The MIDI PtnTxCh setting is a system parameter and will not be saved as voice data Using The Free EG The Free EG is a special 4 track recorder for recording real time knob position movements one parameter per track Subsequently when you play the voice the data of the parameter assigned to each track will automatically change in accordance with the way you recorded it Track J ob VOICE eSw Rec Copy Undo FREE EG AS AS ASSIGN 1 ASSIGN 2 ASSIGN 3 ASSIGN 4
189. setting see above SeParation 1 A POLY DUAL Settings 0 no effect 32 If Pan setting off e When Layer mode see page 22 Is set to SINGLE the panning will have no effect e When Layer mode is set to UNISON higher values create a wider stereo dimension by separating the two to up to five sounds Poly mode generates two sounds with each key pressed and Mono Legato mode generates five sounds with each key pressed e When Layer mode is set to DUAL DUALUNISON or SPLIT SPLIT UNISON higher values create a wider stereo dimension by separating Scene 1 and Scene 2 sounds K H Pan setting alt or rnd e The Separate setting adjusts the Pan separation range Higher values result in a wider separation W hen the value is set to maximum setting 32 then left center and right are completely separated 1101139 The Separate function does not apply to the Vari EF Wet signals so if the Wet setting is too high the Separate effect will be weakened O Unison Detune W hen UNISON mode is selected see Layer mode page 22 multiple sounds are played with the pitch of each sound slightly detuned Unison Detune adjusts the detuning of the VCO 1 pitch in fine increments letting you create an even thicker UNISON sound by applying higher settings but be careful not to apply too much or you ll change the basic pitch of the voice This function only works when Layer mode Is set to UNISON DUALUNI
190. tch for the AN 1x s tone generator in approx 0 3 cent values 100 cents 1 semitone Settings 100 0 100 O KbdTrans Keyboard Transpose The Keyboard Transpose parameter determines the transposition setting for the keyboard in semitones Settings 36 0 basic pitch 36 O Kbd Vel Keyboard Velocity The Keyboard Velocity parameter sets the keyboard velocity curve which determines the way the AN 1x s tone generator responds to keyboard playing strength 1101139 The default factory setting is wide which provides for the widest possible dynamic range Wel Curve POLY Wide S EDIT SEG Settings norm softl soft2 easy wide hard Vel Fix 1 127 norm Normal The velocity is in proportion to the strength how hard you play the keyboard Volume Keyboard Playing Strength soft1 This curve increases the volume level with a softer playing style and is suitable for players with a light key touch Volume Keyboard Playing Strength soft2 This curve also increases the volume level with a softer playing style but is closer to the Normal curve compared to Softl Volume Keyboard Playing Strength easy This curve also increases the volume level with a softer playing style but the volume level is stable in all registers since the velocity curve in the middle register of the keyboard is close to Normal Volume Keyboard Playing Strength wide This curve decr
191. ter group see page 67 For example when the filter type is setto Low Pass Filter the lower frequencies are passed while higher frequencies are cut off Turning the knob to the right increases the VCF Cutoff frequency as shown in the graph below UCF Cutoff 62 DUAL M Range passed Cutoff range Cutoff frequency Frequency VCF Type Low Pass Filter Settings 0 127 Resonance The Resonance setting determines the amount of resonance boost or emphasis of harmonics near the cutoff frequency Turning the knob to the right produces a higher resonant peak producing sharper high tones while turning itto the left produces a relatively flat response A setting of 0 applies no resonance Resonance H DUAL Wwe Cutoff frequency Frequency Settings 12 0 102 FEG Depth The FEG Depth setting determines the range of movement of the cutoff frequency Turning the knob to the right increases the FEG Depth N egative values reverse the shape of the envelope W hen not using the FEG set the value to 0 FEG Depth d POLY H DUAL HN Level Cutoff frequency Time Settings 128 127 Vel Sens velocity Sensitivity The Velocity Sensitivity setting determines how the VCF responds to velocity or keyboard playing strength Turning the knob to the right increases dynamic range according to how hard you strike the keys and turning it to the left produces the opposite e
192. terns The AN 1x comes with 128 Voice Patterns and 128 User Patterns ready to go All patterns can be overwritten to store your own Selecting Pattern Banks And Numbers To select a Pattern Bank set the EDIT RO TARY switch to SEQ EDIT SETUP and press Bank UP DOWN During Single Pattern Play either the Voice or User Pattern bank can be selected During Pattern Select Play only the User Pattern bank can be selected Knob Pattern Event 18 9 16 f Step Hold Bank Bank User E 6E iS NoB15 To select a Pattern Number press No UP DOWN You can select from 128 patterns in each bank Keyboard Mode The Keyboard Mode setting VOICE ARPEGGIO SEQ menu determines Single Pattern Play norm or shiftenorm or Pattern Select Play sel amp norm or sel amp shift status norm Normal Lets you play the Voice Pattern of the currently selected voice at its base pitch from any key on the keyboard You can play regular notes and chords across the keyboard while the sequence is looping Triggers current Voice Pattern shift amp norm Shift amp Normal Playing a key to the left of the Split Point will shift the pitch of the Voice Pattern accordingly with C2 as the original base pitch and playing keys to the right of the Split Point will play notes normally without affecting the sequence If you set the Split Point to a very high setting above C6 for example you can shift the patt
193. th the CON TROL knobs Arpeggio Pattern Types The 30 arpeggio pattern Types are selected by pressing Type No UP DOW N The available Types are basically divided into two groups separated chords Types 1 15 and special arpeggios Types 16 30 Types 1 15 separate the chords you play in a variety of ways either generating arpeggios which occur up down up and down or randomly over one two or four octaves Types 16 30 are special types which vary in tone or add subtle shifts or more complex dynamics and rhythmic elements to the arpeggio 1111139 For more information about Type No see page 85 For a list of available Arpeggiator Types see the Arpeggiator Type List in the separate Data List book Arpeggio Subdivide Pressing Arpeggio Subdivide UP DO W N lets you designate one of the ten timing subdivision rhythm resolution settings for the Arpeggiator pattern VOICE ateTime ARPEGGIO SEQ Available Subdivide settings are as follows 3 8 J 1 4 3 16 1 6 2 1 1 8 3 32 2 1 12 1 1 16 1 24 JJ 1 32 1111139 For more information about Arpeggio Subdivide see page 88 Playing Arpeggiated Chords Trying out the various arpeggios is a lot of fun Turn on the Arpeggio Hold function play an even numbered note chord and see how the different pattern Types and Subdivide settings react Then play an odd numbered note chord and repeat the process There are a wealth of combinations available
194. the voice to Scene 1 or Scene 2 atany time using a Scene Store operation For information about storing voices see page 98 For information about storing Scenes see page 99 1101139 Edited voice data will be retained in memory even if you switch off the power before storing the voice When you tum the power back on you can continue editing the voice 1111139 Be sure to store your edited voice before selecting a different voice or you could lose your edited data see page 98 If you forget to store your edited data before selecting another voice use the Voice Recall function see page 96 During the editing process you can confirm the name and number of the current voice at any time by pressing or once to display the information in the LCD You can then continue editing by selecting an Edit menu and pressing an UP DOWN switch Edit Mark The first time a voice parameter is changed the Edit mark will display in reverse type in the LCD The Edit mark indicates that voice data has been changed from the original but has not yet been stored Indicates a voice has been edited but not stored Voice Recall If you select a different voice before storing important voice data you can use the Voice Recall function to retrieve the edited voice data For details see page 96 Edit Parameters Following is a description of each parameter in each of the six Edit menus along with a listing of available settings n
195. ting each step is simple Each knob as positioned on the panel 1 8 relates to the corresponding sequence step either 1 8 or 9 16 respectively Press 1 8 9 16 UP DOWN to toggle back and forth between which series of steps are available for data entry using the eight CON TROL knobs Q Knob Pattern SE o Store EDIT SETUP Event en 18 9 16 Step Hold Bank Simply pressing a CON TROL knob will display the currently selected step and Knob Event parameter name as well as the current parameter value setting in the LCD Turning a knob will edit the value Event parameter name Select with Knob Event parameter Sate Tm ia E Ga ween Step number Depends on selected knob and Knob 1 8 9 16 setting SEQ Es Event parameter value Turn the knob to edit Knob Event Parameters To designate which type of event to edit by the CONTRO L knobs set the EDIT RO TARY switch to the SEQ EDIT SETUP menu and press Event UP DO WN J There are four types of events to choose from Note C 2 G8 Lets you select the note for the step Pattern 1 8 9 16 f Step Hold Bank SEQ SEQ o Store EDIT SETUP nob vent k H o h POLY he Lay Step 2 or 10 Step 1 or 9 Step 3 or 11 Step 4 or 12 Step 5 or 13 Step 6 or 14 Step 7 or 15 Step 8 or 16 111139 You can choose a note to assign to each step by tuming the knobs during Step Sequencer playback Velocity
196. trigger a different pattern from each key to the left of the Split Point O To hear the different Delay and Reverb effects and settings press Dly Rev EF Param UP DOWN and Data UP DO W N switches accordingly LA For more information about Dly Rev EF mode see page 79 O Set the EDIT RO TARY switch to the VO ICE ARPEGGIO SEQ menu and press KbdM ode UP DOW N once to confirm the setting which determines how the pattern is triggered N ext set the EDIT RO TARY switch to the VOICE SCENE SETUP menu and press Poly UP DO W N and compare the way the different Poly mode settings affect the pattern as you play the keyboard O To bypass specific or all effects and hear how the voice sounds in its pristine state press EF Bypass UP DOWN and change the status accordingly LIS EF Bypass is a system parameter and therefore will remain as you set it regardless of which voice is selected For more information see page 80 O If the voice does not use the Arpeggiator or Step Sequencer press ARPEG GIO SEQ to turn on the Arpeggiator or Step Sequencer and hear how notes and chords are affected 1101139 For more information about the Arpeggiator see page 33 For information about the Step Sequencer see page 37 re Assignable Real time Controllers Se ecti n g Sce ne S You can assign specific parameters to the assignable controller of your choice including the eight CO N TRO L And Sce ne M orphi ng knobs
197. troller to control more than one parameter Set Param Source Depth 1 VCF Cutoff IAM 25 2 Resonance AMWw_ 30 Ex 2 Multiple controllers to control the same parameter A MW 20 A RbX 10 VCF Cutoff VCF Cutoff ore Procedure For Using The Control Matrix Select the Set No 1 16 Select the Parameter you want to control Select the Source controller for the parameter control Set the Depth value Repeat steps 1 4 to assign additional controller sets LILA For more information about the Control Matrix the separate Data List book O Set No Set Number The Set N umber parameter lets you select Pitch Bend Pitch Up and Down the number of the Set 1 16 and Common 1 and 2 parameter assignments WCF Modbrt Set LI AAP Settings PB Pitch 7 Selects the Pitch Bend Up parameter for setting the range over which the pitch bends up above a value of 64 when rolling the Pitch Bend wheel between center and maximum forward position for the selected Scene PB Pitch J Selects the Pitch Bend Down parameter for setting the range over which the pitch bends down below a value of 64 when rolling the Pitch Bend wheel between center and maximum back position for the selected Scene Set 1 16 Selects the Set N umber to which you want to assign Parameter Source and Depth settings for the selected Scene Comn 1 2 Common Set 1 2 Selects the Common Set numbe
198. tronic components to generate sounds and electronically imitate the soundwaves of familiar musical instruments as well as create entirely unique sounds In traditional analog synthesis the source sound pitch is generated by an oscillator its tone is created by a filter and its volume is determined by an amplifier W ith the AN 1x these three elements are termed the VCO voltage controlled oscillator the VCF voltage controlled filter and the VCA voltage controlled amplifier OUT The amplifier determines the volume The filter determines the timbre The oscillator creates the source pitch The signal path starts at the VCO flows to the VCF then flows to the VCA The signal is processed at each block or module along the way to the final output The VCO module is where the original sound waveform gets generated Although a single oscillator is enough to generate the basic sawtooth pulse square or other waves required for different types of musical instrument sounds the AN 1x s VCO module is much more complex First there s a VCO 1 which includes an additional saw2 and mix wave and which can be configured with one of three sync algorithms that syncs master and slave oscillators within the VCO 1 and can be modulated by FM according to the algorithm Thus when the sync is on the VCO 1 is actually two oscillators in one and three additional inner waves are available T
199. tterns at the simple press of a key There are 30 arpeggio pattern Types to choose from Between the 10 Arpeggio Subdivide tming resolution settings Play Effect Velocity parameter and number of notes played you have a wide range of control and customization over length rhythm and feel of a voice s arpeggio MIDI Arpeggio Play EF VOICE PtnTx Ch Subdivide Swing Velocity f GateTime ARPEGGIO SEQ KELKELEKEE You can control which Scene plays the arpeggiated patterns turn the Arpeggio Hold function on and off at will and even designate an independent MIDI channel on which to output the Arpeggiator pattern data The specific Arpeggiator related parameters are available in the VOICE ARPEGGIO SEQ menu but a few others will also have a bearing on your arpeggiated performances including Tempo and Poly mode settings and depending on Layer mode the Split Point assignment as well ULSD For information about each VOICE ARPEGGIO SEQ menu parameter see page 85 Arpeggiator On Off The Arpeggiator can only be activated when the Arp SEQ parameter VOICE ARPEGGIO SEQ menu is set to Arpeggio VOICE Velocity GateTime ARPEGGIO SEQ KEE You can turn the Arpeggiator on and off by pressing the ARPEG GIO SEQ switch W hen the Arpeggiator is turned on ARP will appear in the lower right area of the LCD Arre39910 Ptr POLY on a ARP Setting The Arpeggiator Tempo Set the EDIT ROT
200. u the eight CONTROL knobs are used to set event data for each of the 16 steps For information about using the Step Sequencer see page 37 Q IT SETUP Knob Pattern Event 18 9 16 Step Hold Bank Knob Knob parameters are related to the 16 sequencer steps There are three parameters available including Event 1 8 9 16 and Step Hold O Event The Event parameters let you designate the type of event data to input using the eight CON TROL knobs Settings N ote 0 127 C 2 G 8 Velocity 0 127 Gate Time 1 200 Control Change off 1 95 AT 1111139 Control Change setting off CC1 95 After Touch is determined by the Control Number parameter in the same menu row see page 91 1 8 9 16 This parameter lets you designate which series of steps 1 8 or 9 16 are available for data entry using the eight CONTROL knobs Each knob as positioned on the panel 1 8 relates to the corresponding sequence step either 1 8 or 9 16 respectively depending on this setting 1139 Pressing a knob for parameter confirmation or turning it for data input will display its step number in the LCD to the left of the value setting Settings 1 8 9 16 O Step Hold The Step Hold parameter lets you turn the Step Hold function on and off W hen Step Hold is set to on the note of the currently selected step will play repeatedly based on the Tempo and Pattern Base Unit settings This lets you adjust the variou
201. uch there s no need to worry Just reselect the same voice to retrieve the original sound data and start over again Unless you perform a Voice Store operation no changes you make will be permanent Even if you do decide to store a voice you need not worry about losing any of the factory set voices permanently because the entire bank can be recalled see page 100 Select a voice Compare Scenes and morph between Scenes Use the PROGRAM CHANGE keypad to select a using Scene Control voice 1 128 When you select a voice the LED beside the SCENE 1 or SCENE 2 switch or both LEDs will be lit indicating the Scene status which was stored as voice data Press each switch to compare the 1101139 For information about selecting voices see Basic Operation page 14 Check LCD status difference between the sound of Scene 1 and O When you selecta voice first take a look at the Scene 2 information which appears in the LCD such as Poly mode PO LY MONO LEG ATO Layer mode O Press both SCEN E switches simultaneously to SIN G LE UNISON DUAL SPLIT etc and activate the Scene Control function then roll the whether the Arpeggiator ARP or Sequencer MODULATION wheel forward and back to SEQ is on This reveals the fundamental nature morph or cross fade between Scenes as you play of a voice ata glance ULSD For more information about Scenes and
202. umber must match the setting in the UTILITY SETUP menu s Control Device and Control Number You can control the vibrato by moving the MO DULATIO N wheel To further define the range of vibrato control press Depth UP DO W N J to set the value of about Dp 20 There are many other parameters you may want to adjust to get just the right sound you want When you re finished with the editing process perform a Voice Store operation to store your creation For information see page 98 102 Strings First lets create the fundamental sound 1 Select a voice that you don t mind writing over Perform a Type 1 Normal Voice Initialize operation To achieve the sound of multiple players well use both VCO1 and VCO2 oscillators Press KNOB PARAMETER GRO UP switch M IX VCF then press CON TROL knob 2 once to display the VCO 2 Level parameter in the LCD Turn the knob to set a value of 127 so that the VCO 2 can be heard Adjust the interval between the oscillators Press KNOB PARAMETER GRO UP switch VCO 2 then press CON TROL knob 3 once to display the Fine Tune parameter Turn the knob to seta value of about 7 to create a slight interval Soften the attack of the sound Press KNOB PARAMETER GRO UP switch VCA then press CONTROL knob 1 once to display the Attack parameter in the LCD Turn the knob to seta value near 50 to provide a slight delay between the time you press the key a
203. us CO N TROL knobs change the parameter values or settings using the Edit matrix UP DO W N switches select a Layer mode etc you are actually editing the voice The EDIT mark will appear in reverse type in the lower left area of the LCD the first time any voice data is changed However these changes only remain in effectas long as the voice is selected unless you store the newly edited voice using a Voice Store operation before selecting another voice If you don t store the changes they will be lost when you selecta different voice The AN 1x is a very forgiving instrument however A Voice Recall function see page 96 lets you retrieve the edited data Plus if you turn the power off before storing an edited voice when you turn the power back on the edited parameter settings will still be retained in the voice edit buffer There are various other modes but these are simply sub modes of Voice Play Edit mode such as Step Sequencer mode for creating and editing Voice and User Patterns see page 37 since virtually all panel settings including Scene Layer Effects Arpeggiator Step Sequencer settings and more are stored as voice data for each voice excluding system related settings Selecting Voices The AN 1x comes with 128 voices already preprogrammed and ready to play Not only are these voices firstrate and highly useful in their own right they form a dynamic living example of the AN 1x s vast sonic rang
204. vel which gets fed back to the mixer in the M IX VCF module The Amplitude Envelope Generator AEG lets you determine how the volume of the signal changes over time and the LFO1 can be used to modulate the VCA to create tremolo For more information see as follows VCA page 68 VOLUME page 69 FEEDBACK page 69 AEG page 32 PEG LFO page 54 O EFFECT The EFFECT module is where three different types of programmable effects as well as programmable 3 band EQ can be applied The 14 Variation Effects include Chorus Flanger Phaser Auto Pan Rotary Speaker Pitch Change Aural Exciter Compressor Distortion Overdrive Amp Simulator and more The 5 Delay effects include Delay LCR Delay LR Echo and Tempo Delay which automatically matches the delay time to the FEEDBACK ee A O current tempo setting The 8 Reverb effects include various Hall Room and Stage types and more Dela y and Reverb effects can be configured in a serial or parallel connection and specified effects or all effects excluding the EQ can be bypassed at will Controllers can be designated to control specific effect parameters For more information see as follows Vari EF EQ page 77 Dly Rev EF page 79 EF Bypass page 80 CONTROL Specific parameters of the VCO MIX VCF VCF VCA and EFFECT modules as well as the PEG LFO1 and LFO 2 can be controlled by many different types of real time controll
205. voice data using the Voice Recall function For more information see page 96 Using The Controllers The AN 1x has various on board controllers which let you control specific parameters in realtime as you play Besides keyboard Initial and After Touch these include PITCH wheel MO DULATIO N wheel and RIBBON controller as well as the eight assignable CON TROL knobs PITCH Wheel The PITCH wheel lets you bend the pitch up or down by an assignable amount The pitch bend depth range can be different for each Scene as setin the Control M atrix Bends the pitch up Bends the pitch down PITCH 1111139 The pitch bend range can be different for each Scene in each voice You can also use the PITCH wheel to control other parameters For information see page 51 MODULATION Wheel The MO DULATIO N wheel lets you apply varying amounts of modulation to the sound as you play depending on assignment by the Utility Control Assign function see page 50 or in the Control M atrix see page 51 Maximum Minimum MODULATION You can also assign volume pan or one of many other parameters to be controlled by the MODULATION wheel For information see page 95 The MODULATION wheel can also be used to morph between Scenes when the Scene Control function is activated For information see page 20 RIBBON Controller The RIBBON controller lets you control two different assignable parameters as you play
206. voices Mode Poly Port LFO Rst Set No ari Q Y Tempo Split Pnt Param rack Common i o e nison VOICE ne SCENE SETUP Source Pan eparate etu Dly Rev EF EF Name VOICE Param Data Bypass Cursor Char COMMON ara cene Track J ob Rec VOICE Copy Undo FREE EG 7 ubdivi e Knob SEQ SEQ ase Uni en 00 e rl No Store EDIT SETUP ste Ctrl UTILITY MstrTune rans e x eviceNo oca ulkDu Device Ctrl No SETU There are six menus of Edit parameters as follows VOICE SCENE SETUP Includes Scene and Layer related parameters for the voice VOICE COMMON Includes Tempo Effect and other parameters common to the voice VOICE FREE EG Includes Track select recording and other parameters related to the Free EG function VOICE ARPEGGIO SEQ Includes common and specific parameters related to the Arpeggiator and Step Sequencer SEQ EDIT SETUP Includes Knob and Pattern parameters related to the Step Sequencer UTILITY SETUP Includes global parameters which affect the AN 1x s system including MIDI settings Control Change related assignments and others 1101139 Utility parameter settings cannot be stored as voice data 1101139 For a blank chart of all available parameters which you can use when editing your Own voices see page 114 Edit Procedure The procedure for editing a voice is outlined below 1 Select a voice using the PROGRAM CHANGE keypad Enter the number of the voice you want follo
207. wed by YES EN TER or select the voice by pressing PROGRAM CHANGE ABC NO YES ENTER 2 Select the edit menu Set the EDIT RO TARY switch to the menu with the parameter that you want to edit VOICE SCENE SETUP VOICE COMMON VOICE FREE EG VOICE ARPEGGIO SEQ SEQ EDIT SETUP UTILITY SETUP 3 Select the parameter that you want to edit Press the UP DO W N switch located beneath the parameter name once to display the parameter name and current value or setting in the LCD Vari EF EQ Vari EF Dly Rev EF EF Name VOICE Tempo Split Pnt Param Data Dry Wet Param Data Bypass Cursor Char COMMON 4 Set the parameter value or setting Each time you press the upper area of the UP DO W N switch the parameter or value setting will increment by a unit and each time you press the lower area of the switch the parameter or value setting will decrement by a unit Holding down the upper or lower area of the switch lets you quickly scroll through the values or settings Dly Rev EF EF Name VOICE Data Bypass Cursor Char COMMON Param 5 Select another parameter and set the value for it Repeat steps 3 and 4 above to select and set other parameters in the same menu 6 Execute a Store operation W hen you ve finished editing the data you can store the voice to a user voice memory 1 128 using the Voice Store operation You can also store Scene related parameters for
208. wer register A setting of 0 has no effect Key Track POLY H UNISON EDIT LD For more information see page 82 Track Parameters Track No Track Number Selects a Free EG track Trk1 zo TA VOICE FREE EG Track J ob eSw Rec Copy Undo Param Ort Trki ueo 1101139 For more information see page 83 Param Parameter Determines which knob parameter will be played by the data in the track NCO1 Level Trk 1 eo a LIS For more information see page 83 1111139 Only one parameter can be selected for a track For information about available parameters see the separate Data List book SceneSw Scene Switch Determines which Scene or if both Scenes will be played by the selected Free EG track LFO1 Sreed POLY scone YES For more information see page 83 Track Job Parameters Rec Record Determines how a Free EG record operation will be executed i e either the selected track or all tracks Pressing a key on the keyboard starts recording Track J ob VOICE Rec Copy Undo FREE EG Rec Stndby Trki seo 1101139 For more information see page 83 Copy For copying the Free EG data of a track in the current voice to the currently selected track or copying the data of any track in any voice to the currently selected track of the current voice LIS For more information see page 83 Undo Lets you undo as well as red
209. when you wish you had an extra couple of pairs of hands the Free EG lets you build up an incredibly complex completely unique voice Programmable multi effects and 3 band EQ for each voice The AN1x has three types of programmable multi effects plus EQ built into the voice architecture which lets you customize the effects configuration for each voice There are 8 Reverb effects 5 Delay effects 14 Variation effects which includes Chorus Auto Pan Pitch Change Compressor Distortion effects and more and a stereo 3 band Equalizer An Effect Bypass function lets you bypass all effects or specific ones at the press of a switch The AN1x KNOB PARAMETER GROUP switches These switches determine which set of parameters are controlled by the CON TROL knobs The switches are color coded in cross reference to the parameter names as printed in the same color on the panel beside each knob W henever you select a voice the ASSIGN Switch is automatically selected to give you instant access to your assigned CON TROL Knob parameters Front Panel SCENE switches Each of the AN 1x s 128 voices has two Scene memories each of which are instantly accessible by pressing the SCENE 1 or SCENE 2 switch Each Scene can have its own distinct sound Pressing both SCEN E switches simultaneously activates the Scene Control function which lets you morph or cross fade between Scenes in real time using the assignable MO DULATION wheel a
210. y SPLIT POINT C 1 to Voice Pattern C1 sel amp shift Select amp Shift Playing a key to the left of the Split Point will trigger select a specific User Pattern and playing keys to the right of the Split Point will shift the pitch of the selected pattern accordingly For example if the Split Point is set to C3 then C1 plays the Voice Pattern for the selected voice and 23 different User Patterns can be selected by pressing keys C 1 B2 For more information about the Split Point see page 77 C4 always determines the base pitch SPLIT POINT Selects Patterns _Selects Patterns Shifts Pattern Shifts Pattern WOR User SEN C 1 RETES low Shifts high SPLIT POINT Voice Pattern C1 Base pitch C4 1101139 For more information about triggering and assigning the User Patterns to select see page 39 O Hold The Hold parameter designates the Hold setting for the Arpeggiator and Step Sequencer The Pattern Hold function causes the Arpeggiator or Sequencer pattern to continue playing after releasing the keys Basically the Hold parameter either turns Hold on or off but when Keyboard Mode is set to sel amp norm or sel amp shift there are two types of hold modes for the Step Sequencer Settings When Arpeggiator is selected on off When Step Sequencer is selected and KbdMode is set to norm or shift amp norm on off When
211. y can have its own unique configuration of all main parameters AN1x Memory Structure The AN 1x has a simple and straightforward memory structure There are only two main types of data voice data and system data There is also a separate memory for the Step Sequencer User Pattern bank Voice Data Voice data is comprised of the various parameter settings which make up each of the 128 User voices as follows O Tone generator settings based on CONTROL knob positions for each KNOB PARAMETER GRO UP parameter PORTAMENTO switch status Scene status and Scene related parameters including Control Matrix assignments Mode settings and Variation Effect Dry W et setting LAYER mode setting and Layer parameters including Pan Separation and Detune settings O VOICE COMMON e parameters which affect both Scenes settings including Tempo Split Point Effect configurations and voice Name Free EG parameter settings and track data and other settings O ARPEGGIO SEQ switch status and the various Arpeggiator and Step Sequencer parameter settings including Play Effect settings plus Step Sequencer Voice Pattern data System Data System data is made up of the various global parameter settings which remain in effect regardless of which voice is selected as follows O UTILITY SETUP parameters including the settings for System tuning and keyboard transposition and velocity M IDl related parameters and Control device
212. y or Reverb type available parameters will be different Press Data UP DOWN again to set the parameter value as desired Repeat steps 5 and 6 above as many times as necessary to set all parameter values EF Bypa SS Effect Bypass Effect Bypass settings let you bypass specific effects which is convenient when creating an original voice Bypassed effects will not be applied to the original sound and when the EF Bypass Is off the signal will flow through all effects units You can choose to bypass all effects or only Delay and Reverb or only Reverb Since EF Bypass is a system parameter it will not be saved as voice data and therefore will remain as you set it regardless of which voice is selected DUAL Settings off Turns off the Effect Bypass so the signal flow will bypass the effects units OnlyRev O nly the Reverb effect will be bypassed Only Dly Only the Delay effect signal will be bypassed Name N ame parameters let you select a voice Category and up to ten characters to give a customized name to your edited voice There are two parameters Cursor and Char Character O Cursor The Cursor parameter lets you position the cursor at the voice Category field or any of the ten character fields for the voice name O Char Character The Character parameter lets you select a voice Category when the cursor is positioned at the voice category field or a character when the cursor is

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