Contents PRECAUTIONS ............................................................4 Playing Arpeggiated Chords ...........................................35 INTRODUCTION Using The Step Sequencer ..........................................37 How To Use This Manual ..............................................5 Step Sequencer On/Off .................................................38 Main Features...............................................................5 Step Sequencer Hold Modes .................
PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep these precautions in a safe place for future reference. WARNING 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: • Do not open the instrument or attempt to disassemble the internal parts or modify them in any way.
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 At A Front Panel [SCENE] switches Each of the AN1x'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 [SCENE] switches simultaneously activates the Scene Control function, which lets you "morph", or cross-fade between Scenes in realtime using the assignable [MODULATION] wheel, an assignable Foot Controller, or any other continuous controller.
At A Glance es [EDIT ROTARY] switch LCD The back-lit LCD (Liquid Crystal Display) provides various types of information which clearly indicates the current operating status of the AN1x as you select voices, turn knobs and press switches. s T 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 ROTARY] switch.
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.
What Is A Voice? ● LAYER mode setting and Layer parameters including Pan, Separation and Detune settings. Over 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”. ● VOICE COMMON (i.e., parameters which affect both Scenes) settings including Tempo, Split Point, Effect configurations and voice Name.
1 VCO AN1x Tone Generator 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 AN1x’s VCO module is much more complex.
AN1x Tone Generator Block Diagram CTRL PEG LFO2 VCO VCO1 MIX / VCF SYNC MASTER LFO1 SLAVE EFFECT VOLUME RING MOD VARI MIX FM VCO2 VCA VCF NOISE EQ HPF FEG AEG DLY REV FEEDBACK LPF, HPF, BPF, BEF — page 67 FEG — page 31 PEG/LFO — page 54 RING MODULATOR — page 66 NOISE — page 66 current tempo setting. The 8 Reverb effects include various Hall, Room and Stage types and more.
System Examples Speaker There are many ways to incorporate the AN1x into a simple or expanded music system. Following are a few of the most common examples. Speaker Amp Headphones The AN1x By Itself 1 2 3 4 5 L R INPUT L R OUTPUT 6 7 8 9 10 11 12 13 14 15 16 L R Mixer 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.
Connecting The AN1x To A MIDI Data Storage Device Playing The Demo Songs You can connect the AN1x to a MIDI data storage device, such as the Yamaha MDF2 MIDI Data Filer, in order to “bulk dump”, or save AN1x 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 AN1x whenever you wish.
Basic Operation Selecting Voices The AN1x comes with 128 voices already preprogrammed and ready to play. Not only are these voices first-rate and highly useful in their own right, they form a dynamic living example of the AN1x’s vast sonic range and power, as well as provide an excellent basis for study of how voices are constructed.
Voice Categories Using The Controllers 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. The AN1x has various on-board controllers which let you control specific parameters in real-time as you play. Besides keyboard Initial and After Touch, these include [PITCH] wheel, [MODULATION] wheel and [RIBBON] controller, as well as the eight assignable CONTROL knobs.
RIBBON Controller When you set the [EDIT ROTARY] switch to the 5th position (SEQ EDIT/SETUP menu), the CONTROL knobs will be dedicated to the event parameters of the various steps (beats) of the Step Sequencer. The [RIBBON] controller lets you control two different assignable parameters as you play. You can control one parameter by sliding your finger along the X-axis, and another by applying pressure to the Z-axis.
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 AN1x’s sonic range and power.
4 Turn the CONTROL knobs. ● Press a KNOB PARAMETER GROUP switch and turn each CONTROL knob as you play each Scene to 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 generator parameters as printed on the panel beside each knob. Notice how easy it is to edit and drastically change the voice. 8 Change arpeggio Tempo, Pattern Type, Subdivision, and Hold status.
Selecting Scenes And Scene Morphing Assignable Real-time Controllers You can assign specific parameters to the assignable controller of your choice, including the eight CONTROL knobs, [MODULATION] wheel, [RIBBON] controller (X-axis and Z-axis) and keyboard After Touch, as well as (optional) [FOOT VOLUME], [FOOT CONTROLLER] and [FOOTSWITCH] pedals. Controller and parameter assignments are made using the Control Matrix (see page 73) and the Utility Control Assign function (see page 95).
Scene Control Scene Edit Buffers When 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. When you switch back to Scene 1, it will recall your edited data (and not the original Scene 1 data stored with the voice).
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 real-time as you play. Also, you can select KNOB PARAMETER GROUP switches and turn the CONTROL knobs to edit the data during the Scene Control. All parameter changes when both [SCENE] switches are activated take place in the Scene Control edit buffer.
Scene Load Function Selecting Layer Modes 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. The LAYER switch is used for selecting a Layer mode from the six available.
DUAL SPLIT This mode layers the two sounds of Scene 1 and Scene 2—i.e., it plays both Scenes simultaneously. In this mode, the AN1x 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). 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 assigned to the keys to the right.
Portamento Play Layer Parameters The AN1x features Layer parameters in the VOICE SCENE SETUP menu which let you detune the Unison or Dual layers when UNISON mode or DUAL mode is selected, or separate the panning between the two layers when UNISON mode, DUAL mode or SPLIT mode is selected. For more information, see page 76.
Selecting Parameter Groups Setting Portamento Time You can determine the Portamento time by pressing [PEG/LFO] and turning CONTROL knob 4. Sync Pitch Src 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.
Using The CONTROL Knobs If the [EDIT ROTARY] 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 GROUP switch.
Assigning Parameters To Knobs Step Sequencer Event Edit If you set the [EDIT ROTARY] switch to the SEQ EDIT/SETUP menu (position 5), or if you select a voice when the [EDIT ROTARY] switch is already set there, no LED will be lit beside a KNOB PARAMETER GROUP switch, and turning a CONTROL knob will edit the selected event data of the Sequencer step assigned to that knob. You can assign one of many available Control Change parameters to each knob.
Using The Panel Edit Matrix Tempo Layer Pan Separate Dly / Rev EF Param Data EF Bypass Name Cursor LFO Rst Split Pnt Vari EF/ EQ Param Data Vari EF Dry:Wet Length Track Track No Param Scene Sw Track Job Rec Copy Arpeggio Subdivide Play EF Swing Velocity Key Track Layer Pan Separate Unison Detune Vari EF/EQ Param Data Vari EF Dry:Wet Dly/Rev EF Param Data EF Bypass Name Cursor Char VOICE COMMON Length Track Track No Param Scene Sw Track Job Rec Copy Undo VOICE FREE EG Arp
Editing Voices 3. Edit the various tone generator parameters for each Scene, using the KNOB PARAMETER GROUP switches and CONTROL knobs. 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.
1. VCO Edit CREATING ORIGINAL VOICES Pressing the [VCO1] KNOB PARAMETER GROUP 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 sound. Pressing the [VCO2] switch gives you access to the second oscillator, which contains the same set of parameters as VCO1, and lets you add extra dimension to the voice.
2. VCF Edit Sync Algorithm Pressing the [SYNC/FM] KNOB PARAMETER GROUP switch lets you use the CONTROL 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. When the "sync" is enabled VCO1 literally becomes two oscillators in one, with the slave synced to the master.
Ring Modulator, Noise And Mixer Amod Depth And Vel Sens Pressing the [MIX/VCF] KNOB PARAMETER GROUP switch lets you use CONTROL knobs 1-4 to determine the levels of the VCO1, VCO2, Ring Modulator and Noise signals, respectively.
Store Operations Using The Arpeggiator The [STORE] switch is used for performing Voice Store operations. The Arpeggiator lets you play arpeggiated chord patterns at the simple press of a key. There are 30 arpeggio pattern Types to choose from. Between the 10 Arpeggio Subdivide (timing 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.
Arpeggio Pattern Types The 30 arpeggio pattern Types are selected by pressing Type/No [UP/DOWN]. The available Types are basically divided into two groups, separated chords (Types 1-15), and special arpeggios (Types 16-30).
“scne1” or “scne2” 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.
Layer mode = SPLIT ● If “scne1” is selected and KbdMode is set to “chrd&norm”, you can play arpeggios with Scene 1 to the left of the Split Point, and play normally with Scene 2 to the right. Scene 1: Bass sound ● If KbdMode 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.
Play Effect Velocity Ext. TG 2 (Attack sound) Press the Play Effect Velocity [UP/DOWN] switch to set the ratio between the lower and higher velocity values of the Arpeggiator pattern, over a range between 1% and 200%. Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing Ext. TG 1 (Pad sound) Rcv. Ch2 Rcv.
Step Sequencer On/Off Step Sequencer Hold Modes The Step Sequencer can only be activated when the Arp/SEQ parameter (VOICE ARPEGGIO/SEQ menu) is set to “Step SEQ”. Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing Pressing Hold [UP/DOWN] lets you turn the SEQ Hold function on and off. Depending on Keyboard Mode setting, there are two additional Hold modes.
All editing of the pattern will of course be taking place in the buffer. If you want, you can use SEQ Store [UP/DOWN] to store the edited pattern to any User Pattern bank memory (1 - 128). If you perform a Voice Store operation, the edited voice will become the new Voice Pattern for the voice. 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.
Playing Step Sequencer Patterns The AN1x comes with 128 Voice Patterns and 128 User Patterns ready to go. All patterns can be overwritten to store your own. 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 edit 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.
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.
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 Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store SEQ EDIT /SETUP SEQ EDIT /SETUP For more information about Loop Type, see page 91.
Play Effects Exploring The Factory-set Patterns The Play Effect (“Play EF”) 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.
Knob Event Parameters Step Sequencer Edit To designate which type of event to edit by the CONTROL knobs, set the [EDIT ROTARY] switch to the SEQ EDIT/SETUP menu and press Event [UP/DOWN]. There are four types of events to choose from. Creating your own Step Sequencer patterns is a simple and straightforward process. When the [EDIT ROTARY] switch is set to the SEQ EDIT/SETUP menu, each CONTROL knob is used to edit Note, Velocity, Gate Time and Control Change values for a single step.
Gate Time (1 ~ 200%): Lets you determine the note duration for the step. While Step Hold is active, you can press Event [UP/DOWN] to select the type of event you want to edit, then turn the CONTROL knob accordingly. To turn the Step Hold function off, simply press Step Hold [UP/DOWN] again and switch it to “off”. 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.
Step Sequencer MIDI Output Storing Step Sequences Depending on whether the Step Sequencer is in Single Pattern Play or Pattern Select Play status, you can do the following: • You can use the MIDI Pattern Transmit Channel (“PtnTxCh”) 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.
Using The Free EG 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.
Track Parameters 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, i.e., loop from beginning to end then end to beginning (“ alt”), or to Half Alternate, i.e., loop from middle to end then end to middle (“ half”). Track No (Track Number): Selects a Free EG track (“Trk1” ~ “Trk4”).
Track Job Parameters Using The Control Features 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.
Step Sequencer Event Control 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).
Source: Determines which controller (by Control Change number) is assigned to control the corresponding Parameter. 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 CONTROL knobs, [MODULATION] wheel, [FOOT CONTROLLER], [RIBBON] controller, etc.
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 Procedure 2 1. Press [+] to increment through the voices sequentially. You can select a voice for play from among the 128 voices in memory. There are two procedures for doing so, as listed below. 2. Press [-] to decrement through the voices sequentially.
Knob Edit 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. 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).
5. Store the edited voice. When you’ve completed the editing procedure and wish to store the edited knob parameters, you can store it as a new voice in any desired voice location (1 ~ 128). For details, see Voice Store, page 98. Edit Mark When 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.
PEG Decay PEG Depth 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. The PEG Depth setting determines the pitch in semitones. When PEG Decay (see above) is set to a positive value, the PEG Depth setting represents the start pitch. When PEG Decay is set to a negative value, the PEG Depth setting represents the end pitch.
Port Time (Portamento Time) Sine Wave 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. Sine 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.
Tri (Triangle) Wave Squ (Square) Wave Triangle Square Triangle Square Triangle Square180 Triangle180 Saw (Sawtooth) Wave Saw down Triangle180 Saw down Saw up Saw up 57
LFO1 Dly s/h (Sample & Hold) Wave (LFO1 Delay) The LFO1 Delay setting determines the delay time of the modulation. Turning the knob to the left results in shorter LFO1 Delay times, and turning it to the right results in longer Delay times. s/h s/h Short Delay Long Delay s/h2 Settings: 0 ~ 127 LFO2 Spd (LFO2 Speed) Description, parameters and values for LFO2 Speed are the same as for LFO1 Speed, above. s/h2 The LFO2 wave is fixed to “triangle”, and cannot be changed.
Algorithm Sync Pitch 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. The Sync Pitch setting determines the pitch of the slave oscillator 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.
Sync Pitch Src FM Src1 (Sync Pitch Source) (FM Source 1) The Sync Pitch Source setting determines the source which applies the modulation over time to the slave oscillator. The FM Source 1 setting determines the modulation source which controls the FM Depth (see previous parameter). Settings: fixed, PEG, FEG, LFO1, LFO2 Settings: fixed, PEG, FEG, LFO1, LFO2 When set to “fixed”, there is no change in modulation over time. Sync Pmod Sw When set to “fixed”, there is no change in modulation over time.
saw2 (Sawtooth2) VCO1 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. When the Pulse Width (see page 62) is set to 64, the shape of the wave is the same as saw1. Even if you increase the even-numbered harmonics by the Pulse Width, the basic pitch remains the same.
Fine PW The Fine (fine tune) setting determines the pitch of the VCO1 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. The PW setting determines the width of the VCO1 pulse wave. Turning the knob to the right produces more harmonics, resulting in a fatter sound.
PWM Src VCO2 (Pulse Width Modulation Source) When KNOB PARAMETER GROUP switch [VCO2] is selected, the eight CONTROL knobs will access specific Voltage Controlled Oscillator 2-related parameters, including wave selection, pitch specification and wave control. The PWM source setting selects the source wave which changes the VCO1’s pulse width over time, thus determining the behavior of the pulse width. For more information about VCO2, see pages 10, 30.
VCF Sustain When KNOB PARAMETER GROUP switch [VCF] is selected, the eight CONTROL knobs will access specific Voltage Controlled Filter-related parameters. 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.
VCF Cutoff FEG Depth 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 parameter group (see page 67). The FEG Depth setting determines the range of movement of the cutoff frequency. Turning the knob to the right increases the FEG Depth. Negative values reverse the shape of the envelope. When not using the FEG, set the value to “0”.
MIX/VCF Ring Mod (Mixer/VCF) (Ring Modulator Level) The Ring Modulator setting controls the balance of the Ring Modulator level in relation to the VCO1, VCO2, Noise, and VCA Feedback levels. Turning the knob to the right increases the Ring Modulator level. When not using the Ring Modulator, set this value to “0”.
HPF BPF (High Pass Filter Cutoff) The Band Pass Filter passes only those frequencies in the specified range, with a cutoff curve of 12dB/octave. The HPF setting determines the cutoff frequency of the High Pass Filter. Frequencies above the setting are passed while those below are cut off. Turning the knob to the right increases the HPF Cutoff frequency, resulting in a brighter sound.
Fmod Depth VCA (Filter Modulation Depth) The Filter Modulation Depth setting determines the depth of the filter modulation of the VCF by the LFO1. Filter Modulation adds a cyclical change to the filter cutoff frequency to create a wah effect. Turning the knob to the right widens the range of the cutoff frequency change. Negative value settings reverse the phase of the LFO1 by 180 degrees.
Sustain Feedback 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. 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.
Amod Depth ASSIGN (Amplitude Modulation Depth) When KNOB PARAMETER GROUP switch [ASSIGN] is selected, each of the eight CONTROL knobs can be used as an individual controller for specified Control Change parameters which can be freely assigned. The Amplitude Modulation Depth setting determines the depth of the amplitude modulation of the VCA by the LFO1. Amplitude Modulation adds a cyclical change to the volume level to create a tremolo effect.
Panel Parameter Edit Edit Procedure 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 voices. 1. Select a voice using the PROGRAM CHANGE keypad. Enter the number of the voice you want, followed by [YES/ENTER], or select the voice by pressing [+] / [-].
Edit Parameters 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. Following is a description of each parameter in each of the six Edit menus, along with a listing of available settings. 6. Execute a Store operation. When you've finished editing the data, you can store the voice to a user voice memory (1 - 128) using the Voice Store operation.
● LFO Rst (LFO Reset) The LFO Reset mode setting determines the start point of the LFO1 and LFO2 cycle. Settings: poly: You can play maximum 10 notes polyphony when Layer mode is set to SINGLE. mono: Plays one (monophonic) note. Settings: 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.
● Set No Convenient Parameter Control (Set Number) The Set Number parameter lets you select Pitch Bend Pitch Up and Down, the number of the Set (1-16), and Common (1 and 2) parameter assignments. You can use the Control Matrix sets to assign a single controller to control more than one parameter, or multiple controllers to control the same parameter. [Ex. 1] One controller to control more than one parameter Set 1 2 Param VCF Cutoff Resonance Source A.MW A.MW Depth +25 +30 Settings: [Ex.
● Source You cannot assign the same Source controller and Parameter to more than one set. If you attempt to, lower-numbered sets will take priority, and "– – –" will appear in the LCD for higher-numbered sets. The Source setting determines which controller (by Control Change number) is assigned to control the corresponding Parameter. When you select [RIBBON] controller "A.
Layer If Pan setting = “alt” or “rnd”: • 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. The Separate setting adjusts the Pan separation range. Higher values result in a wider separation. When the value is set to maximum setting (“32”), then left, center and right are completely separated.
VOICE COMMON Split Pnt This menu includes parameters common to the voice (both Scenes) including Tempo for Arpeggiator and Step Sequencer, plus Effect-related settings and voice naming parameters. The Vari EF Dry:Wet parameter can be edited for each Scene. 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).
● Data Setting the Equalizer The Data parameter lets you select the Variation Effect type and change data values of the selected effect or EQ Parameter. 1. Press Param [UP/DOWN] to select an EQ parameter. (There are seven EQ parameters; see the separate Data List book.) 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.
Dly/Rev EF (Delay/Reverb Effect) Setting Delay and Reverb Delay/Reverb Effect settings determine the Delay and Reverb effect types and data settings. There are two parameters available, Param (Parameter) and Data. 1. Press the lower area of the Param [UP/DOWN] switch to select the Connect parameter. 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.
EF Bypass (Effect Bypass) Name 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. Name 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).
VOICE FREE EG Naming A Voice 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 CONTROL knob position data (all knobs) over a specified length of time, either in measures or seconds. 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.
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. When the Trigger is set to “kbd”, the Free EG will be applied to the pattern.
● Track No Track Job (Track Number) The Track Number parameter lets you select the Free EG track. 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. ● Rec (Record) The Record parameter lets you determine how a Free EG record operation (of knob movement data) will be executed.
In Record Standby mode, Length and Track Number parameters are available, but others cannot be accessed. (Also, MIDI control will be ineffective.) Copy Procedure 1. Press Track No [UP/DOWN] to select the track to which you want to copy Free EG data to (destination). 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. 2.
● Arp/SEQ VOICE ARPEGGIO/SEQ (Arpeggiator/Sequencer) The Arp/SEQ setting designates either the Arpeggiator or the Step Sequencer to play when the [ARPEGGIO/SEQ] switch is on. Either one or the other can be designated to play for each voice. 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 at the press of a key.
Settings: When Arp/SEQ is set to Step Sequencer: When Arp/SEQ is set to Arpeggio: Arp 01 ~ 30 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. You can select one Arpeggio pattern from the 30 available patterns.
● SceneSw sel&shift (Select & 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.
● Velocity Arpeggio Subdivide 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.
● 1-8/9-16 SEQ EDIT/SETUP 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. 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.
Pattern Sequence Patterns and Banks 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 Number. When you select a voice which has the Common KbdMode parameter set to “norm” or “shift&norm”, Voice Pattern data for the voice is loaded.
● Base Unit ● Ctrl No 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. The Control Number setting determines the type of MIDI Control Change which can be output upon sequencer play. Once the Control Number 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.
● KbdTrans 2. Press [YES/ENTER] to execute the Sequence Store operation. The LCD returns to the Pattern Bank/Number display. (Keyboard Transpose) The Keyboard Transpose parameter determines the transposition setting for the keyboard in semitones. Settings: -36 ~ 0 (basic pitch) ~ +36 To cancel the Sequence Store operation after step 1, press [NO].
MIDI soft2: This curve also increases the volume level with a softer playing style, but is closer to the Normal curve compared to Soft1. 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 Number, Local, and Bulk Dump.
● DeviceNo ● Bulk Dump (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. The Bulk Dump parameter lets you initiate bulk dump operations when offloading AN1x data to an external MIDI data storage device (such as the Yamaha MDF2 MIDI Data Filer) or another AN1x.
Ctrl 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. Control parameters let you designate the type of Control Change messages which can be controlled by the [MODULATION] Wheel, 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 Number.
Voice Recall 2. Press Ctrl No [UP/DOWN] to select the control function. The control function name appears beside the available control numbers. 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. When set to a Knob (1 ~ 8), Tempo and Data Entry can also be selected for control.
Voice Initialize 4. Press [YES/ENTER] to initialize the voice data. 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". 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.
Store 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 [ENTER], or select the location with [-] / [+]. The voice name flashes alternately with "HIT[STORE]". Store lets you perform Voice Store or Scene Store operations. Voice 1-128 2 Scene1 Scene Setup Parameters Voice Store 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.
Scene Store Scene Select Scene Store is handy for storing the knob position settings created during Scene Control to one of the [SCENE] switches. After selecting a voice, press [SCENE 1] or [SCENE 2] to select the desired scene. The LED appears beside the selected switch to indicate the active Scene. (At least one Scene is active at all times.) 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.
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. 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 the PROGRAM CHANGE keypad and turn the power back on.
Voice Creation Examples 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 time 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.
10. Apply vibrato to the voice. Press KNOB PARAMETER GROUP switch [VCO1] and press CONTROL 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. Strings First let’s create the fundamental sound… 1. Select a voice that you don't mind writing over. Perform a Type 1 (Normal) Voice Initialize operation.
8. Set the velocity sensitivity of the VCA. Press KNOB PARAMETER GROUP switch [VCA], then press CONTROL knob 8 to display the Vel Sens (Velocity Sensitivity) parameter in the LCD. Turn the knob to set a value near “+15” to increase the sensitivity. You can control the vibrato of the VCO1 by moving the [MODULATION] wheel. To further define the range of vibrato control, press Depth [UP/DOWN] to set a value of “Dp+20”.
6. Set the VCF cutoff for a mellow EP sound. In the [VCF] group, turn CONTROL knob 5 to set the VCF Cutoff parameter to a value of about “70”. Electric Piano First let’s create the fundamental sound… 1. Select a voice that you don't mind writing over. Perform a Type 1 (Normal) Voice Initialize operation. 7. Set the velocity senstivity of the filter. In the [VCF] group, turn CONTROL knob 8 to set the Vel Sens (Velocity Sensitivity) to a value of about “+40”.
12. Use the Control Matrix to control the Sync Pitch by key tracking. With key tracking you can mellow out the Sync Pitch in the upper range and bring out the grit in the lower range. Electronic Organ First let’s create the fundamental sound… 1. Select a voice that you don't mind writing over. Perform a Type 1 (Normal) Voice Initialize operation. In the VOICE SCENE SETUP menu, perform the following operations: • Press Set No [UP/DOWN] to display “Set 3” in the LCD.
Next let’s tweak a few parameters to add extra control over and dimension to the sound… Synth Brass First let’s create the fundamental sound… 5. Set up the [MODULATION] wheel to control the speed of the rotary speaker. Set the [EDIT ROTARY] switch to the VOICE SCENE SETUP menu. • Press Control Matrix Set No [UP/DOWN] to select “Comn1” (Common 1). • Press Param [UP/DOWN] to select “Vari Param” (Variation Parameter). • Press Source [UP/DOWN] to select “A.MW” (Modulation Wheel).
6. Apply vibrato to the voice. Press KNOB PARAMETER GROUP switch [VCO1] and press CONTROL 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. Synth Lead First let’s create the fundamental sound… 1. Select a voice that you don't mind writing over. Perform a Type 1 (Normal) Voice Initialize operation.
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 ROTARY] 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] to set a value of about “30”.
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.
Pan (Control #010) Effect1 Depth (Reverb) (Control #091) Messages which control the stereo panning position of each voice (for stereo output). Messages which adjust the send level for the Reverb effect. Setting the value to 127 positions the sound to the far right and 0 positions the sound to the far left. Effect3 Depth (Variation [Chorus]) (Control #093) Expression (Control #011) Messages which adjust the dry/wet balance for the Chorus Variation Effect.
Channel Mode Messages 2. SYSTEM MESSAGES The following Channel Mode Messages can be received. System messages are the data related to the overall system of the device. 2nd BYTE 3rd BYTE 120 0 121 0 123 0 126 0 ~ 16 127 0 MESSAGE All Sounds Off Reset All Controllers All Notes Off Mono Poly System Exclusive Messages System Exclusive messages control various functions of the AN1x, including master volume and master tuning, effect type and various other parameters.
Error Messages The following messages may appear during operation, indicating problems or incorrect operation, or to provide information. These are explained below. Battery Low SysEx Size Error 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. Received System Exclusive message size is incorrect.
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.
Blank Chart Voice No.
Voice Scene Setup Mode Poly Port LFO Rst Scene Control Matrix Ctrl Matrix Ctrl Matrix Set No Param Source Depth Set No Pitch Up Set 9 Pitch Down Set 10 Set 1 Set 11 Set 2 Set 12 Set 3 Set 13 Set 4 Set 14 Set 5 Set 15 Set 6 Set 16 Set 7 Common 1 Set 8 Common 2 Param Source Depth Knob Parameter Type SYNC/FM PEG/LFO Algorithm Sync Pitch Sync Pitch Depth Sync Pitch Src PEG Decay PEG Depth PEG Sw Port Time Sync Pmod Sw FM Depth FM Src1 FM Src2 LFO1 Wave LFO1 Spd
Specifications KEYBOARD 61Keys (Initial/After Touch), TONE GENERATOR Analog Physical Modeling, 2 VCOs (Sync, FM)/Ring Mod/Noise/2 LFOs/PEG/VCF (FEG)/VCA (AEG) POLYPHONY 10 notes (maximum) MULTI TIMBRES 2 timbres maximum (with polyphony of 5 + 5 notes) EFFECT Variation: 14, EQ: 1 (Stereo 3-Band), Delay: 5, Reverb: 8 VOICE MEMORIES User 128 ARPEGGIATOR 30 Preset patterns STEP SEQUENCER Voice Pattern for each Voice plus 128 User Patterns FREE EG No.
Index E A AEG ..............................................................................................32 Algorithm ..................................................................................31, 59 Amod Depth (VCA) ..........................................................................70 Amplifiers ........................................................................................10 AN1x Quick Tour ............................................................................17 APPENDIX ..
L Port (Mode) ..............................................................................25, 73 Port Time (PEG/LFO) ..................................................................25, 56 Portamento Play ..............................................................................24 PORTAMENTO switch ......................................................................24 POWER switch ..................................................................................7 PROGRAM CHANGE ...................
T Tempo ............................................................................................77 Tone Generator ................................................................................10 Track ........................................................................................48, 82 Track Common ..........................................................................47, 81 Track Job ..................................................................................49, 83 Track No ........
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FCC INFORMATION (U.S.A) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 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.
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