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FORMANT SHAPING /

FM SYNTHESIS TONE GENERATOR

Formant Shaping Synthesis:The Evolution of FM

New synthesis technology — FS Synthesis

(Formant shaping / FM synthesis) — creates

sound with characteristics and flexibility

similar to the human voice for extraordinary

sonic depth and expressive control.

Upward compatible with voices from the

“classic” FM synthesizers and tone genera-

tors, such as the Yamaha DX and TX series.

Formant Sequences — “Fseqs” — produce

other-worldly vocal phrases, rhythm loops,

and more.

Assignable control knobs for extended

real-time sonic control as well as easy

programming.

A huge selection of 1408 preset voices,

including the best from the original DX and

TX series.

Block Diagram

Tone Generation System Tone Generators Formant Shaping / FM Synthesis

Multi-Timbres 4 Parts (16 MIDI Channel Multi-Timbre)

Polyphony 32 notes (DVA)

DEMO Songs 15

Number of Voices Performance

Preset 384 (128 x 3 banks), Internal 128

Voice

Preset 1408 (128 x 11 banks), Internal 128 / 64 (Internal Fseq)

Fseq (Formant Sequence)

Preset 90, Internal 6 (max)

Components Performance

4 Parts (4 Voices), Fseq (Formant Sequence),

Voice Controller (Source / Destination Assignable Matrix)

Effects

Reverb 16 types, Variation 28 types,

Insertion 40 types, Equalizer

Voice

16 Operators (Voiced x 8, Unvoiced x 8), 88 Algorithms, LFO1,

LFO2, Dynamic Filter, Pitch EG

Controls POWER Switch

Main Volume x 1

Sound Control Knob x 4

(Absolute / Relative)

Mode x 6 (PLAY, EDIT [PERFORM], EDIT [EFFECT], EDIT [VOICE], UTIL, SEARCH)

Data x 9 (MUTE/SOLO, ENTER, EXIT, PART / , CURSOR / , VALUE / )

Knob Select x 2 (ATTACK, RELEASE, FORMANT, FM / KN1-4 )

Display LCD (Backlit)

LED Mode x 6 Green, Knob Select x 2 Red

Terminals Front panel Phones

Rear panel Output L(MONO), R

Individual Out L, R

MIDI IN/OUT/THRU

Dimensions 480(W) x 235(D) x 44(H) mm

Weight 2.6Kg

Power Consumption USA 120V (60Hz) 12.0 Watts

Europe 240V (50Hz) 12.0 Watts

Included Accessories Owner's Manual x 1, Data List x 1, AC Power Cord x 1

Descriptions and photographs in this brochure are for information purposes only,

and specifications are subject to change without notice.

Specifications

SPECIAL MESSAGE SECTION

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, consult 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

accompany the accessory product.

SPECIFICATIONS SUBJECT TO CHANGE:

The information contained in this manual is believed to be correct at the

time of printing. However, Yamaha reserves the right to change or modify

any of the specifications without notice or obligation to update existing

units.

This product, either alone or in combination with an amplifier and

headphones or speaker/s, may be capable of producing sound levels

that could cause permanent hearing loss. DO NOT operate for long

periods of time at a high volume level or at a level that is uncomfortable.

If you experience any hearing loss or ringing in the ears, you should

consult an audiologist.

IMPORTANT: The louder the sound, the shorter the time period before

damage occurs.

Some Yamaha products may have benches and / or accessory mounting

fixtures that are either supplied with the product or as optional

accessories. Some of these items are designed to be dealer assembled

or installed. Please make sure that benches are stable and any optional

fixtures (where applicable) are well secured BEFORE using.

Benches supplied by Yamaha are designed for seating only. No other

uses are recommended.

NOTICE:

Service charges incurred due to a 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

environmentally 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

necessary, contact a qualified service representative to perform the

replacement.

This product may also use "household" type batteries. Some of these may

be rechargeable. Make sure that the battery being charged is a

rechargeable type and that the charger is intended for the battery being

charged.

When installing batteries, do not mix batteries with new, or with batteries

of a different type. Batteries MUST be installed correctly. Mismatches or

incorrect installation may result in overheating and battery case rupture.

Warning:

Do not attempt to disassemble, or incinerate any battery. Keep all

batteries away from children. Dispose of used batteries promptly and as

regulated by the laws in your area. Note: Check with any retailer of

household type batteries in your area for battery disposal information.

Disposal Notice:

Should this product become damaged beyond repair, or for some reason

its useful life is considered to be at an end, please observe all local, state,

and federal regulations that relate to the disposal of products that contain

lead, batteries, plastics, etc. If your dealer is unable to assist you, please

contact Yamaha directly.

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

92-BP

PLEASE KEEP THIS MANUAL

Intro 12/4/98 11:08 AM Page 3

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep these precautions in a safe place for future reference.

• Do not open the instrument or attempt to disassemble the internal parts 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.

• 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.

• Before cleaning the instrument, always remove the electric plug from the

outlet. Never insert or remove an electric plug with wet hands.

• Check the electric plug periodically and remove any dirt or dust which may

have accumulated on it.

CAUTION

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 the instrument or 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.

• Unplug the AC power adaptor when not using the instrument, or during

electrical storms.

• Before connecting the instrument to other electronic components, turn off the

power for all components. Before turning the power 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, plastic or rubber 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.

• Use only the stand/rack specified for the instrument. When attaching the stand

or rack, use the provided screws only. Failure to do so could cause damage to

the internal components or result in the instrument falling over.

• 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.

■REPLACING THE BACKUP BATTERY

• This instrument contains a non rechargeable internal backup battery which

permits internal data to remain stored even when the power 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 MDF3), 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.

■SAVING USER DATA

• Save all data to an external device such as the Yamaha MIDI Data Filer MDF3,

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.

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:

(3)-3

Intro 12/4/98 11:08 AM Page 4

About This Manual

Congratulations on your purchase of the CS2x Control Synthesizer! And

thank you for choosing Yamaha.

The CS2x introduces a completely new dimension to the enormously

popular CS1x, providing more great sounds, additional SOUND

CONTROL knobs for broader real-time sound sculpting capabilities, plus

other handy features which provide for greater overall operational

convenience and performance flexibility.

This owner’s manual is your personal “hands on” guide to getting the

most from your CS2x — so be sure to keep it in a safe and accessible

place for quick and easy reference whenever you may need it! It is

divided into the following sections:

Getting Started

This section includes everything you need to get to know the CS2x inside and out.

It is divided into four parts: Welcome To The World Of CS2x Control Synthesis,

Setting Up The CS2x, Getting To Know The CS2x, CS2x Quick Tour.

Feature Reference

This section provides descriptions of CS2x features and explanations of operations.

It is in essence a dictionary which you can refer to any time you need to know the

specifics about any given feature. It is organized into the following sections:

Performance Mode, Multi Play Mode, Utility Mode, Store Mode and Factory

Settings.

Appendix

This section provides information related to the digital effects, MIDI, error messages,

troubleshooting and more.

A separate CS2x Control Synthesizer “Data List” book provides tables,

lists and other information related to Preset Performances, normal and

drum voices, MIDI Data Format and more.

Naming Conventions

For maximum ease of understanding, two basic conventions are used

throughout this manual regarding the names of CS2x features, as follows:

• The names of specific buttons located on the panel are placed inside

brackets, e.g. [ARPEGGIO] button, [PERFORMANCE] button, [USER]

button, etc.

• The names of other panel features and terminals are printed in all-caps

just as they appear on the panel, e.g. PITCH wheel, TO HOST terminal,

EFFECT REV SEND parameter, etc.

CONTENTS

Getting Started .................................... 6

Welcome To The World Of CS2x Control Synthesis .......... 6

Main Features .......................................................................... 7

Top Panel ................................................................................ 8

Rear Panel.............................................................................. 10

Setting Up The CS2x........................................................ 11

Basic Connections ................................................................ 11

Powering Up! ........................................................................ 14

Playing The Demo Songs ...................................................... 14

Getting To Know The CS2x .............................................. 15

CS2x Tone Generation .......................................................... 15

Normal Voices And Drum Voices .......................................... 18

Layers .................................................................................... 18

Knob Parameters.................................................................... 19

Panel Edit Parameters ............................................................ 20

Operating Modes .................................................................. 21

CS2x Quick Tour.............................................................. 23

Performance Mode ................................................................ 23

Performance Selection .................................................... 23

Performance Mode Select ........................................ 23

Performance Bank Select .......................................... 23

Performance Number Select .................................... 23

Performance Play ............................................................ 25

Octave Shift Function .............................................. 25

PITCH And MODULATION Wheels ........................ 25

Scenes And SCENE CONTROL Function .................. 25

Performance Editing And Store ........................................ 26

SOUND CONTROL Knobs ...................................... 26

The Arpeggiator ........................................................ 27

Panel Edit Matrix ...................................................... 29

User Performance Store ............................................ 30

Multi Play Mode.................................................................... 31

Sequencer Setup ...................................................... 31

Multi Play Mode Select ............................................ 31

Part Assign ................................................................ 32

Part Parameter Edit .................................................... 32

XG Operation .................................................... 33

Multi Play In Performance Mode .......................................... 33

Using The CS2x With XGworks ...................................... 34

Feature Reference .............................. 40

Performance Mode .......................................................... 40

Common Edit 1 .................................................................... 43

Common Edit 2 .................................................................... 45

Layer Edit 1............................................................................ 47

Layer Edit 2............................................................................ 50

Layer Edit 3............................................................................ 52

Layer Edit 4............................................................................ 54

Multi Play Mode.............................................................. 57

Utility Mode .................................................................... 61

Store Mode...................................................................... 66

Factory Settings .............................................................. 69

Appendix ............................................ 70

Digital Effects .................................................................. 70

About MIDI .................................................................... 72

Specifications .................................................................. 76

Troubleshooting .............................................................. 77

Error Messages ................................................................ 78

Index .............................................................................. 79

The illustrations and LCD screens as shown in this owner's manual

are for instructional purposes only, and may be different from the

ones on your instrument.

The company names and product names in this owner's manual are

the trademarks or registered trademarks of their respective

companies.

cCS2x_Basic 12/10/98 5:25 PM Page 5

Getting Started

Welcome To The World Of CS2x

Control Synthesis

Whether you’re a beginner and the CS2x is your very first professional synth, or you’re a seasoned professional making a living

entertaining the masses — or whether you style yourself as anything in between — you’re sure to find the CS2x to be one of the finest

electronic musical instruments you’ll ever own. It’s certainly one of the most

fun.

It can be said that the CS2x is a sort of

analog-style digital synth

. It takes the best of traditional analog — such as simplicity of use, natural

“hands on” interactivity, broad dimensions of sound, an Arpeggiator, and a wealth of real-time control features — and unites it with the

best of modern digital — such as stable pitch, a full 64 notes of polyphony, one-touch setting reconfigurations, a generous 16 MB of

Wave ROM plus lots of storage memory, comprehensive MIDI features, and much, much more.

Another great thing about the CS2x is that there are no pages and pages of hard-to-get-at hidden functions. Literally everything you need

is laid out right before your eyes. And simply a press of a button — or twist of a knob — away. Since all complicated concepts and

frustration factors are eliminated right from the start, the CS2x is quick and easy to learn to operate.

And if you should ever need to use the CS2x as a multitimbral tone generator, you’ll find it the ideal MIDI system component since it’s

designed to accommodate XG and General MIDI System Level 1 (GM) formats with ease. It also lets you set up your own configuration

of multiple timbres using a unique “4-Layer plus 12-Part” system that lets you keep your Performance timbre intact. There’s even a stereo

mini plug input which lets you “mix” the stereo or mono audio signals of an external component such as a sampler or submixer with

the CS2x’s audio output.

All things considered, the CS2x is sweet and simple — but incredibly powerful. Capable of holding its own in literally any music

situation, it’s an exciting world of modern music that you’ll be proud to be a part of.

CONTROL

SYNTHESIZER

Getting Started

GM System Level 1

“GM System Level 1” is a standard specification that defines the arrangement of voices in a tone generator and its MIDI

functionality, ensuring that data can be played back with substantially the same sounds on any GM-compatible tone generator,

regardless of its manufacturer or model. Tone generators and song data that meet the “GM System Level 1” bear this GM logo.

“XG” is a tone generator format that expands the voice arrangement of the “GM System Level 1” specification to meet the ever-

increasing demands of today’s computer peripheral environment, providing richer expressive power while maintaining upward

compatibility of data. “XG” greatly expands “GM System Level 1” by defining the ways in which voices are expanded or edited

and the structure and type of effects.

When commercially available song data bearing the XG logo is played back on a tone generator which bears the XG logo, you

will enjoy a full musical experience that includes unlimited expansion voices and effect functions.

cCS2x_Basic 12/10/98 5:25 PM Page 6

Getting Started

Main Features

The CS2x is designed for maximum real-time control during performance. This makes it the ideal

choice for Dance DJs, Rhythm And Rhyme MCs, Drum & Bass and Techno musicians — and

anyone else whose music thrives on a cutting edge synth sound. It’s also an ideal multitimbral

“module” fit for any type of MIDI system. Following is a list of the CS2x’s main features.

● 16 MB Wave ROM With AWM2 Voices

AWM2 (Advanced Wave Memory 2) voices are comprised of actual digital recordings, or

samples, of real musical instrument and other sounds. Voices available for use include 586

normal voices and 20 drum voices (kits) for GM and XG format applications in Multi Play mode,

plus much more.

● 256 Preset And 256 User Performances

A “Performance” is a complete configuration of a

Layer

(up to 4 voices either stacked or playing

in sophisticated keyboard and velocity splits) plus digital effects selections, Arpeggiator and

many other parameter settings. Performance mode — the chief operating mode for real-time play

— has 256 great-sounding Preset Performances plus 256 User Performances for storing your

own.

● 8 Real-time Sound Control Knobs And “Scenes”

The SOUND CONTROL knobs give you direct access to key parameters of the currently selected

Performance as you play. Each Performance has two Scene memories, each of which provides

instant recall of specific SOUND CONTROL knob positions. You can use the MODULATION

wheel or a connected Foot Controller to “morph” between the sound of each Scene during

performance.

● Arpeggiator With 40 Patterns

The Arpeggiator lets you select from 40 types of arpeggiated chord patterns and 10 timing

subdivisions. Included are Up, Down and Up/Down patterns across one or more octaves, plus

various special patterns including Techno, House, Random, Echo&Pan and more. All Arpeggiator

settings are stored as part of each Performance. The Arpeggiator’s tempo can be controlled by an

external MIDI clock, and the Arpeggiator data can be output via MIDI.

● 3 Programmable Digital Effects Units

The three independent DSP digital effects units — Reverb (12 types), Chorus (14 types) and

Variation (62 types) — can all be used simultaneously.

● Easy Connection To And Use With A Computer

A built-in TO HOST terminal plus HOST SELECT switch permits direct connection to an IBM

PC/AT or Apple Macintosh computer without the need for any peripheral interface hardware.

Multi Play mode allows for multitimbral play of up to 16 different Parts (across 16 MIDI

channels, when using an external sequencer) with 64 notes of available polyphony.

cCS2x_Basic 12/10/98 5:25 PM Page 7

Getting Started

1 VOLUME knob

This knob controls the CS2x’s overall audio volume level output from the

PHONES and OUTPUT jacks. Turn it between left-most (minimum) and

right-most (maximum) positions to set the proper listening level whether

using headphones or amplified speakers.

2 SOUND CONTROL knobs

The eight SOUND CONTROL knobs are used for real-time control and

edit of various tone generator parameters. Turning a knob to the left or

right will offset its specified parameter values accordingly (left for

negative values, right for positive values). Each knob has a detented

center stop position which represents the original value of the parameter.

(page 19.)

3 [SCENE] buttons

Each of the CS2x’s 512 Performances has two “Scene” memories in which

are stored the specific positions of the eight SOUND CONTROL knobs,

giving you the capability of slight or even radical sound reshaping at the

press of a [SCENE] button. Simultaneously pressing both [SCENE] buttons

activates the SCENE CONTROL function, which lets you use the

MODULATION wheel or a connected Foot Controller to “sound morph”

between the two Scenes. (page 25.)

4 [ARPEGGIO] button

Pressing this button turns the Arpeggiator on and off. When the

Arpeggiator is on, you can create automatic arpeggiated chords as you

play. You can designate arpeggio type, tempo and timing subdivision

using the panel edit functions. An ARPEGGIATOR SPLIT function lets you

split the keyboard at C3 so the chords you play to the left of the split point

will create arpeggiated chords and everything from the split point and

above will play as normal. An ARPEGGIATOR HOLD function will cause

arpeggiated chords to continue playing even after you release the keys.

(page 27.)

5 [SHIFT] button

This button has three functions. (1) Holding [SHIFT] and pressing

OCTAVE [-]/[+] transposes the octave of a Performance or voice up or

down (page 25). (2) Holding [SHIFT] and pressing [ARPEGGIO] turns the

ARPEGGIATOR HOLD function on and off (page 27). (3) Holding [SHIFT]

and pressing ARPEGGIATOR TYPE [UP/DOWN] (in Performance Edit

mode when the Arpeggiator Type screen is displayed) turns the

ARPEGGIATOR SPLIT function on and off (page 27).

6 PART/LAYER/OCTAVE [-]/[+]

buttons

These two buttons have three functions. (1) In Performance mode you can

use them to select one of the four Layer voices (page 29). (2) In Multi Play

mode you can use them to select one of the 16 Parts (page 32). (3) When

used in conjunction with the [SHIFT] button you can use them to

transpose the octave of the Performance or voice up or down (page 25).

7 [PRESET] and [USER]

Performance buttons

Pressing one of these buttons lets you access a Preset or User

Performance bank in Performance Play mode. Each time you press

[PRESET] or [USER] toggles between P1 and P2 or U1 and U2 banks,

respectively. Each bank contains 128 Performances, making a total of 512

available. (page 23.)

8 PROGRAM [-]/[+] buttons

Each time you press one of these buttons lets you step up ([+]) or down

([-]) through each consecutive Performance (in Performance mode) or

voice (in Multi Play mode). Holding either switch lets you continuously

“scroll” through the list of programs.

9 LCD

The backlit LCD screen displays various types of information to indicate

the current operating status of the CS2x, depending on which mode or

particular function is selected.

Top Panel

PHONES

L/MONO

OUTPUT

DC IN

FOOT

VOLUME

FOOT

CONTROLLER

FOOT

SWITCH

INPUT TO HOST

HOST SELECT

IN OUT

MIDI

THRU

ATTA CK

DECAY

RELEASE DATAASSIGN

ASSIGN 2

RESONANCE

CUTOFFCUTOFF LPFHPF

VOLUME

SCENE

MW FC

MODULATION

PITCH

ARPEGGIO

PRESET

PROGRAM

USER

PERFORMANCE

PRESET USER ARPEGGIATOR

MULTI

STORE

UTILITY

PART LAYER

HOLD

SHIFT

OCTAV E

–

VWX

MNO

PQR STU

JKL

SPACE

YES

ENTER

GHI

QUICK PC

DEF

ABC

–

CONTROL SYNTHESIZER

PERFORMANCE

MULTI

DEMO

STORE

UTILITY

MASTER

TUNE

KBD

TRANS

VEL

CURVE

VEL

FIX

SYSTEM

P BEND

RANGE

TYPE

ARPEGGIATOR

TEMPO

PMOD

SUB

DIVIDE

PERFORM

LEVEL

FMOD

CUTOFF

REV

TYPE

CHO

TYPE

VARI

TYPE

VARI

PARAM

PERFORM

NAME

VARI

DATA

ASSIGN1

PARAM

PORTA

SWITCH

TIME

EFFECT

VARI

CUTOFF

FMOD

COMMON

ASSIGN

CTRL

BULK

DUMP

LOCAL

MIDI

DEVICE

RCV

TRANS

BANK

PROGRAM

ATK

TIME

ATK

TIME

DCY

TIME

DCY

TIME

FEG

AEG

SUS

LEVEL

SUS

LEVEL

VOLUME

PAN

REL

TIME

REL

TIME

AMOD PMOD

INIT

LEVEL

ATK

TIME

REV

SEND

EFFECT

CHO

SEND

VARI

SEND

ATK

LEVEL

FMOD

LFO

PEG

DCY

TIME

WAVE

FILTER

CUTOFF

REZ

SPEED

REL

TIME

REL

LEVEL

PHASE

INIT

POLY

MONO

ASSIGN

DATAPARAMDEPTHOFFSET

VEL

LIMIT

HIGH

LIMIT

HIGH

LIMIT

LOW

LIMIT

LOW

NOTE

TUNE

NOTE

SFT

DETUNE

LAYER

STANDBY

–

ENTER

cCS2x_Basic 2/3/99 2:00 PM Page 8

Getting Started

) NUMERIC KEYPAD

The NUMERIC KEYPAD is used in conjunction with the [ENTER/YES] and

[-/NO/QUICK PC] buttons and has several functions. In Performance

mode or Multi Play mode you can use it to select a specific Performance

or voice program number (page 24) as well as for selecting a program

number when the QUICK PROGRAM CHANGE function is active (page

41). In Edit mode you can use it to input positive or negative numeric data

values (page 42) or to select characters when naming a User Performance

(page 45).

! [-/NO/QUICK PC] button

This button has three functions. (1) As a [-] button you can use it to enter

negative data values in Edit mode (page 42). (2) As a [NO] button you can

use it to cancel a store operation if you change your mind (page 66). (3)

As a [QUICK PC] button you can use it to activate the QUICK PROGRAM

CHANGE function (page 41).

@ [ENTER/YES] button

This button is used as an [ENTER] button in conjunction with the

NUMERIC KEYPAD in order to enter a specific program number in Play

mode (page 24) or data value in Edit mode (page 42). It is used as a [YES]

button to confirm store operations (page 66).

# EDIT PARAMETER ROTARY

switch

In Performance mode this six-position switch lets you select one of the

two COMMON or four LAYER menus of parameters (page 41). In Multi

Play mode only the bottom menu of parameters are available, regardless

of the current position of the switch (page 57).

$ Parameter Value [UP/DOWN]

buttons

Used for accessing and editing specific panel parameters and settings,

each of these ten buttons corresponds to a parameter name printed on the

panel above or below a given [UP/DOWN] button. Press it once to enter

Edit mode and display the parameter screen in the LCD. Press the [▲]

area to increase and the [▼] area to decrease values. Holding down

either area will continuously scroll through available settings. In

Performance Edit mode, the position of the EDIT PARAMETER ROTARY

switch determines which COMMON or LAYER parameter is available for

each button. In Multi Part Edit mode, only the parameters printed directly

above the buttons are available. In Utility mode, only the parameters

printed directly below the buttons are available.

% [PERFORMANCE] button

Pressing this button activates Performance mode, which lets you select

any of the Preset or User Performances, use the SOUND CONTROL

knobs and SCENE functions, as well as activate the Arpeggiator and

COMMON and LAYER edit parameters. Press [PERFORMANCE] to enter

Performance mode from another mode, or to exit Edit mode and redisplay

the Performance Program Select screen after performing a panel edit

operation. (page 23.)

^ [MULTI] button

Pressing this button activates Multi Play mode, which lets you select and

play any of the 586 XG voices, as well as designate up to 16 Parts for

multitimbral play (when using an external sequencer). Parameters which

can be edited in Multi Play Edit mode are printed in a row directly above

the Parameter Value [UP/DOWN] buttons. (page 31.)

DEMO function

Pressing [PERFORMANCE] and [MULTI] simultaneously activates

the factory-programmed demonstration songs (page 14).

& [UTILITY] button

Pressing this button activates Utility mode, which lets you access those

“system” parameters that affect the CS2x as a whole, including MASTER

TUNE, MIDI TRANSMIT and RECEIVE CHANNEL numbers, keyboard

LOCAL on/off setting, etc., as printed directly below each Parameter

Value [UP/DOWN] button (page 61).

* [STORE] button

This button is used when performing User Performance, Scene and Multi

Store operations (page 66).

( PITCH wheel

This controller lets you bend the pitch up or down as you play. It is spring-

loaded to automatically return to center position when you let go of it. In

Performance mode you can determine the extent of pitch change using

the PITCH BEND RANGE edit function (page 45).

º MODULATION wheel

This controller lets you apply or set a designated amount of vibrato or

tremolo as you play. You can also set it to affect filter cutoff, filter

modulation, and pitch modulation (page 46) as well as other controllable

parameters (page 64). When the SCENE CONTROL function is active it

can be used to “morph” the sound in real-time between the two Scenes.

¡ Keyboard

The 61-key touch-sensitive keyboard features Initial Touch (velocity)

control.

cCS2x_Basic 2/3/99 2:00 PM Page 9

Getting Started

1 MIDI terminals

The MIDI terminals let you connect external MIDI devices such as a

sampler, drum machine, sequencer, or computer using MIDI cables.

MIDI IN is for input of MIDI note and other performance-related data, as

well as bulk data dumps from another CS2x or MIDI data storage device.

MIDI OUT is for output of MIDI note and other performance-related data,

as well as for bulk data dumps to another CS2x or MIDI data storage

device. MIDI THRU is for “daisy chain” connection of multiple MIDI

instruments, as the MIDI data received at MIDI IN is passed along

unaffected to MIDI THRU. (NOTE: Set HOST SELECT to “MIDI” when

using the MIDI terminals.)

2 HOST SELECT switch

This switch lets you designate the type of host computer, either PC1, PC2,

Mac, or MIDI (page 13). (NOTE: When a host computer is not connected,

set HOST SELECT to “MIDI” for normal MIDI transmission and reception.)

3 TO HOST terminal

This terminal lets you connect the CS2x directly to a host computer which

does not have a MIDI interface (page 13).

4 INPUT jack

This jack lets you connect an external audio source (such as a sampler,

CD player, etc.) directly to the CS2x using either a stereo or mono mini

plug. The incoming audio signals are combined and output at the CS2x's

OUTPUT terminals, thus eliminating the need for an external mixer. To

control the relative balance of the signals, use the external device's

output volume control and the CS2x's panel edit PERFORM LEVEL

parameter (Performance mode; page 44) or VOLUME parameter (Multi

Play mode, page 59).

5 FOOTSWITCH jack

By connecting an optional Yamaha FC4 or FC5 footswitch to this jack you

can control hold on/off, portamento on/off and other parameters,

determined by the ASSIGN CTRL NO (Assign Control Change Number)

setting in Utility mode (page 64).

6 FOOT CONTROLLER jack

By connecting an optional Yamaha FC7 or FC9 foot controller to this jack

you can control filter modulation, filter cutoff, and the Variation effect

(page 12), as well as the Control Change Number (page 64). You can also

use it for “sound morphing” between Scenes when the SCENE CONTROL

function is active (page 25).

7 FOOT VOLUME jack

By connecting an optional Yamaha FC7 or FC9 foot controller to this jack

you can regulate overall volume by foot.

8 STANDBY/ON switch

This switch is for turning the power of the CS2x on and off (page 14).

9 DC IN terminal

This terminal is for connection of the supplied Yamaha PA-3B Power

Adaptor. (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 the CS2x, and may even pose a serious

shock hazard.)

) OUTPUT jacks

The stereo OUTPUT jacks let you connect the CS2x to an external stereo

amplifier/speaker system. When using a mono system, use the L/MONO

jack. (page 11.)

! PHONES jack

This jack lets you connect a set of stereo headphones for private listening

(page 11).

Rear Panel

PHONES

L/MONO

OUTPUT

FOOT

VOLUME

FOOT

CONTROLLER

FOOT

SWITCH

ASSIGNABLE

INPUT

TO HOST

HOST SELECT

PC-

2 PC-1

MIDI Mac

INOUT

MIDI

THRU

STANDBY

cCS2x_Basic 2/3/99 2:00 PM Page 10

Setting Up The CS2x

This section steps you through the basic connections required for integrating the CS2x into everything from a simple

amplification system to a full-blown MIDI music studio. Also included is information about turning on the power and

listening to the preprogrammed “Demo” songs.

CONTROL

SYNTHESIZER

Basic Connections

There are many ways to incorporate the CS2x into a simple or

expanded music system. Below are a few examples to get you

started.

Power Adaptor

The CS2x comes equipped with a Yamaha PA-3B AC adaptor

which supplies DC power to the instrument.

1. Make sure the STANBY/ON switch is in the STANDBY (off)

position.

2. Connect the PA-3B’s DC plug to the CS2x’s DC IN jack.

3. Connect the adaptor’s AC plug to the nearest electrical

outlet.

Do not attempt to use an AC adaptor other than the PA-3B.

Use of an incompatible adaptor may result in irreparable

damage to the CS2x, and could even pose a serious shock

hazard.

Be sure to disconnect the power adaptor from the electrical

outlet when the CS2x is not in use.

1. STANDBY

3. To electrical outlet

2. DC IN

PHONES

L/MONO

OUTPUT

FOOT

VOLUME

FOOT

CONTROLLER

FOOT

SWITCH

ASSIGNABLE

INPUT

TO HOST

HOST SELECT

PC-

2 PC-1

MIDI Mac

INOUT

MIDI

THRU

STANDBY

The CS2x By Itself

At the simplest level, all you need to do to monitor the CS2x is

connect a pair of stereo headphones to the PHONES jack located

on the rear panel.

Or you could connect a pair of amplified speakers (i.e. speakers

with their own built-in amps, like those used with a personal

computer) using two audio cables plugged into the CS2x’s left

and right OUTPUT jacks and each amplified speaker’s input jack.

(For mono use, connect one end of a single audio cable to the

CS2x’s L/MONO jack.)

Or if you want to integrate the CS2x into a larger system with

other instruments and additional audio processing capabilities,

connect it to a mixer, amplifier and stereo monitor system as

shown below.

In order to avoid possible damage to the speakers or other

connected electronic equipment, before switching on the

power of any component, make sure the CS2x’s volume level

and the volume levels of the connected equipment are set to

minimum.

Amp

MIXER

CS2x

Speaker Speaker

Headphones

1 2 3 4 5 6 7 8 9 10 1 1 12 13 14 15 1 6 L R

L R INPUT

R OUTPUT

R OUTPUTPHONES

CONTROL SYNTHESIZER

Getting Started

cCS2x_Basic 12/10/98 5:25 PM Page 11

Getting Started

Connecting A Foot

Controller

In addition to the on-board SOUND CONTROL knobs and other

real-time controllers, you can connect an optional Yamaha FC7

or FC9 foot controller to the CS2x’s FOOT CONTROLLER jack

and assign one of many available parameters to be controlled by

foot.

1. Connect the FC7 or FC9 cable to the CS2x’s FOOT

CONTROLLER jack.

2. Press the [UTILITY] button to enter Utility mode.

3. Press the ASSIGN CTRL NO [UP/DOWN] button once.

4. Move the foot controller pedal to display “FC” in the LCD.

5. Use the ASSIGN CTRL NO [UP/DOWN] button to select the

Control Change Number and Name of the parameter that

you want to control.

For information about available Control Change Numbers and

Names, see page 65.

You can also connect an FC7 or FC9 foot controller to the

CS2x’s FOOT VOLUME jack and assign a parameter to it in

the same way as described above.

PERFORMANCE

MULTI

DEMO

STORE

UTILITY

MASTER

TUNE

KBD

TRANS

VEL

CURVE

VEL

FIX

SYSTEM

P BEND

RANGE

TYPE

ARPEGGIATOR

TEMPO

PMOD

SUB

DIVIDE

PERFORM

LEVEL

FMOD

CUTOFF

REV

TYPE

CHO

TYPE

VARI

TYPE

VARI

PARAM

PERFORM

NAME

VARI

DATA

ASSIGN1

PARAM

PORTA

SWITCH

TIME

EFFECT

VARI

CUTOFF

FMOD

COMMON

ASSIGN

CTRL

BULK

DUMP

LOCAL

MIDI

DEVICE

RCV

TRANS

BANK

PROGRAM

ATK

TIME

ATK

TIME

DCY

TIME

DCY

TIME

FEG

AEG

SUS

LEVEL

SUS

LEVEL

VOLUME

PAN

REL

TIME

REL

TIME

AMOD PMOD

INIT

LEVEL

ATK

TIME

REV

SEND

EFFECT

CHO

SEND

VARI

SEND

ATK

LEVEL

FMOD

LFO

PEG

DCY

TIME

WAVE

FILTER

CUTOFF

REZ

SPEED

REL

TIME

REL

LEVEL

PHASE

INIT

POLY

MONO

ASSIGN

DATAPARAMDEPTHOFFSET

VEL

LIMIT

HIGH

LIMIT

HIGH

LIMIT

LOW

LIMIT

LOW

NOTE

TUNE

NOTE

SFT

DETUNE

LAYER

PHONES

L/MONO

OUTPUT

FOOT

VOLUME

FOOT

CONTROLLER

FOOT

SWITCH

ASSIGNABLE

INPUT

TO HOST

HOST SELECT

PC-

2 PC-1

MIDI Mac

INOUT

MIDI

THRU

STANDBY

FC7 or FC9

Connecting External MIDI

Components

There are many different types of MIDI components available

which you could connect directly to the CS2x using MIDI cables

to take advantage of the CS2x’s multitimbral features and greatly

expand your music production capabilities. Following is an

example of how to connect an external sequencer and additional

tone generator to build up a comprehensive music production

system.

1. Set the CS2x’s rear panel HOST SELECT switch to MIDI.

2. Connect a MIDI cable from the CS2x’s MIDI OUT terminal

to the sequencer’s MIDI IN terminal. Connect another MIDI

cable from the CS2x’s MIDI IN terminal to the sequencer’s

MIDI OUT terminal.

3. Connect a MIDI cable from the CS2x’s MIDI THRU terminal

to the tone generator’s MIDI IN terminal

In this monster system, the CS2x is the “master keyboard

controller” used for music note and control data input into the

QY700’s MIDI channel tracks. The QY700 sends the recorded

data directly to the CS2x’s Parts, and — via the MIDI THRU

terminal — to the external tone generator’s Parts.

When recording Parts to an external sequencer, you need to

turn the keyboard Local setting to OFF (page 63). For details

about assigning CS2x MIDI transmit and receive channels,

see page 63. For details about assigning MIDI channels and

other settings for the external devices, consult the owner’s

manual of each.

TONE GENERATOR

TG500

Tone Generator

Sequencer

(QY700)

OUT THRUMIDI IN

CS2x

MIDI OUT IN

MIDI IN

HOST SELECT

PC-2 PC-1

MIDI Mac

CONTROL SYNTHESIZER

cCS2x_Basic 12/10/98 5:25 PM Page 12

Getting Started

Connecting A MIDI Data

Storage Device

By connecting a MIDI data storage device such as the Yamaha

MDF3 MIDI Data Filer to the CS2x you can save a single User

Performance or all the User Performances and Utility parameters

to floppy disk using MIDI data “Bulk Dump” operations.

This lets you build up complete libraries of Performance and

other data, which you can easily load back into the CS2x. (You

can also play compatible song data on the CS2x directly from the

MDF3 itself, without the need for a sequencer.)

The HOST SELECT switch must be set to MIDI. For details

about CS2x Bulk Dump operations, see page 64. (Also refer

to the owner’s manual of the MIDI data storage device for

instructions about sending and receiving data.)

Connecting A Computer

Using the CS2x with a computer permits the widest variety of

options for getting the most from the CS2x’s multitimbral music

production capabilities based on the particular music sequencer

software application you use.

With its built-in host computer interface (TO HOST terminal) the

CS2x is designed for direct connection to an Apple Macintosh,

IBM PC/AT or NEC PC-9800 Series computer — without the need

for a special MIDI interface between the computer and the CS2x.

(If your computer already has a MIDI interface installed, you may

prefer to use it.)

Depending on the computer or interface used, you will need to

use the appropriate MIDI/computer connecting cable (see

following) as well as set the HOST SELECT switch to either PC-1

(NEC PC-9800 Series), PC-2 (IBM PC and clones), Mac

(Macintosh), or MIDI (standard MIDI interface).

TO HOST

Connecting Cable

HOST SELECT

PC-2 PC-1

MIDI Mac

Computer

CS2x

CONTROL SYNTHESIZER

MDR SEO JOB UTIL

MIDI

MMDDFF2

MIDI DATA FILTER

CURSOR

- FILE DATA +

REC PAUSE START/STOP

TEMPO

MDF3 etc.

MIDI IN

MIDI

OUT

MIDI OUT

MIDI IN

HOST SELECT

PC-2 PC-1

MIDI Mac

CS2x

CONTROL SYNTHESIZER

Direct Connection To Macintosh

If you have an Apple Macintosh not equipped with an external

MIDI interface, perform the following operation:

1. Set the HOST SELECT switch to Mac.

2. Connect the cable from the CS2x’s TO HOST terminal to the

Macintosh’s Modem or Printer port.

3. Turn on the power of the host computer, then the CS2x.

4. Launch the music software application, and set up the

software options for operation with the CS2x.

You may have to set the Apple MIDI Driver setting as follows:

MIDI Interface Type (Clock)

→

1MHz. Other settings may

also be required. Refer to the owner’s manual of your

particular music software for more information.

Direct Connection To IBM PC and Clones

If you have an IBM PC/AT or compatible computer not equipped

with an external MIDI interface, perform the following operation:

1. Set the HOST SELECT switch to PC-2.

2. Connect the cable from the CS2x’s TO HOST terminal to one

of the computer’s serial ports, COM 1 or COM 2.

3. Turn on the power of the host computer, then the CS2x.

4. Launch the music software application, and set up the

software options for operation with the CS2x.

For more information, refer to the owner’s manual of your

particular music software.

MIDI/Computer Connecting Cables

MIDI Standard MIDI cable, maximum length 15 meters.

Mac Apple Macintosh Peripheral cable (M0197), maximum

length 2 meters.

PC-1 8-pin MINI DIN to D-SUB 25-pin cable, maximum length

1.8 meters. (If your PC-1 type computer has a 9-pin serial port,

use the PC-2 type cable.)

PC-2 8-pin MINI DIN to D-SUB 9-pin cable, maximum length

1.8 meters.

cCS2x_Basic 12/10/98 5:25 PM Page 13

Getting Started

Powering Up!

Now that you’ve made all your audio and MIDI connections

properly, you’re ready to switch on the power and get down to

the business of enjoying the CS2x in all its glory! Here’s the basic

procedure:

1. Turn the CS2x VOLUME knob to its minimum position.

2. Press the STANBY/ON switch, located on the rear panel.

After a brief greeting message appears in the LCD, the CS2x

will be ready to play.

3. Gradually turn the VOLUME knob to the right while playing

the keyboard until you achieve a comfortable listening level.

In order to avoid possible damage to the speakers or other

connected electronic equipment, always switch on the

power of the CS2x before switching on the power of the

amplified speakers or mixer and amplifier. Likewise, always

switch off the power of the CS2x after switching off the

power of the amplified speakers or mixer and amplifier.

Even when the switch is in the “STANDBY” position,

electricity is still flowing to the instrument at a minimum

level. When not using the CS2x for an extended period of

time, be sure to unplug the AC power adaptor from the wall

AC outlet.

Playing The Demo

Songs

Before you get carried away exploring the many Performances

and other great features of the CS2x, you may want to listen to

the preprogrammed demonstration songs.

The demonstration songs provide dynamic and stunning

examples of just how powerful the CS2x really is. To play the

DEMO, perform the following operation:

1. Hold the [PERFORMANCE] button, then press [MULTI].

2. The word “DEMO” will appear in the LCD, and after a brief

moment the first demonstration song will begin, and will be

immediately followed by the next, and the next, and so on.

3. To stop the Demo at any time, simply press a mode button

such as [PERFORMANCE].

When the Demo mode is engaged, you can select a

particular Demo song by pressing a number on the

NUMERIC KEYPAD.

PERFORMANCE MULTI

DEMO

STORE UTILITY

cCS2x_Basic 12/10/98 5:25 PM Page 14

CS2x Tone

Generation

The CS2x Control Synthesizer — and the way it creates its myriad

sounds — is a natural evolution of the various types of popular

synthesizers that have come before it over the past several

decades.

It all started with the popular analog “voltage controlled”

synthesizers used on the hit recordings of the 1960s and ‘70s.

Although they were far from perfect — suffering from lack of

storage, unstable tuning and limited polyphony — they had

knobs that were pretty easy to use and even to this day are known

as the “vintage” synths now sought after by the world’s top dance

music artists.

Then came the digital breakthroughs of the early 1980s —

personified by Yamaha’s DX7 which dispensed with knobs

altogether and introduced the world to practical polyphonic

synthesis. With its voice storage, MIDI and other capabilities it

literally redefined what a synthesizer was all about, although to

many it was a bit difficult to program.

Next came digital sampling — a field in which Yamaha has also

been at the forefront with its

Advanced Wave Memory

(AWM)

technology — which nothing less than revolutionized popular

music itself and is still immensely popular to this day.

Now comes the CS2x with its convenient digital features plus

knobs and other analog-style functions. Combining the best of

both analog and digital worlds, the CS2x is truly a unique — and

completely modern — electronic instrument that’s as easy to

understand and operate as it is fun and intuitive to play.

What this means in practical terms is that the CS2x provides you

with hundreds of great sampled sounds, or “voices” built right in,

the detailed characteristics of which you can manipulate in real-

time as you play using the eight SOUND CONTROL knobs and

other handy controllers. These and many other parameter editing

functions let you quickly and easily customize as many sound

setups that you may need for a tune, and then store them in

“Performance” and “Scene” memories for instant recall at the

touch of a button!

Generating Sounds Electronically

For the sake of the uninitiated, let’s take a look at some basic facts

regarding the nature of sounds and how they are generated

electronically. There are three basic elements which make up any

type of sound, whether acoustically oriented or electronically

generated, as follows:

PITCH, or how low or high a sound is;

TONE, or what a sound’s overall timbre, or quality is like;

AMPLITUDE, or how loud a sound’s volume level is.

In the simplest terms, acoustic musical instruments are

specifically designed and painstakingly built to produce precise

sound characteristics over a determined range when played. This

is why a violin always sounds like a violin, a piano always

sounds like a piano, and a flute always sounds like a flute. A

musician’s playing techniques are also extremely important.

For example, a violinist will “scrape” the bow across the string at

a certain intensity to generate violin sound waves at a certain

volume level (amplitude) and produce low or high notes based

on fingering positions (pitch). The vibrating strings and resonating

wood, as well as the playing style and techniques of the

musician, will determine the overall quality of the violin’s timbre

(tone).

Getting Started

Getting To Know The CS2x

CONTROL

SYNTHESIZER

cCS2x_Basic 12/10/98 5:25 PM Page 15

Getting Started

Oscillators, Filters, Amplifiers And Envelope Generators

Synthesizers rely on three distinct electronic components to imitate or “synthesize” the soundwaves of musical instrument voices as well

as create entirely new sounds. In traditional analog synthesis the fundamental source sound pitch is generated by an

oscillator

, its tone

is created by a

filter

, and its volume is determined by an

amplifier

Another key component is known as the

envelope generator

(EG). An envelope generator determines how the pitch, filter or amplifier

behaves over time to create greater dynamics. The EG affects specific sound levels over time through “ADSR” stages, or Attack (initial

fade-in time), Decay (the time it takes to reach the Sustain level), Sustain (the specified level while a key is held) and Release (the time

it takes for the level to reach zero after releasing the key).

The oscillator generates sound wave vibrations at controllable speeds, or

frequencies

(“cycles per second”) to create pitch. A frequency

cycle

is the time it takes for a sound

wave to go from its zero position (represented by the dotted line in the illustration) to

its point of maximum peak (top), back past zero to its maximum trough (bottom), and

finally back to zero. Frequencies are measured in “Hertz” (Hz), where one cycle per

second is equal to one Hz. Synthesizer oscillators usually offer a range of frequencies

between 20 Hz and 20kHz to generate pitch, which is the range of the “audio

spectrum” that most human beings can hear. They also usually offer various types of

sound waveforms with specific shapes and sound characteristics, such as sine,

sawtooth, square, pulse and other waves. Oscillators in the CS2x, unlike traditional

analog synthesizers, consist of complete AWM2-type sampled “waveforms” with

stable tuning. You can use the PEG (Pitch Envelope Generator) parameters to directly

control the critical pitch characteristics over time.

Musical instrument sounds are made up of the basic tone that we clearly distinguish

with our ears plus additional harmonics, or overtones which exist at each octave

above the basic tone, but that we cannot distinctly hear. The filter provides control

over these harmonics. By manipulating the filter’s cutoff frequency (which determines

where to delete, or cut off the overtones) and resonance settings, you can thus

determine the tone. With the CS2x, you can use the FEG (Filter Envelope Generator)

parameters to directly control the critical tone characteristics over time, as well as

control cutoff, resonance and other parameters to shape the tone.

An amplifier controls the volume of the tone. The CS2x has an AEG (Amplitude

Envelope Generator) which lets you control various volume characteristics over time.

AmplifierFilterOscillator

Controls Volume Characteristics Over TimeControls Pitch Characteristics Over Time Controls Tone Characteristics Over Time

Amplitude Envelope Generator

Pitch Envelope Generator Filter Envelope Generator

1 octave

1 cycle per second = 1 Hz

* Doubling the frequency increases pitch by one octave

** Halving the frequency decreases pitch by one octave

OSCILLATOR

Frequencies generate the pitch of specific notes

A2 = 220Hz

A3 = 440Hz

A4 = 880Hz

* **

FILTER

More harmonics

creates a

brighter tone

Less harmonics

creates a

darker tone

Harmonics

Basic tone

The number of harmonics can be

increased and decreased

AMPLIFIER

A tone’s volume level can be controlled

over time

Lower volume level

Higher volume level

cCS2x_Basic 12/10/98 5:25 PM Page 16

Getting Started

SUS LEVEL (Sustain Level) sets the Sustain

Level; the cutoff frequency will be

maintained at this level for as long as the

key is held.

REL TIME (Release Time) determines the

time it takes for the cutoff frequency to

reach the level preset for each voice after

the key has been released.

● AEG The Amplitude Envelope Generator

controls how the volume changes over time.

ATK TIME (Attack Time) determines the time

required for a sound to reach its maximum

volume level when a note is played.

DCY TIME (Decay Time) determines the

time required for a sound to reach its

Sustain Level from the maximum volume

level while the key is held.

SUS LEVEL (Sustain Level) sets the Sustain

Level; the volume will be maintained at this

level for as long as the key is held.

REL TIME (Release Time) determines the

time it takes for a sound to sustain after the

key has been released.

3 LFO The Low Frequency Oscillator generates

low frequency signals which can be used to

modulate the PEG, FEG and AEG.

● PMOD The LFO can apply Pitch

Modulation to the PEG to create vibrato

effects.

● FMOD The LFO can apply Filter Modulation

to the FEG to create wah-wah types of

effects.

1 AWM2 Waveform The fundamental source of

the CS2x’s sound is the sampled AWM2

waveform. There are hundreds preprogrammed

in ROM which are used by the Performances.

2 AWM2 VOICE The AWM2 waveform

combines with the oscillator, filter and amplifier

to make up a CS2x voice.

● PEG The Pitch Envelope Generator controls

how the pitch changes over time.

INIT LEVEL (Initial Level) sets the initial pitch

level when a key is played.

ATK TIME (Attack Time) determines the time

required for a sound to reach its Attack Level

after a note is played.

ATK LEVEL (Attack Level) sets the initially

targeted level after a note is played.

DCY TIME (Decay Time) determines the time

required for a sound to reach its basic pitch

from the Attack Level while the key is held.

REL TIME (Release Time) determines the time

it takes for the basic pitch to reach the

Release Level after the key has been

released.

REL LEVEL (Release Level) sets the final

targeted level after the key is released.

● FEG The Filter Envelope Generator controls

how the timbre changes over time.

ATK TIME (Attack Time) determines the time

required for a sound to reach its maximum

cutoff frequency level when a note is played.

DCY TIME (Decay Time) determines the time

required for a sound to reach its Sustain

Level from the maximum level while the key

is held.

● AMOD The LFO can apply Amplitude

Modulation to the AEG to create tremolo

effects.

4 CONTROLLER You can use several types of

controllers to manipulate various parameters in

realtime.

● MW Use the Modulation Wheel to control

PMOD, FMOD, and Filter Cutoff.

● FC Use the Foot Controller to control

FMOD, Filter Cutoff, and Variation Effect.

● SOUND CONTROL KNOBS The eight

sound SOUND CONTROL knobs let you

control AEG Attack, Decay and Release

Times, HPF and LPF Cutoffs, LPF Resonance,

and more (page 19). The ASSIGN 1/DATA

and ASSIGN 2 knobs can be specified to

control one of many types of available

parameters (see the lists on pages 47 and

65).

5 EFFECTS Available effects which can be

applied to a voice depend on whether the CS2x

is in Performance mode or Multi Play mode.

How The CS2x Generates Sound

The diagram and accompanying information below explains the CS2x’s tone generation architecture and the key components which

go into making up an AWM2 voice, as well as the types of controls and parameters which you can apply to the voice.

AMPLIFIERS EFFECTSFILTERS

AWM2 WAVEFORM

CONTROLLER

OSCILLATORS

AWM2 VOICE

LFO

VOLUME

LEVEL

TIME

ATTACK TIME

( ATK TIME )

DECAY TIME

( DCY TIME )

SUSTAIN LEVEL

( SUS LEVEL )

RELEASE TIME

( REl TIME )

KEY ON

KEY OFF

LEVEL

ATTACK LEVEL

( ATK LEVEL )

RELEASE LEVEL

( REL LEVEL )

TIME

BASIC KEY

PLAYED

INITIAL LEVEL

( INIT LEVEL )

ATTACK TIME

( ATK TIME )

DECAY TIME

( DCY TIME )

RELEASE TIME

( REL TIME )

PITCH

KEY ON

KEY OFF

RELEASE TIME

( REL TIME )

CUT OFF

FREQUENCY

TIME

LEVEL

ATTACK TIME

( ATK TIME )

DECAY TIME

( DCY TIME )

KEY ON

KEY OFF

SUSTAIN LEVEL

(SUS LEVEL)

3 4

cCS2x_Basic 12/10/98 5:25 PM Page 17

Getting Started

Normal Voices And

Drum Voices

As explained in the previous section, an AWM2 waveform is the

fundamental source of a CS2x “voice”, which also consists of

oscillator, filter and amplifier settings.

The CS2x has two types of voices in memory which are preset at

the factory:

normal

voices and

drum

voices. A normal voice is a

typical pitched musical instrument voice such as piano, strings,

brass, etc. A drum voice is an entire drum kit which has various

bass, snare, toms, hi-hat, cymbals and other acoustic or

electronic percussion and effects sounds that are “mapped” to

specific keys on the keyboard.

Layers

Although the individual AWM2 voices sound great in their own

right, the CS2x lets you use up to four of them at the same time

to create a

Layer

in Performance mode. You can designate all of

these to sound simultaneously — to build up an incredibly rich

sonic tapestry — or you can “map” specific Layer voices to

various note and velocity zones across the keyboard to create

amazingly complex sound textures that behave in a variety of

ways depending on which notes you play or how hard you strike

the keys.

The best way to find out just how exceptional Layers can be is to

step through the 256 Preset Performances programmed at the

factory. As you do so, you might find it helpful to take a look at

the separate “Data List” book’s Preset Performance list which

contains information about how may Layer voices are used and

other chief settings for each Performance.

In Performance mode there are a considerable number of

COMMON and LAYER parameters available that you can control

or edit which affect all Layers equally or individual Layer voices,

respectively (see following).

For more information, see pages 41 and 58. Also see the

separate “Data List” book for voices available for use in

Performances.

cCS2x_Basic 12/10/98 5:25 PM Page 18

Getting Started

7 [RESONANCE] (Knob 7)

This knob determines the amount of filter

resonance or emphasis of the cutoff frequency of

the low pass filter. Turn it left to produce a

relatively flat response, or right to add overtones

and make the sound more resonant. (page 55.)

8 [ASSIGN 2] (Knob 8)

This knob can be used to control any one of

many parameters which you can assign to it —

including Volume, Note Shift, Pan, Chorus Send,

and others. (page 49.)

Edit Mark

In Performance mode, an edit mark will

appear in the LCD between the

Performance bank and number to

indicate that the original Performance

has been edited.

FREQUENCY

VOLUME

CUTOFF FREQUENCY

RESONANCE

HPF Cutoff, LPF Cutoff &

Resonance Knobs

These knobs let you control the filter settings

which determine the sound quality of the

timbre.

5 [HPF CUTOFF] (Knob 5)

This knob determines the cutoff frequency of the

high pass filter. The cutoff is the frequency point

below which other frequencies are deleted, or

filtered out. Turn it left to lower the cutoff point

and fatten the sound, or right to raise it and thin

out the sound.

6 [LPF CUTOFF] (Knob 6)

This knob determines the cutoff frequency of the

low pass filter. The cutoff is the frequency point

above which other frequencies are deleted, or

filtered out. Turn it left to lower the cutoff point

and make the sound darker, or right to raise it

and make the sound brighter. (page 55.)

FREQUENCY

VOLUME

CUTOFF FREQUENCY

FREQUENCIES CUT

FREQUENCIES PASSED

FREQUENCY

VOLUME

CUTOFF FREQUENCY

FREQUENCIES

CUT

FREQUENCIES PASSED

Attack, Decay & Release

Knobs

These knobs let you control the initial Amplitude

Envelope Generator characteristics of the timbre.

1 [ATTACK] (Knob 1)

This knob controls the initial AEG attack time of

the voice. Turn it left for a faster attack time, or

right for a slower attack. (page 50.)

2 [DECAY] (Knob 2)

This knob controls the AEG decay time of the

voice. Turn it left for a shorter decay time, or

right for a longer decay. (page 50.)

3 [RELEASE] (Knob 3)

This knob controls the AEG release time of the

voice. Turn it left for a shorter release time, or

right for a longer release time. (page 51.)

4 [ASSIGN 1/DATA] (Knob 4)

This knob has two functions. As an ASSIGN 1

knob, you can assign one of many parameters —

including Performance Volume, Arpeggiator

Tempo or Type, Portamento Time, and others —

to control by turning it (page 47). As a DATA

entry knob, you can use it to quickly change the

edit value of the currently selected edit

parameter.

Key On Key Off

ATK TIME REL TIMEDCY TIME

SUS

LEVEL

TIME

VOLUME

Knob Parameters

The eight SOUND CONTROL knobs give you direct access to a variety of important parameters of the Performance. Turning any

SOUND CONTROL knob to the left or right will offset its parameter values accordingly (based on knob positions: left for negative

values, right for positive values). Each SOUND CONTROL knob has a center detent, or stop position which represents the original

value of the parameter.

ATTACK

DECAY

RELEASE DATAASSIGN

ASSIGN 2

RESONANCE

CUTOFFCUTOFF LPFHPF

Knob 1

[ATTACK]

Knob 2

[DECAY]

Knob 3

[RELEASE]

Knob 4

[ASSIGN 1/DATA]

Knob 5

[HPF CUTOFF]

Knob 6

[LPF CUTOFF]

Knob 7

[RESONANCE]

Knob 8

[ASSIGN 2]

111

555 666 777 888

22 333 4442

cCS2x_Basic 12/10/98 5:25 PM Page 19

Panel Edit

Parameters

There are numerous parameters available in the panel edit matrix

of menus. In Performance mode, all you have to do is set the

EDIT PARAMETER ROTARY switch to the menu you want, then

press the [UP/DOWN] button directly below the name of the

parameter you want to edit. In Multi Play or Utility modes, the

position of the EDIT PARAMETER ROTARY switch doesn’t matter

because there is only one menu of parameters available for each.

Simply pressing any [UP/DOWN] button once will activate Edit

mode and display the name of the corresponding parameter in

the LCD screen, along with the current setting. There are three

ways to change the parameter value setting:

1. Press or hold the [▲] area of the [UP/DOWN] button to

increase values, or the [▼] area to decrease values.

2. Enter the number of the value you want using the NUMERIC

KEYPAD, followed by [ENTER] (for negative values, press [–]

before entering the number).

3. Turn the ASSING 1/DATA knob left or right to change the

values when the knob is designated as a DATA ENTRY

function.

Edit Parameter Rotary Switch

Parameter Value [UP/DOWN] Buttons

PERFORMANCE

MULTI

DEMO

STORE

UTILITY

MASTER

TUNE

KBD

TRANS

VEL

CURVE

VEL

FIX

SYSTEM

P BEND

RANGE

TYPE

ARPEGGIATOR

TEMPO

PMOD

SUB

DIVIDE

PERFORM

LEVEL

FMOD

CUTOFF

REV

TYPE

CHO

TYPE

VARI

TYPE

VARI

PARAM

PERFORM

NAME

VARI

DATA

ASSIGN1

PARAM

PORTA

SWITCH

TIME

EFFECT

VARI

CUTOFF

FMOD

COMMON

ASSIGN

CTRL

BULK

DUMP

LOCAL

MIDI

DEVICE

RCV

TRANS

BANK

PROGRAM

ATK

TIME

ATK

TIME

DCY

TIME

DCY

TIME

FEG

AEG

SUS

LEVEL

SUS

LEVEL

VOLUME

PAN

REL

TIME

REL

TIME

AMOD PMOD

INIT

LEVEL

ATK

TIME

REV

SEND

EFFECT

CHO

SEND

VARI

SEND

ATK

LEVEL

FMOD

LFO

PEG

DCY

TIME

WAVE

FILTER

CUTOFF

REZ

SPEED

REL

TIME

REL

LEVEL

PHASE

INIT

POLY

MONO

ASSIGN

DATAPARAMDEPTHOFFSET

VEL

LIMIT

HIGH

LIMIT

HIGH

LIMIT

LOW

LIMIT

LOW

NOTE

TUNE

NOTE

SFT

DETUNE

LAYER

Following is a description of the types of parameters available for

editing:

COMMON Available in Performance mode only, the COMMON

parameters in the Common Edit 1 and 2 menus apply to the

entire currently selected Performance. Except for the PORTA

SWITCH setting, it doesn’t matter which Layer is currently

selected, since common parameters apply to all Layer voices

equally. Changes to COMMON parameter settings will remain in

effect as long as the current Performance is selected, but will be

lost if you select a different Performance before performing a

Performance store operation. (page 43.)

LAYER Available in Performance mode only, the LAYER

parameters in the Layer Edit 1, 2, 3 and 4 menus affect only the

currently selected Layer of the currently selected Performance.

Changes to LAYER parameter settings will remain in effect as long

as the current Performance is selected, but will be lost if you

select a different Performance before executing a Performance

store operation. (page 47.)

MULTI Available in Multi Play mode only, the MULTI parameters

include voice, effect, and others which apply to the currently

selected Part. There is memory space for a single set of MULTI

parameter settings. Changes to the MULTI parameter settings will

remain in effect as long as you remain in Multi mode, but will be

lost if you switch into Performance mode before performing a

Multi store operation. (page 58.)

UTILITY Available in Utility mode only, the UTILITY parameters

consist of system, MIDI and type of data assignment (for the

SOUND CONTROL knobs) which affect the CS2x as a whole.

These settings will remain in effect regardless of whether you

switch to Performance or Multi Play mode. (page 61.)

Getting Started

cCS2x_Basic 12/10/98 5:25 PM Page 20

Getting Started

Operating Modes

The CS2x has two main operating modes — Performance mode

and Multi Play mode — both of which give you a range of

options for real-time play as well as multitimbral Part play using

an external MIDI sequencer for song production. There are also

Utility and Store modes.

Performance Modes

Performance mode — accessed by pressing the

[PERFORMANCE] button — actually consists of Performance

Play and Performance Edit modes. The diagram below provides

an overview of the overall structure of key Performance mode

components.

Performance

is comprised of up to four “Layers”, or AWM2

voices sounding at the same time — either playing

simultaneously across the length of the keyboard, or playing

independently according to specified key and velocity range

settings — plus a variety of other settings which determine the

behavior of the Arpeggiator, digital effects selection,

characteristics of envelope generators, and much more.

Performance Play Mode

In Performance Play mode you can select from 512 Performances

— 128 of which are available in each of the two Preset

Performance banks and 128 of which are available in each of the

two User Performance banks — and begin playing the keyboard.

As you play you can select one of two available Performance

timbre variations by pressing a SCENE switch, or fade between

(“morph”) the sounds of each Scene in real-time by pressing both

[SCENE] buttons simultaneously (SCENE CONTROL function)

then using the MODULATION wheel or a connected Foot

Controller to precisely determine the relative volumes of each

Scene timbre in relation to each other.

II: 128 PerformanceI: 128 Performance

Preset Bank

(256 Performance)

II: 128 PerformanceI: 128 Performance

User Bank

(256 Performance)

Performance

Layer 4

VOICE

Layer 3

VOICE

Layer 2

VOICE

Layer 1

VOICE

COMMON EDIT

REAL TIME EDIT with

THE SOUND CONTROL KNOBS

STORE IN USER BANK

SAVE AS SCENE 1 or 2

PERFORMANCE

P BEND

RANGE

TYPE

ARPEGGIATOR

TEMPO

PMOD

SUB

DIVIDE

PERFORM

LEVEL

FMOD

CUTOFF

REV

TYPE

CHO

TYPE

VARI

TYPE

VARI

PARAM

PERFORM

NAME

VARI

DATA

ASSIGN1

PARAM

PORTA

SWITCH

TIME

EFFECT

VARI

CUTOFF

FMOD

COMMON

BANK

PROGRAM

ATK

TIME

ATK

TIME

DCY

TIME

DCY

TIME

FEG

AEG

SUS

LEVEL

SUS

LEVEL

VOLUME

PAN

REL

TIME

REL

TIME

AMOD PMOD

INIT

LEVEL

ATK

TIME

REV

SEND

EFFECT

CHO

SEND

VARI

SEND

ATK

LEVEL

FMOD

LFO

PEG

DCY

TIME

WAVE

FILTER

CUTOFF

REZ

SPEED

REL

TIME

REL

LEVEL

PHASE

INIT

POLY

MONO

ASSIGN

DATAPARAMDEPTHOFFSET

VEL

LIMIT

HIGH

LIMIT

HIGH

LIMIT

LOW

LIMIT

LOW

NOTE

TUNE

NOTE

SFT

DETUNE

LAYER

LAYER EDIT

ATTACK

DECAY

RELEASE DATAASSIGN

ASSIGN 2

RESONANCE

CUTOFFCUTOFF LPFHPF

SCENE

MW FC

Performance Edit Mode

Performance Edit mode is activated when you change a setting

for any of the parameters available in the panel edit menus using

the Parameter Value [UP/DOWN] buttons — which may affect all

Layer voices equally (COMMON menus) or only the currently

selected Layer voice (LAYER menus).

Adjustments you make using the SOUND CONTROL knobs or

[UP/DOWN] buttons will

offset

(add to or subtract from) the

parameter data values which are preset for each voice. An edit

mark, or reversed type letter “E”, will appear in the LCD to

indicate that a parameter has been changed. When you’re

satisfied with the sound of the Performance, simply store it in any

of the 256 User Performance memories using the Performance

Store operation (page 66), before selecting a different

Performance.

For more information about Performance mode, see page 40.

Song Production In Performance

Mode

Although Performance mode is primarily used for real-time

playing, you can also use it for multitimbral operation in order to

take advantage of Arpeggiator, Scene and other Performance

mode-oriented functions not available in Multi Play mode. In

such a case, one of the instrument “Parts” would be comprised of

the Layer voices for the selected Performance. (For more

information, see page 33.)

cCS2x_Basic 12/10/98 5:25 PM Page 21

Multi Play Mode

Multi Play mode — accessed by pressing the [MULTI] button —

is primarily used for multitimbral song production and playback

of up to 16 individual instrument “Parts” when an external MIDI

sequencer is connected to the CS2x. The diagram below lists the

available parameters for each Part.

Although you can adjust various parameters in the Multi Part Edit

menu to customize the selected voice, note that Scene,

Arpeggiator and other Performance mode-oriented functions are

not available.

When the edited Multi setup is just the way you want it, simply

perform a Multi Store operation before switching into

Performance mode (page 68).

With the GM format MIDI channel 10 is reserved for drum

voices, which means you can select PART 10 to play the

drums.

For more information about Multi Play mode, see page 57.

For information about GM and XG, see page 33.

Part 1 ~ 16

BANK

PROGRAM

VOLUME

PAN

EFFECT

FILTER (LPF)

POLY/MONO

PART SELECT

STORE 1 ~ 9

Utility Mode

Utility mode lets you modify System, MIDI and controller

assignment parameters which affect both Performance and Multi

Play mode. For more information, see page 61.

Store Mode

Store mode lets you store your own User Performances as well as

Scenes and a Multi setup. For more information, see page 66.

Getting Started

cCS2x_Basic 12/10/98 5:25 PM Page 22

Getting Started

Performance Mode

In Performance mode you can select from 256 Preset and 256

User Performances, use the SOUND CONTROL knobs to modify

certain parameters as you play, select Scenes and use the SCENE

CONTROL function for Scene morphing, and edit the values and

settings of specific COMMON and LAYER parameters.

Performance Selection

Following are the basic procedures for selecting CS2x

Performances.

Performance Mode Select

To enter Performance mode, simply press the [PERFORMANCE]

button.

The basic Performance select screen will display in the LCD, with

information about Preset or User bank selection, Performance

name, program number (1 ~ 128) and category code, and more.

PERFORMANCE MULTI

DEMO

STORE UTILITY

Performance nameCategory

Bank

P I (P1) : Preset Bank 1

P II (P2) : Preset Bank 2

U I (U1) : User Bank 1

U II (U2) : User Bank 2

Performance (Program) number

Performance Bank Select

Individual Performances are stored in any one of four available

banks. There are two Preset banks with 128 Performances each

and two User banks with 128 Performances each.

To select one of the Preset banks, press [PRESET] once or more.

To select one of the User banks, press [USER] once or more.

Each time you press [PRESET] or [USER] toggles between P1/P2

or U1/U2 banks, respectively. The currently selected bank will

display accordingly in the LCD screen.

Performance Number Select

There are two ways to select one of the 128 program numbers in

each Preset or User Performance bank — by using the

PROGRAM buttons or the NUMERIC KEYPAD.

■ PROGRAM Button Method

One way to select a Performance in the currently selected bank

is as follows:

Press the PROGRAM [+] or [-] button once or more until you

reach the number of the one you want (between 1 and 128).

If you hold down the PROGRAM [+] or [-] button you can

continuously scroll up or down through the list.

ARPEGGIO

HOLD SHIFT

OCTAVE

PART/LAYER/

PRESET USER

PROGRAM

Subsequent PerformancePrevious Performance

ARPEGGIO

HOLD SHIFT

OCTAVE

PART/LAYER/

PRESET USER

PROGRAM

CS2x Quick Tour

This section provides you with a quick guided tour through all the fundamental CS2x operations in Performance mode, such as use of

real-time control, Scene, Arpeggiator, panel edit and Performance Store functions. It also provides information about Multi Play mode

and multitimbral operation, including Multi Play in Performance mode.

CONTROL

SYNTHESIZER

cCS2x_Basic 12/10/98 5:25 PM Page 23

Getting Started

■ NUMERIC KEYPAD Entry Method

Another way to select a Performance number in the currently

selected bank is by using the NUMERIC KEYPAD. This is

especially handy if you know the precise number of the

Performance you want. Here’s how:

1. Enter the specific number (1 ~ 128). The number will begin

flashing in the LCD.

2. Press [ENTER]. This selects the Performance, so the number

will stop flashing and remain displayed.

There’s another way to quickly select a specific Performance

program number within a group of 10 Performances — by

using the Quick Program Change function (page 41).

VWX

YZ'

MNO

PQR

STU

DEF

GHI

JKL

NO/

QUICK PC

YES

ABC

SPACE

ENTER

VWX

YZ'

MNO

PQR

STU

DEF

GHI

JKL

NO/

QUICK PC

YES

ABC

SPACE

ENTER

Press the buttons

for the desired

Performance

number

Category Codes

Each Performance (or voice in Multi Play mode) has a “Category”

code assigned to it which helps you organize your Performances

and voices by type for easier visual access. The following list

describes each available Category.

For details about assigning Category codes to User

Performances, see page 45.

NO. LCD Category Name

0 -- Not specified

1 Pf Piano

2 Cp Chromatic Percussion

3 Or Organ

4 Gt Guitar

5 Ba Bass

6 St Strings/Orchestral

7 En Ensemble

8 Br Brass

9 Rd Reed

10 Pi Pipe

11 Ld Synth Lead

12 Pd Synth Pad

13 Fx Synth SFX

14 Et Ethnic

15 Pc Percussive

16 Se Sound Effect

17 Dr Drums

18 Sc Synth Comping

19 Vo Vocal

20 Co Combination

21 Wv Material Wave

22 Sq Sequence

cCS2x_Basic 12/10/98 5:25 PM Page 24

Getting Started

Performance Play

After selecting a performance, you’re ready to start playing the

CS2x! As you do, you’ll want to try out the various control and

other features available in Performance mode. Let’s continue with

our step-by-step tour.

Octave Shift Function

The CS2x’s Octave Shift function is an easy way to transpose the

octave of the Performance up or down by a maximum ±3

octaves. Here’s how:

1. To transpose the octave up, hold [SHIFT] and press OCTAVE

[+] once or more.

2. To transpose the octave down, hold [SHIFT] and press

OCTAVE [-] once or more.

The transpose value will also be reflected in the Utility

mode’s KEYBOARD TRANSPOSE function. Note that since

the maximum is ±3 octaves, when you raise or lower the

keyboard transposition in semitones the full three octaves

cannot be achieved by the Octave Shift function.

PITCH And MODULATION Wheels

As you play, you can use the PITCH wheel to bend the pitch up

and down, and the MODULATION wheel to apply varying

degrees of modulation to the tone.

■ Using The PITCH Wheel

By rolling the PITCH wheel forward and back you can bend the

pitch of the tone by the amount as determined by the P BEND

RANGE parameter setting in the panel edit matrix (page 45).

PITCH

Bends the

pitch up

Bends the

pitch down

ARPEGGIO

HOLD SHIFT

OCTAVE

PART/LAYER/

PRESET USER

PROGRAM

Indicates

transposition

of two

octaves up

Transposes the octave up while holding [SHIFT]

■ Using The MODULATION Wheel

By rolling the MODULATION wheel forward and back you can

apply as much modulation to the tone as you want. The type of

modulation which can be applied is determined by the three MW

parameter settings in the panel edit matrix (page 46).

You can also use the MODULATION wheel for controlling

volume, pan and others (page 64), as well as for SCENE

CONTROL, or morphing (page 26).

Scenes And SCENE CONTROL Function

Each Preset and User Performance has two Scene memories

which are in essence “snapshots” of SOUND CONTROL knob

positions (page 26). This gives you two additional sound textures

available at the touch of a button! What’s more, you can activate

the SCENE CONTROL function which lets you “morph” the

sound of one Scene into the sound of the other.

■ Scene Selection

To select Scene 1, press the [SCENE 1] button.

To select Scene 2, press the [SCENE 2] button.

A red LED will light beside the currently selected Scene. To de-

select the Scene, press the [SCENE] button again.

MW/FC

SCENE

Applies maximum modulation

Applies no modulation

MODULATION

cCS2x_Basic 12/10/98 5:25 PM Page 25

Getting Started

■ SCENE CONTROL Function

1. Press both [SCENE] buttons simultaneously.

The red LED to the left of both [SCENE] buttons will light to

indicate the SCENE CONTROL function is active.

2. Roll the MODULATION wheel forward and back to adjust

the relative levels of each Scene.

As shown in the illustration above, the position of the

MODULATION wheel determines the relative levels of each

Scene, with minimum controller position playing Scene 1 and

maximum position playing Scene 2. Any position between the

two extremes (between a range of 0 ~ 127) will play a blend of

both Scenes accordingly.

You can also use a connected Foot Controller for SCENE

CONTROL (pages 12 and 64).

■ Creating And Storing Scenes

You can easily create your own Scenes with the SOUND

CONTROL knobs and store them in a Performance — either

temporarily in the Scene buffer for the currently selected Preset

or User Performance, or permanently in a User Performance. For

details, see page 67.

Maximum = Scene 2 only

Minimum = Scene 1 only

MODULATION

Halfway = Equal level of

Scene 1 and Scene 2

Performance Editing And

Store

As a

control synthesizer

the CS2x features easy editing functions

which are readily available as you play, including SOUND

CONTROL knobs for direct tone modification, an Arpeggiator

with a wide selection of arpeggiated chord types and timing

resolutions, and many more. The next three steps on our tour are

actually Performance Edit functions and as such will cause the

edit mark (“E”) to appear in the LCD.

SOUND CONTROL Knobs

The SOUND CONTROL knobs give you direct access to eight

different parameters. All you have to do is turn them left and right

to either slightly or radically alter the tone. They’re so much fun,

you can literally get lost for hours at a time just tweaking the

filters and resonance settings alone — so go ahead and try them

all out!

The center stop position represents the original parameter settings

as stored in the selected Performance, so it only takes a glance at

the various knob positions to know where you stand. And don’t

forget, if you come up with a tone you like, you can store it in

one of the two Scene memories for instant recall (page 67).

A description of the default function assigned to each SOUND

CONTROL knob (printed on the panel below each knob) is

provided on page 19. You can also assign whatever parameters

you like to each knob using the panel edit matrix (page 64).

When a Scene is selected or the SCENE CONTROL function

is active, turning the SOUND CONTROL knobs will have no

affect on the tone.

ATTACK

DECAY

RELEASE DATAASSIGN

ASSIGN 2

RESONANCE

CUTOFFCUTOFF LPFHPF

cCS2x_Basic 12/10/98 5:25 PM Page 26

Getting Started

The Arpeggiator

The Arpeggiator is another function that you can get carried away

with for hours on end! You’ve probably noticed by now that some

Performances use the Arpeggiator as part of their makeup to

generate arpeggiated chords automatically as you play. What’s

more, the Arpeggiator data can be output as MIDI messages via

the MIDI OUT terminal and recorded by a connected music

sequencer.

Just

how

they play depends on the TYPE, TEMPO, SUBDIVIDE

and SPLIT settings available in the Common Edit 1 menu (page

43) plus the number of notes you play on the keyboard.

(Performances with fast attacks tend to provide the best results.)

The Arpeggiator functions are not available in Multi Play

mode.

■ Arpeggiator On/Off

1. Press [ARPEGGIO]. An indicator will appear in the lower

right area of the LCD above the word “ARPEGGIATOR”.

2. Play a series of chords and variate the number of notes (odd

and even) to hear how differently the arpeggiated chords

sound.

To turn off the Arpeggiator, press [ARPEGGIO] again.

ARPEGGIO

HOLD SHIFT

OCTAVE

PART/LAYER/

PRESET USER

PROGRAM

■ Arpeggiator Hold

The handy ARPEGGIATOR HOLD function lets you play a chord

to start the automatic arpeggio, then take your hands away from

the keyboard and have the arpeggios continue in a loop without

stopping. When you play another chord the arpeggio will change

accordingly.

1. Hold [SHIFT] and press [ARPEGGIO]. The “ARPEGGIATOR”

indicator in the LCD will start blinking.

2. Play a chord and take your hand away. Then play other

chords in the same way to get a feel for the right timing

required.

To stop the arpeggiated chords, press [ARPEGGIO]. To turn off

the ARPEGGIATOR HOLD function but leave the Arpeggiator on,

hold a chord and press [ARPEGGIO] twice.

■ Arpeggiator Split

The ARPEGGIATOR SPLIT function greatly increases the real-

time performance capability of the CS2x. When ARPEGGIATOR

SPLIT is activated, any chord you play to the left of the split point

(B2 and below) will produce an arpeggiated chord, while chords

you play to the right of the split point will play normally.

1. Press [ARPEGGIO] to activate the Arpeggiator function.

2. Set the EDIT PARAMETER ROTARY switch to the Common

Edit 1 menu.

3. Hold [SHIFT] and press the left-most Parameter Value

[UP/DOWN] button (ARPEGGIATOR TYPE parameter).

4. Pressing [UP] will turn on the ARPEGGIATOR SPLIT

function.

A reversed type letter “S” will display in the LCD next to the TYPE

name to indicate the ARPEGGIATOR SPLIT function is on. To turn

it off, hold [SHIFT] and press [DOWN].

For more information, see page 44.

cCS2x_Basic 12/10/98 5:25 PM Page 27

Getting Started

■ Arpeggiator Parameter Settings

The main Arpeggiator parameters include TYPE, TEMPO and

SUBDIVIDE. TYPE determines the arpeggio characteristics (up,

down, up and down, random, etc.). TEMPO of course controls

the speed of the arpeggiated chords. SUBDIVIDE determines the

arpeggio timing resolution (eighths, sixteenths, dotted notes,

etc.).

1. Activate the ARPEGGIATOR HOLD function and play a

chord.

2. Set the EDIT PARAMETER ROTARY switch to the Common

Edit 1 menu.

3. Press the TYPE [UP/DOWN] button and try out each

available setting. Also press SUBDIVIDE [UP/DOWN] to

hear how each of these settings affect each TYPE setting.

For more information, see Arpeggio Pattern Length,

following, and page 43. Also see the Arpeggiator Type List,

page 43.

PERFORMANCE

MULTI

DEMO

STORE

UTILITY

SYSTEM

P BEND

RANGE

TYPE

ARPEGGIATOR

TEMPO

PMOD

SUB

DIVIDE

PERFORM

LEVEL

FMOD

CUTOFF

REV

TYPE

CHO

TYPE

VARI

TYPE

VARI

PARAM

PERFORM

NAME

VARI

DATA

ASSIGN1

PARAM

PORTA

SWITCH

TIME

EFFECT

VARI

CUTOFF

FMOD

COMMON

ASSIGN

MIDI

BANK

PROGRAM

ATK

TIME

ATK

TIME

DCY

TIME

DCY

TIME

FEG

AEG

SUS

LEVEL

SUS

LEVEL

VOLUME

PAN

REL

TIME

REL

TIME

AMOD PMOD

INIT

LEVEL

ATK

TIME

REV

SEND

EFFECT

CHO

SEND

VARI

SEND

ATK

LEVEL

FMOD

LFO

PEG

DCY

TIME

WAVE

FILTER

CUTOFF

REZ

SPEED

REL

TIME

REL

LEVEL

PHASE

INIT

POLY

MONO

ASSIGN

DATAPARAMDEPTHOFFSET

VEL

LIMIT

HIGH

LIMIT

HIGH

LIMIT

LOW

LIMIT

LOW

NOTE

TUNE

NOTE

SFT

DETUNE

LAYER

Arpeggio Pattern Length

The length of a CS2x arpeggio pattern is determined by three

factors which work together simultaneously: TYPE and

SUBDIVIDE settings, 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

chord into eighths, and then arpeggiates it based on the TYPE

setting. If TYPE is set to “UpOct2” 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 two beats.

Furthermore, if you then change TYPE to “UpOct1”, 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 “UpOct2” and SUBDIVIDE to “3/8”

resolution. Playing a triad will place the root note on the first beat

in the fourth 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, always

landing on the first beat.

In the case of the special Arpeggiator types (16-40), you will

notice that these aren’t particularly effective with triplet rhythms.

Best results are achieved with a 4/4 beat and a SUBDIVIDE

resolution of “1/16”, “1/8” or “1/32”.

cCS2x_Basic 12/10/98 5:25 PM Page 28

Getting Started

Panel Edit Matrix

Although the features we’ve explained so far no doubt provide

you with a wealth of tone control and great music making

options, we’ve really only just begun to scratch the surface of the

CS2x’s power!

The panel edit matrix gives you six menus of Performance Edit

parameters with virtually limitless options for tone control and

customized User Performance creation using the EDIT

PARAMETER ROTARY switch in conjunction with the ten

parameter [UP/DOWN] buttons.

Each parameter is explained and available settings are listed in

the Reference section (starting on page 39). Reading through it —

along with just rolling up your sleeves and trying each one out

one-by-one — will end up making you a veritable CS2x expert!

For the sake of giving you a well-rounded tour right now without

getting in too deep, however, why not try experimenting with a

few basic COMMON and LAYER edit menus to help you get

comfortable dealing with collective and individual Performance

Layers.

■ COMMON Parameters

Each CS2x Performance is made up of anywhere between one

and four Layer voices. Changes you make to parameter settings

in the two COMMON menus will affect all Layer voices equally.

Try out the many different effects.

1. Set the EDIT PARAMETER ROTARY switch to the Common

Edit 1 menu.

2. Use the REV TYPE [UP/DOWN] button to try out the

different Reverb effect types. Use the CHO TYPE

[UP/DOWN] button to try out the different Chorus effect

types.

PERFORMANCE

MULTI

DEMO

STORE

UTILITY

P BEND

RANGE

TYPE

ARPEGGIATOR

TEMPO

PMOD

SUB

DIVIDE

PERFORM

LEVEL

FMOD

CUTOFF

REV

TYPE

CHO

TYPE

VARI

TYPE

VARI

PARAM

PERFORM

NAME

VARI

DATA

ASSIGN1

PARAM

PORTA

SWITCH

TIME

EFFECT

VARI

CUTOFF

FMOD

COMMON

BANK

PROGRAM

ATK

TIME

ATK

TIME

DCY

TIME

DCY

TIME

FEG

AEG

SUS

LEVEL

SUS

LEVEL

VOLUME

PAN

REL

TIME

REL

TIME

AMOD PMOD

INIT

LEVEL

ATK

TIME

REV

SEND

EFFECT

CHO

SEND

VARI

SEND

ATK

LEVEL

FMOD

LFO

PEG

DCY

TIME

WAVE

FILTER

CUTOFF

REZ

SPEED

REL

TIME

REL

LEVEL

PHASE

INIT

POLY

MONO

ASSIGN

DATAPARAMDEPTHOFFSET

VEL

LIMIT

HIGH

LIMIT

HIGH

LIMIT

LOW

LIMIT

LOW

NOTE

TUNE

NOTE

SFT

DETUNE

LAYER

3. Use the VARI TYPE [UP/DOWN] button to try out the

different Variation effect types. Use the VARI PARAM

[UP/DOWN] button to select available Variation effect

parameters. Use the VARI DATA [UP/DOWN] button to

select specific parameter data value settings.

You can set the amount of Reverb and Chorus for each Layer

using the EFFECT REV SEND and CHO SEND parameters,

respectively, located in the Layer Edit 4 menu. When EFFECT

VARI SEND is set to “on”, however, Reverb and Chorus send

levels are applied equally to all Layers.

For more information about effects, see page 70. Also see the

separate “Data List” book.

Customize the parameter of the ASSIGN 1/DATA knob.

1. Set the EDIT PARAMETER ROTARY switch to the Common

Edit 2 menu.

2. Use the ASSIGN1 PARAM [UP/DOWN] button to determine

which parameter will be affected by the ASSIGN 1/DATA

knob.

There are 30 choices in all. You could, for example, use it to

control Arpeggiator tempo, or left and right panning of the sound,

the overall pitch and much more.

For a list of available parameters, see page 65.

■ LAYER Parameters

There are four menus of LAYER parameters which affect only the

currently selected Layer when you edit them. (Note that although

the PORTA SWITCH parameter is located in the Common Edit 2

menu, it is in fact a Layer parameter and therefore can be set for

each individual Layer voice.)

Select a Layer.

Press the PART/LAYER [-] and [+] buttons to select a desired

Layer.

ARPEGGIO

HOLD SHIFT

OCTAVE

PART/LAYER/

PRESET USER

PROGRAM

Indicates currently selected Layer

PERFORMANCE

MULTI

DEMO

STORE

UTILITY

SYSTEM

P BEND

RANGE

TYPE

ARPEGGIATOR

TEMPO

PMOD

SUB

DIVIDE

PERFORM

LEVEL

FMOD

CUTOFF

REV

TYPE

CHO

TYPE

VARI

TYPE

VARI

PARAM

PERFORM

NAME

VARI

DATA

ASSIGN1

PARAM

PORTA

SWITCH

TIME

EFFECT

VARI

CUTOFF

FMOD

COMMON

ASSIGN

MIDI

BANK

PROGRAM

ATK

TIME

ATK

TIME

DCY

TIME

DCY

TIME

FEG

AEG

SUS

LEVEL

SUS

LEVEL

VOLUME

PAN

REL

TIME

REL

TIME

AMOD PMOD

INIT

LEVEL

ATK

TIME

REV

SEND

EFFECT

CHO

SEND

VARI

SEND

ATK

LEVEL

FMOD

LFO

PEG

DCY

TIME

WAVE

FILTER

CUTOFF

REZ

SPEED

REL

TIME

REL

LEVEL

PHASE

INIT

POLY

MONO

ASSIGN

DATAPARAMDEPTHOFFSET

VEL

LIMIT

HIGH

LIMIT

HIGH

LIMIT

LOW

LIMIT

LOW

NOTE

TUNE

NOTE

SFT

DETUNE

LAYER

cCS2x_Basic 12/10/98 5:25 PM Page 29

Getting Started

Change the Layer voice.

This is a quick and effective way to easily create an entirely new

Performance!

1. Select a desired Layer.

2. Set the EDIT PARAMETER ROTARY switch to the Layer Edit

4 menu and press the BANK [UP/DOWN] button to select

an available bank.

3. Press the PROGRAM [UP/DOWN] button to select an

available voice.

To assign a new voice to each Layer, simply repeat the process.

When the BANK or PROGRAM screen is displayed, simply

selecting a Layer will reveal which bank or voice is currently

selected.

For a list of available voices for Performance Layers, see the

separate “Data List” book.

Adjust the relative volume levels of each Layer.

This is a quick and easy way to reshape a Performance which

uses two or more Layers.

1. Select a desired Layer.

2. Set the EDIT PARAMETER ROTARY switch to the Layer Edit

4 menu and press the VOLUME [UP/DOWN] button to

adjust the level.

PERFORMANCE

MULTI

DEMO

STORE

UTILITY

P BEND

RANGE

TYPE

ARPEGGIATOR

TEMPO

PMOD

SUB

DIVIDE

PERFORM

LEVEL

FMOD

CUTOFF

REV

TYPE

CHO

TYPE

VARI

TYPE

VARI

PARAM

PERFORM

NAME

VARI

DATA

ASSIGN1

PARAM

PORTA

SWITCH

TIME

EFFECT

VARI

CUTOFF

FMOD

COMMON

BANK

PROGRAM

ATK

TIME

ATK

TIME

DCY

TIME

DCY

TIME

FEG

AEG

SUS

LEVEL

SUS

LEVEL

VOLUME

PAN

REL

TIME

REL

TIME

AMOD PMOD

INIT

LEVEL

ATK

TIME

REV

SEND

EFFECT

CHO

SEND

VARI

SEND

ATK

LEVEL

FMOD

LFO

PEG

DCY

TIME

WAVE

FILTER

CUTOFF

REZ

SPEED

REL

TIME

REL

LEVEL

PHASE

INIT

POLY

MONO

ASSIGN

DATAPARAMDEPTHOFFSET

VEL

LIMIT

HIGH

LIMIT

HIGH

LIMIT

LOW

LIMIT

LOW

NOTE

TUNE

NOTE

SFT

DETUNE

LAYER

To set the level of each Layer, simply repeat the process. When

the VOLUME screen is displayed, simply selecting a Layer will

reveal its level setting.

User Performance Store

Now that we’re at the end of the Performance mode tour, it’s

highly likely that you created something along the way that’s

worth storing as a User Performance for recall later. In order to

execute a Performance Store operation, the Performance Name

screen must be displayed in the LCD.

1. Press the [STORE] button. The Performance Store screen will

display.

2. Press [USER] to select a User Performance bank (U1 or U2).

3. Use the NUMERIC KEYPAD to select the program number

(1 ~ 128) in which you want to store the User Performance.

The number will flash in the screen.

4. Press [ENTER].

A “Sure?” prompt will appear in the LCD. Press [YES] to store the

Performance. Press [NO] to abort the operation.

PERFORMANCE

MULTI

DEMO

STORE

UTILITY

MASTER

TUNE

KBD

TRANS

SYSTEM

P BEND

RANGE

TYPE

ARPEGGIATOR

TEMPO

PMOD

BANK

PROGRAM

ATK

TIME

ATK

TIME

DCY

TIME

DCY

TIME

FEG

AEG

TUNE

NOTE

SFT

DETUNE

PERFORMANCE

MULTI

DEMO

STORE

UTILITY

P BEND

RANGE

TYPE

ARPEGGIATOR

TEMPO

PMOD

SUB

DIVIDE

PERFORM

LEVEL

FMOD

CUTOFF

REV

TYPE

CHO

TYPE

VARI

TYPE

VARI

PARAM

PERFORM

NAME

VARI

DATA

ASSIGN1

PARAM

PORTA

SWITCH

TIME

EFFECT

VARI

CUTOFF

FMOD

COMMON

BANK

PROGRAM

ATK

TIME

ATK

TIME

DCY

TIME

DCY

TIME

FEG

AEG

SUS

LEVEL

SUS

LEVEL

VOLUME

PAN

REL

TIME

REL

TIME

AMOD PMOD

INIT

LEVEL

ATK

TIME

REV

SEND

EFFECT

CHO

SEND

VARI

SEND

ATK

LEVEL

FMOD

LFO

PEG

DCY

TIME

WAVE

FILTER

CUTOFF

REZ

SPEED

REL

TIME

REL

LEVEL

PHASE

INIT

POLY

MONO

ASSIGN

DATAPARAMDEPTHOFFSET

VEL

LIMIT

HIGH

LIMIT

HIGH

LIMIT

LOW

LIMIT

LOW

NOTE

TUNE

NOTE

SFT

DETUNE

LAYER

cCS2x_Basic 12/10/98 5:26 PM Page 30

Getting Started

Multi Play Mode

Multi Play mode is especially suitable for multitimbral song

production with up to 16 individual musical instrument “Parts”

using an external MIDI sequencer or computer running a MIDI

music sequencer program. Each CS2x Part is made up of one of

the 586 normal voices and 20 drum voices as well as volume,

panning, effect send and other settings. The CS2x’s 64 notes

maximum available polyphony make sure even your most

intricate composition will record and play back faithfully.

The CS2x is an excellent master MIDI keyboard controller for

sequence recording since it not only transmits MIDI note

messages as you play the keyboard, it also sends program change

messages to change voices as you press panel buttons, and

continuous control change message as you use the PITCH and

MODULATION wheels, SOUND CONTROL knobs and Foot

Controllers.

The CS2x is also an extremely flexible multitimbral MIDI “tone

module” since it can receive MIDI system exclusive and other

messages which give you far greater control over the individual

effects and other parameters not possible using the panel

functions. As an XG format tone generator the CS2x can play

commercially available XG music data (marked with the XG

logo) using an external sequencer as well as General MIDI

System Level 1 files (marked with the GM logo). When used with

a music sequencer software application such as Yamaha’s

XGworks, you can enjoy the full benefits of the CS2x’s XG

capabilities, all with an easy-to-use graphic-oriented user

interface.

If you program the data for all of your basic voice, effects and

other Part settings at the head of the song before the music starts,

you can be assured that the CS2x will always play just as you

want it to, without having to make any tedious panel settings

when setting up.

In all, you can store up to nine CS2x Multi setups. Each might act

as a template for an easy start to your most frequently used music

composing, studio recording or live performance situations (page

67).

For the sake of the Quick Tour, we’ll explain the basic Multi Play

mode setup operations, then give you a brief presentation of

putting it all to practical use with a computer based music

sequencer, Yamaha’s XGworks.

For more information, see pages 32 and 57. Also see the

separate “Data List” book.

Sequencer Setup

If you’re using a stand-alone hardware-based sequencer, connect

it to the CS2x’s MIDI terminals using MIDI cables. If a computer,

connect it to the TO HOST terminal using the appropriate cable.

(For details about connections, see page 12.)

Refer to the owner’s manual for your sequencer regarding

information about setting it up for multitimbral recording and

play.

The following steps are related to setting up the CS2x for

multitimbral recording and play.

Multi Play Mode Select

Simply pressing the [MULTI] button will enter Multi Play mode.

Take a look at the LCD and see which Part is selected (1 ~ 16).

Note that if you play the keyboard the voice you’ll be playing will

be that of the selected Part. You can use the NUMERIC KEYPAD

(0 ~ 9) and [ENTER] as well as the PROGRAM [-]/[+] buttons to

select any of the basic 128 GM normal voices.

A new CS2x or one that has had the factory settings recalled

(page 69) will be set at PART 1 = “#001-Grand Piano”.

PERFORMANCE MULTI

DEMO

STORE UTILITY

Part Number

Voice Name

Category

Program (Voice) Number

MIDI Data

PART 1~16

(1~16ch)

External

MIDI Sequencer

MULTI PART EDIT

XG voices, volume, pan,

effect and other settings.

Multi Play Mode

In Multi Play mode you can play up to 16 Parts using an external MIDI sequencer. This mode is mainly used when the

CS2x is used as an XG tone generator or as a music data input device in a computer music system. You can use any

XG voice from the 586 normal voices and 20 drum voices. When recording to or playing back from an external

sequencer you can use the Multi Part Edit function to set the volume and effects for each Part.

cCS2x_Ref 12/10/98 5:12 PM Page 57

Feature Reference

Multi Play Mode

● Description of Each Edit

Function

■ BANK

This lets you select a Bank of available voices which can be

assigned to each Part (also see PROGRAM, below). Various

normal voice banks containing up to 128 normal voices,

plus a bank with different drum voices (kits), as well as SFX

banks are available to choose from.

Settings:

Bank: off, XG000, 001, 003, 006, 008, 012, 014, 016~020, 024 ~ 028,

032~043, 045, 064 ~ 073, 096~101, SFX, SFXKT (SFX Kit), DRUM

In Multi Play mode all settings are available via the ASSIGN 1/DATA

knob, but only certain ones are available when using the BANK

[UP/DOWN] button.

A bank can be selected directly by inputting the

corresponding BANK number with the NUMERIC KEYPAD

(0 ~ 9) and [ENTER].

For more information about Banks and Programs (voices), see the

XG Voice List in the separate “Data List” book.

MSB LSB Bank LCD

0 0 0 XG000

0 1 1 XG001

↓ ↓ ↓ ↓

0 101 101 XG101

64 0 102 SFX

126 0 126 SFXKIT

127 0 127 DRUM

Off

- -

999

Bank Conversion Table for The Multi

2. Select the parameter.

Press the Parameter Value [UP/DOWN] button

corresponding to the parameter you want to edit once to

select the parameter and engage Multi Part Edit mode. The

name of the parameter and current settings will display in

the LCD.

3. Set the value.

Press [UP/DOWN] again to set the value. Holding

[UP/DOWN] scrolls through the settings. The [UP] button

increases the value and the [DOWN] button decreases the

value.

You can also use the NUMERIC KEYPAD (0 ~ 9) and [ENTER] or the

ASSIGN 1/DATA knob to change the data value.

As you press other Parameter Value [UP/DOWN] buttons, the

corresponding parameters will appear in the LCD. Set all other

parameters to your preference.

4. Store the Multi.

When you have finished all editing operations, store the

Multi. For details about how, see page 68.

To exit from Multi Part Edit mode, press the [MULTI] button again

or the PROGRAM [-]/[+] button once, which will display the Voice

Name screen. The display will return to the voice name screen. You

can enter Performance mode directly from Multi mode by pressing

the [PERFORMANCE] button.

PERFORMANCE

MULTI

DEMO

STORE

UTILITY

P BEND

RANGE

TYPE

ARPEGGIATOR

TEMPO

PMOD

SUB

DIVIDE

PERFORM

LEVEL

FMOD

CUTOFF

REV

TYPE

CHO

TYPE

VARI

TYPE

VARI

PARAM

PERFORM

NAME

VARI

DATA

ASSIGN1

PARAM

PORTA

SWITCH

TIME

EFFECT

VARI

CUTOFF

FMOD

COMMON

BANK

PROGRAM

ATK

TIME

ATK

TIME

DCY

TIME

DCY

TIME

FEG

AEG

SUS

LEVEL

SUS

LEVEL

VOLUME

PAN

REL

TIME

REL

TIME

AMOD PMOD

INIT

LEVEL

ATK

TIME

REV

SEND

EFFECT

CHO

SEND

VARI

SEND

ATK

LEVEL

FMOD

LFO

PEG

DCY

TIME

WAVE

FILTER

CUTOFF

REZ

SPEED

REL

TIME

REL

LEVEL

PHASE

INIT

POLY

MONO

ASSIGN

DATAPARAMDEPTHOFFSET

VEL

LIMIT

HIGH

LIMIT

HIGH

LIMIT

LOW

LIMIT

LOW

NOTE

TUNE

NOTE

SFT

DETUNE

LAYER

cCS2x_Ref 12/10/98 5:12 PM Page 58

Feature Reference

Multi Play Mode

■ VOLUME

This sets the volume of the selected Part. Different volume

levels can be set for each Part.

Settings:

Volume: 0 ~ 127

■ PAN

This sets the panning position (the left or right placement in

the stereo spectrum) for each Part. Different pan positions

can be set for each Part (for stereo output).

Settings:

Pan: Random, L63 (far left position) ~ L01, C00 (center position), R01 ~ R63

(far right position)

When set to “Random”, the panning of each Part will alternate

between left and right when a voice is played.

Some of the voices are preset and fixed to a panning of “left” in the

lower register and “right” in the higher register. In such a case you

cannot modify the pan setting.

■ EFFECT

This sets the effect send (output) level for each Part. There

are three parameters: REV SEND (Reverb Send level), CHO

SEND (Chorus Send level) and VARI SEND (Variation Send).

You can change the effect send level for each effect in real-

time when playing back XG song data containing effect

settings using an external MIDI device.

When you press [MULTI] to enter Multi Play mode (reset to XG ON)

each effect will be reset to the default settings: Hall 1 (Reverb),

Chorus 1 (Chorus) and Delay L,C,R (Variation). In this case, the

Reverb send level is set to 64, and the Chorus and Variation send

levels are set to 0.

Depending on the XG song data being played, the effect

types and their parameters used in the song may differ.

Note that the Performance Edit mode EFFECT TYPE

parameters and their settings have no relation to the effect

settings here.

■ PROGRAM

This lets you select a voice, or program, from the currently

selected BANK (see above).

Settings:

(Name): 1 ~ 128 (depending on selected Bank)

Note that the Program numbers available are 1 ~ 128 and the MIDI

Program Change numbers range from 0 ~ 127. To match the MIDI

Program Change number when switching programs using an

external MIDI device, subtract a value of “1” from the CS2x

Program number you want the MIDI message to select.

For more information about Banks and Programs (voices), see the

XG Voice List in the separate “Data List” book.

You can also change the Program number with a single press of a

number (0 ~ 9) of the NUMERIC KEYPAD by using the Quick

Program Change function, just as in Performance mode (page 41).

Normal Voices And Drum Voices

The available voices are divided into two groups: normal voices and

drum voices. In Multi Play mode you can select and play both “normal”

and “drum” voices for the selected Part.

A normal voice is a pitched voice which can be played on a musical

scale from low to high, such as a piano or trumpet. In Multi Play mode

there are 586 XG normal voices.

A drum voice is a complete set of drum and other percussion sounds,

with each sound having a fixed pitch. Each sound is assigned to a

specific MIDI Note number which also corresponds to a key on a MIDI

keyboard. In Multi Play mode there are 20 XG drum voices. For a list of

the drum and percussion sound assignments to each key, see the XG

Drum Voice List in the separate “Data List” book.

TG300B Mode

There are actually two tone generator modes: XG mode and TG300B

mode. Normally the CS2x plays in XG mode. However, it automatically

recognizes which mode to select based on incoming MIDI data, i.e.

through MIDI System Exclusive messages that can be programmed into

music data using an external MIDI sequencer.

In TG300B mode the CS2x will play multitimbral music data created for

TG300B-compatible tone generators. TG300B mode also provides

compatibility with the General MIDI System Level 1 format.

In TG300B mode the CS2x can:

• Play up to 16 Parts.

• Choose from 614 normal voices and 10 drum voices.

cCS2x_Ref 12/10/98 5:12 PM Page 59

Feature Reference

Multi Play Mode

CUTOFF: Determines the cutoff frequency of the filter, or

the frequency point above which other frequencies are cut

off or filtered out. Higher settings result in brighter sounds

and lower settings result in darker sounds.

REZ (Resonance): Sets the amount of filter resonance or

emphasis around the cutoff frequency. Higher settings

produce a higher resonant peak, while lower settings

produce a relatively flat response.

Settings:

Cutoff: -64 ~ +63

Resonance: -64 ~ +63

■ POLY/MONO

This determines whether the voice in each Layer is played

monophonically (only one note at a time) or polyphonically

(up to 64 notes at a time).

Generally, Polyphonic mode is selected to generate multiple

sounds at one time. There are cases, however,where it is

more effective to select Monophonic mode, such as when

using a bass sound, brass sound, or an analog synthesizer

sound.

Settings:

Mono/Poly: mono, poly (also “---” for SFXKT and DRUM)

You can play up to 64 notes at a time. However, the number of

notes may be reduced or truncated if you use multiple Parts in a

rather complicated song which uses too many notes.

Using Multi Play Mode

• Multi Play mode is especially designed for using the CS2x as

a multitimbral tone generator for an external MIDI

sequencer, and all Part assignment and other settings can be

controlled by MIDI messages as stored in the music data in

the sequencer. To keep from losing any BANK, PROGRAM,

VOLUME, PAN, EFFECT, FILTER, POLY/MONO assignments

and settings you make in Multi Play Edit mode, however, you

must perform a Multi Store operation (page 68) before

switching to Performance mode.

• The Arpeggiator and Scene functions are not available in

Multi Play Mode. They can only be used with the

Performances in Performance mode.

PERFORMANCE

MULTI

DEMO

STORE

UTILITY

BANK

PROGRAM VOLUME

PAN

REV

SEND

EFFECT

CHO

SEND

VARI

SEND

FILTER

CUTOFF

REZ

POLY

MONO

REV SEND (Reverb Send): Determines the send level of the

Reverb effect.

CHO SEND (Chorus Send): Determines the send level of

the Chorus effect.

VARI SEND (Variation Send): Enables or disables the output

of the Variation effect.

Settings:

Rev Send: 0 ~ 127

Cho Send: 0 ~ 127

Var Send: off, on (or 0 ~ 127*)

*The Variation send parameters are “off” or “on” when the Variation

effect is used as the Insertion effect. They are 0 ~ 127 when used as

the System effect. Normally, the Variation effect works as an

Insertion Effect when not receiving parameter change messages to

switch to System Effect from an external MIDI sequencer. For more

information about Insertion and System effects, see page 70.

■ FILTER

This sets the filter parameters for each Part. There are two

parameters: CUTOFF and REZ (resonance). These

parameters affect the Low Pass Filter (LPF) only.

Generally filters change the timbre by passing signals within

a specific frequency bandwidth and cutting others. Multi

Play mode features a Low Pass Filter (LPF) which passes

signals below the specified frequency point (the “cutoff

frequency”) and cuts off the signals above it.

Depending on the voice selected, changing certain parameters may

not produce a noticeable effect.

Cutoff Resonance

Reverb Send Chorus Send

Variation Send

cCS2x_Ref 12/10/98 5:12 PM Page 60

Feature Reference

Utility Mode

You can also use the NUMERIC KEYPAD (0 ~ 9) and [ENTER] or the

ASSIGN 1/DATA knob to change the data value.

As you press other Parameter Value [UP/DOWN] buttons, the

corresponding parameters will appear in the LCD. Set all other

parameters to your preference.

To exit Utility mode press [PERFORMANCE] or [MULTI] to return to

Performance or Multi Play mode, respectively.

It is not necessary to store changes made in the Utility mode as the

CS2x will remember any changes you make.

● Description of Each Utility

Function

SYSTEM

This determines the tuning and other keyboard-related

settings for the CS2x tone generator. There are four

parameters: MASTER TUNE, KBD TRANS (Keyboard

Transpose), VEL CURVE (Velocity Curve) and VEL FIX

(Velocity Fix).

■ MASTER TUNE

This tunes the CS2x’s tone generator. The basic pitch is 440

Hz at note A3. Master tuning can be adjusted in 1 cent

increments and decrements.

Settings

MasterTune: -102 to 0 (A3=440 Hz) to +102

A value of 100 cents is equal to one semitone.

PERFORMANCE

MULTI

DEMO

STORE

UTILITY

MASTER

TUNE

KBD

TRANS

BANK

PROGRAM

Entering Utility Mode

Press [UTILITY] to enter Utility mode. A [▲] mark will appear

below the word “UTILITY” in the LCD to indicate Utility mode

is engaged.

When you enter Utility mode the LCD will display the screen

previously selected when you last exited Utility mode. The first time

you press the [UTILITY] button after turning the power on, however,

the LCD will display the SYSTEM MASTER TUNE screen.

● Procedure

1. Select the parameter.

Press the Parameter Value [UP/DOWN] button

corresponding to the parameter you want to edit once to

select the parameter. The name of the parameter and current

setting will display in the LCD.

2. Set the value.

Press [UP/DOWN] again to set the value. Holding the

Parameter Value [UP/DOWN] button changes the value

continuously. Holding [UP/DOWN] scrolls through the

settings. The [UP] button increases the value and the

[DOWN] button decreases the value.

PERFORMANCE

MULTI

DEMO

STORE

UTILITY

MASTER

TUNE

KBD

TRANS

BANK

PROGRAM

PERFORMANCE MULTI

DEMO

STORE UTILITY

Parameter Name

SYSTEM SETTINGS

MASTER TUNE

KBD TRANS

VEL CURVE

VEL FIX

MIDI SETTINGS

TRANS CH

RCV CH

DEVICE NO

LOCAL

BULK DUMP

CS2x CS2x

MIDI

ASSIGN CONTROL

CHANGER NUMBER

Utility Mode

In Utility mode you can set the CS2x system, MIDI and special assignment parameters.

cCS2x_Ref 12/10/98 5:12 PM Page 61

Feature Reference

Utility Mode

easy: This curve is also designed to increase the volume

level with a softer playing style. However, the volume level

is stable in all registers since the velocity curve in the mid

range is close to Normal.

wide: A softer playing style lowers the volume level and a

stronger playing style increases the volume level. As a result,

you feel a wider dynamic range.

hard: A stronger playing style increases the volume level.

This is suitable for people with a strong key touch.

Settings

Vel Curve: norm, soft1, soft2, easy, wide, hard

■ VEL FIX (Velocity Fix)

This “fixes” the velocity of the CS2x keyboard to a specific

value. This is used when you want to play the sound at a

fixed velocity regardless of keyboard touch.

Settings

Vel Fix: off, 1 ~ 127

Set VEL FIX to “off” to enable the velocity curve selected in VEL

CURVE (see above).

KEYBOARD PLAYING STRENGTH

VOLUME

KEYBOARD PLAYING STRENGTH

VOLUME

KEYBOARD PLAYING STRENGTH

VOLUME

■ KBD TRANS (Keyboard Transpose)

This lets you transpose the keyboard pitch in semitones. The

transpose value will also be reflected in the OCTAVE display

in the LCD.

Settings

Kbd Trans: -36 to 0 (standard pitch) to +36

Since the Keyboard Transpose setting is related to the OCTAVE

SHIFT function, the setting will automatically change based on the

OCTAVE SHIFT setting.

■ VEL CURVE (Velocity Curve)

The velocity curve set here determines the way the CS2x’s

tone generator responds to playing velocity when the VEL

FIX parameter (see below) is set to “off”. There are six types

of curves available.

norm (Normal): The velocity is in proportion to the strength

(how hard you play the keyboard).

soft1: A softer playing style increases the volume level. This

is suitable for people with a soft key touch.

soft2: A softer playing style increases the volume level.

Compared to Soft1, this is closer to Normal.

KEYBOARD PLAYING STRENGTH

VOLUME

KEYBOARD PLAYING STRENGTH

VOLUME

KEYBOARD PLAYING STRENGTH

VOLUME

cCS2x_Ref 12/10/98 5:12 PM Page 62

Feature Reference

Utility Mode

■ DEVICE NO (Device Number)

This sets the MIDI device number. When transmitting or

receiving system exclusive messages such as bulk dump or

parameter change messages with an external MIDI device,

you must set the CS2x and the external device to the same

device number.

Settings

Device No.: 1 ~ 16, all, off

■ LOCAL

This determines whether the CS2x’s keyboard is connected

to the internal tone generator. For normal play, LOCAL

should be set to “on”. When using the CS2x as a master

keyboard controller for sending note and other data to a

MIDI music sequencer, LOCAL should be set to “off”. When

LOCAL is set to “off”, the keyboard is disconnected from the

tone generator, the CS2x’s internal tone generator will not

respond to the keyboard (no sound will be produced) when

you play, but the keyboard still transmits MIDI messages

from the MIDI OUT terminal. At the same time, the CS2x’s

internal tone generator will respond to incoming MIDI data

received at the MIDI IN terminal from an external device.

Settings

Local: on, off

EXTERNAL MIDI DEVICE

MIDI OUT

MIDI IN

MIDI OUT

LOCAL OFF

TONE

GENERATOR

KEYBOARD

MIDI

The MIDI parameters determine key aspects of how the

CS2x exchanges data with an external MIDI device. There

are five parameters: TRANS CH (Transmit Channel), RCV

CH (Receive Channel), DEVICE NO (Device Number),

LOCAL and BULK DUMP.

■ TRANS CH (Transmit Channel)

This sets the MIDI transmit channel over which the CS2x

will send MIDI data to an external MIDI device such as a

sequencer.

Settings

Trans Ch: 1 ~ 16

You can use the CS2x to send data to an external MIDI device such

as a music sequencer. For details, see page 12.

■ RCV CH (Receive Channel)

In Performance mode, this sets the MIDI receive channel for

controlling the CS2x by an external device such as a MIDI

sequencer or computer music software application.

In Multi Play mode, the CS2x resets the internal tone

generator to XG ON (001 Grand Piano) status and

automatically receives the external data.

Settings

Perf Rch: LAYER A (“All” Performance Layer voices) = Channel 1 ~ 16, PART

5~16 = Channel 1 ~ 16, off

In Performance mode, the receive channels can be set for receiving

MIDI note and other data to play the Performance Layer plus 12

Parts (Part 5 ~ 16) as set up for the Multi (see Multi Play mode).

However, you cannot use the Insertion effect for Parts 5 ~ 16 (see

Digital Effects, page 70).

To select the Layer (“A”) or Part (“5 ~ 16”) which you want to assign

a MIDI channel to, use the PART/LAYER [-]/[+] buttons.

cCS2x_Ref 12/10/98 5:12 PM Page 63

Feature Reference

Utility Mode

■ ASSIGN CTRL NO (Assign Control Number)

This lets you assign Control Change Numbers to controllers

such as the MODULATION wheel and SOUND CONTROL

knobs. This is mainly used to control external MIDI devices

connected to the CS2x via MIDI cables.

The main function of the SOUND CONTROL knobs will not be

changed.

You can designate whether the MODULATION wheel or the Foot

Controller is used for Scene Control (page 26).

The table below lists which controller the LCD abbreviations

correspond to.

In the Scene Control settings, you can choose from Mod. Wheel

(MODULATION wheel) or FootCtrl (FOOT CONTROLLER) to

determine the controller for Scene morphing.

Scene

SCENE 1 or 2 buttons (only for the Scene Control)

Controller LCD

Modulation Wheel MW

Sound Control Knob 1 (ATTACK) Knob1

Sound Control Knob 2 (DECAY) Knob2

Sound Control Knob 3 (RELEASE) Knob3

Sound Control Knob 4 (ASSIGN 1/DATA) Knob4

Sound Control Knob 5 (HPF CUTOFF)

Sound Control Knob 6 (LPF CUTOFF)

Sound Control Knob 7 (RESONANCE)

Knob5

Sound Control Knob 8 (ASSIGN 2)

Knob6

Knob7

Knob8

Footswitch connected to the FOOTSWITCH jack on the rear panel FS

Foot Controller connected to the FOOT CONTROLLER jack on the rear panel

Foot Volume pedal connected to the FOOT VOLUME jack on the rear panel

Control Change Number Name

Controller

■ BULK DUMP

This function is used for sending CS2x Performance data in

bulk to another CS2x or to a MIDI data storage devices such

as the Yamaha MIDI Data Filer MDF3. This is convenient for

backing up, saving or managing your important

Performance data.

Settings

Bulk Dump: 1Perf, All

To enable transmission, first connect the MIDI devices using MIDI

cables. (For details about setting up each device, see the respective

owner’s manuals for the external MIDI devices.) Also, you must

match the device number of the CS2x with the device number of

the external MIDI device (see DEVICE NO, above).

Bulk Dump Send

1. Select the type of data you want to “dump” to the external device

using the BULK DUMP [UP/DOWN] button.

1Perf: Sends the Preset or User Performance data currently selected in

Performance mode.

All: Sends all of the User Performance data as well as the System data

settings.

The CS2x does not transmit Multi data in bulk.

2. Press [ENTER] to execute the bulk dump operation. The word “End”

will appear in the LCD when the operation is completed, and the

LCD will return to the original display.

Bulk Dump Receive

The CS2x can receive Performance data from an external device, to load

it back into the CS2x in bulk. The CS2x stands ready to receive the data

when a Bulk Dump operation is executed by the external MIDI device.

The data that can be received will differ depending on the mode. (For

details about MIDI data format information, see the separate “Data List”

book.) You must match the device number of the CS2x with the device

number of the external MIDI device (see DEVICE NO, above.)

The CS2x can also receive CS1x bulk data. Depending on

wave and other data, the sound might be somewhat different.

VWX

YZ'

MNO

PQR

STU

DEF

GHI

JKL

NO/

QUICK PC

YES

ABC

SPACE

ENTER

cCS2x_Ref 12/10/98 5:12 PM Page 64

Feature Reference

Utility Mode

Press a [SCENE] button to display the Scene Control parameters.

2. Press ASSIGN CTRL NO [UP/DOWN] button to select the Control

Change Number and Name.

3. Repeat steps 1 and 2 to assign the Control Change Numbers and

Names to each controller.

This function is especially convenient for controlling an external

MIDI device with the CS2x (see page 72).

About The SOUND CONTROL Knobs

Changes made by the SOUND CONTROL knobs can be output

as MIDI messages via the MIDI OUT terminal as assigned using

the ASSIGN CTRL NO function.

The default assignments for the SOUND CONTROL knobs as

set at the factory are as follows:

Knob 1 73: Attack Time

Knob 2 80: General Purpose 5

Knob 3 72: Release Time

Knob 4 17: General Purpose 2

Knob 5 81: General Purpose 6

Knob 6 74: Brightness

Knob 7 71: Harmonic Content

Knob 8 18: General Purpose 3

• When the CS2x receives the data assigned to each SOUND

CONTROL knob from an external MIDI device, the

parameter printed on the panel for the knob will be affected.

For example, when the message for Brightness (74) is

received from an external device, the Attack Time will be

affected when the Brightness (74) is assigned to Knob 1 and

the Attack Time (73) is assigned to Knob 3.

• Both the data assigned to the Knob using the ASSIGN CTRL

NO function and parameter data as printed on the panel for

the Knob are sent to the internal tone generator when turning

the Knob. For example, when you turn Knob 1, both

Brightness (74) and Attack Time will be affected when

Brightness (74) is assigned to Knob 1.

The table below lists the Control Change Numbers and

Names that can be assigned to the various controllers.

General Purpose: With the CS2x, General Purpose 1 is for FC, 2 is

for Knob 4 (ASSIGN 1/DATA), 3 is for Knob 8 (ASSIGN 2), 4 is for

no setting, 5 is for Knob 2 (DECAY), 6 is for Knob 5 (HPF CUTOFF)

and 7 and 8 are for no setting.

Assigning The Controllers

1. Move the panel controller (i.e. a SOUND CONTROL knob or the

MODULATION wheel) to which the Control Change Number is to

be assigned. The parameters for the controller will appear in the

LCD.

Control Change Number Name LCD

1 Modulation Depth ModDpth

5 Portament Time PortaTm

6 Data Entry MSB DataMSB

7 Main Volume MainVol

10 Panpot Panpot

11 Expression Expres.

16 General purpose1 Generl1

17 General purpose2 Generl2

18 General purpose3 Generl3

19 General purpose4 Generl4

38 Data Entry LSB DataLSB

64 Hold 1(Damper/Sustain) Hold1

65 Portament Switch PortaSW

66 Sostenute Sostnut

67 Soft Pedal Soft

71 Harmonic Contents Harmonic

72 Release Time RelTime

73 Attack Time AtkTime

74 Brightness Bright.

80 General Purpose 5 Generl5

81 General Purpose 6 Generl6

82 General Purpose 7 Generl7

83 General Purpose 8 Generl8

84 Portament Control PortaCt

91 Reverb Depth Reverb

93 Chorus Depth Chorus

94 Variation Depth Vari

Others ------- -------

Assignable Control Change Numbers and Names

cCS2x_Ref 12/10/98 5:12 PM Page 65

Feature Reference

Store Mode

To rename the Performance, use the PERFORM NAME parameter in

Performance Edit mode (page 45).

4. Press [ENTER]. The word “Sure?” will appear in the LCD.

To confirm the sound, simply play the keyboard.

5. Press [YES] to execute the store operation. After the data is

stored the LCD will return to the Performance Play mode

screen .

If you don’t want to store the Performance, press [NO] to cancel

the store operation.

Pressing the [PERFORMANCE] button will exit Store mode.

When storing a Performance, the position of each SOUND

CONTROL knob will also be stored. Therefore, when selecting

the stored User Performance in Performance Play mode, the

CS2x will produce the sound affected by each SOUND

CONTROL knob position at that time. (Turning the knob will

restore the sound with the current SOUND CONTROL knob

positions.)

Storing A Performance

1. After editing a performance, press the [STORE] button to

enter Store mode. A [▲] mark will appear below the word

“STORE” in the LCD to indicate Store mode is engaged.

2. Press [USER] to select the User Performance bank in which

you want to store the Performance.

3. Select the User Performance number in which you want to

store the Performance using the NUMERIC KEYPAD (0 ~ 9)

and [ENTER], the PROGRAM [-]/[+] buttons, or the

ASSIGN 1/DATA knob.

If you write over an existing User Performance, the data previously

stored there will be lost. To be safe, always store your important

data to an external device such as the Yamaha MIDI Data Filer

MDF3.

ARPEGGIO

HOLD SHIFT

OCTAVE

PART/LAYER/

PRESET USER

PROGRAM

PERFORMANCE MULTI

DEMO

STORE UTILITY

Store Mode

In Store mode you can store edited Performances, Scenes or the Multi in the CS2x’s internal memory.

To enter Store mode, you must first be in Performance or Multi Play mode. You cannot enter Store mode from Utility mode.

Preset Performance

8 Knob Position 1/2 Scene 1/2

Scene 1

Performance

Store

Bank I : 1~128

Bank II : 1~128

User Performance

Bank I : 1~128

Bank II : 1~128

Edited Performance

Store Destination

Store

Memory

Performance (Preset I/II, User I/II)

PERFORMANCE STORE

Setting Part Parameter

Multi Set 1~9

MULTI STORE

SCENE STORE

Part 1 Part 16

cCS2x_Ref 12/10/98 5:12 PM Page 66

Feature Reference

Store Mode

3. To permanently store the Scenes to the currently selected

Performance, execute the Performance Store operation.

Selecting Scenes

First select the Performance to which you have stored Scenes. Then press

[SCENE 1] or [SCENE 2] to select the desired Scene. The LED by the

selected button will light to indicate that you have activated the Scene

settings.

Each SOUND CONTROL knob will be disabled when a Scene is

selected, and you will not be able to change the parameters using the

knobs.

When the SCENE CONTROL function is activated by pressing both

[SCENE] buttons simultaneously (both LEDs will be lit), you can use the

MODULATION wheel or a connected Foot Controller to “morph”

between the sound of each Scene in real-time. The minimum position of

the controller is Scene 1, and the maximum position is Scene 2. For

details about determining which controller is assigned to the SCENE

CONTROL function, see page 64.

MW/FC

SCENE

MODULATION

SCENE 2

SCENE 1

Changes relative levels between

SCENE 1 and SCENE 2

Storing A Scene

There are two Scene memories in each Performance. The

Scene Store function is used to assign a Scene, or the position

of the eight SOUND CONTROL knobs, to either [SCENE 1] or

[SCENE 2] of the currently selected Performance. This is

convenient for live performances or recording sessions, since

it lets you access a particular setting simply by pressing a

[SCENE] button.

Two Scenes can be stored in each Performance.

Storing a Scene to the edit buffer will only remain in effect as long

as the current Performance is selected. To store the Scene data

permanently in the selected Performance you must execute the

Performance Store operation (see above). Otherwise, you will lose

the Scene settings if you select another Performance or enter Multi

Play mode. Also, before executing the Performance Store operation,

be sure to turn all the SOUND CONTROL knobs to their center

positions.

1. Set each SOUND CONTROL knob to the position of your

preference.

2. To store the current SOUND CONTROL knob settings to

the Scene 1 temporary buffer memory, hold [STORE] and

press [SCENE 1]. To store another set of SOUND

CONTROL knob settings to the Scene 2 temporary buffer

memory, hold [STORE] and press [SCENE 2].

The “OK” message will appear in the LCD when the Scene is

stored to the temporary buffer memory.

PERFORMANCE MULTI

DEMO

STORE UTILITY

MW/FC

SCENE

ATTACK

DECAY

RELEASE DATAASSIGN

ASSIGN 2

RESONANCE

CUTOFFCUTOFF LPFHPF

cCS2x_Ref 12/10/98 5:12 PM Page 67

Feature Reference

Store Mode

Storing The Multi

1. After editing the Part settings, press the [STORE] button to

enter Store mode. The word “MultiStore” will appear in the

LCD.

2. Use the NUMERIC KEYPAD (1 ~ 9) to select one of the

nine available User Multi memory locations.

3. Press [ENTER]. The word “Sure?” will appear in the LCD.

4. Press [YES] to execute the store operation. After the data is

stored the LCD will return to the Multi Play mode screen.

If you don’t want to store the Multi, press [NO] to cancel the

store operation.

Pressing the [MULTI] button will exit Store mode.

When storing the Multi, only the Multi Edit menu parameter settings

for each Part will be stored, and the position of each SOUND

CONTROL knob will not.

Recalling A Stored Multi

In Multi Play mode, hold [MULTI] and use the NUMERIC

KEYPAD (1 ~ 9) to select one of the nine User Multis.

You can press 0 in the NUMERIC KEYPAD to select XG mode =

ON.

cCS2x_Ref 12/10/98 5:12 PM Page 68

Feature Reference

Factory Setting

Executing this function will replace all of your existing data. As

such, always store your important data to an external device such

as the Yamaha MIDI Data Filer MDF3 beforehand.

Turn the power of the CS2x off. Then, while holding the 7, 8,

and 9 keys on the NUMERIC KEYPAD, turn the power back on.

VWX

YZ'

MNO

PQR

STU

DEF

GHI

JKL

NO/

QUICK PC

YES

ABC

SPACE

ENTER

STANDBY

Factory Settings

You can reset all of the settings in the CS2x (Performance, Scene, System and MIDI settings) to the original factory

(initial) default settings.

cCS2x_Ref 12/10/98 5:12 PM Page 69

Appendix

Reverb recreates the sounds of various environments by adding

room ambiance through delays or reflections. There are 12 Reverb

types to choose from. (See the Effect Type List in the separate “Data

List” book.)

■ Type 2: Chorus

Chorus creates a variety of rich, spacious-sounding effects which

are especially dramatic in stereo. There are 14 Chorus effect types,

including Chorus and Flanger. (See the Effect Type List in the

separate “Data List” book.)

■ Type 3: Variation

Variation is a special section of various effects including Reverb and

Chorus, plus many others not found in the other sections, such as

Distortion, Wah, and Auto Pan. There are 62 Variation effect types.

(See the Effect Type List in the separate “Data List” book.)

System and Insertion Effects

The CS2x effects sections can be designated as either System or

Insertion effects. Reverb and Chorus are always System effects, which

means they can be applied to any or all Parts. The Variation effect can

also be a System effect, or it can be designated as an Insertion effect,

which means it can be dedicated to a specific Part.

Basically, CS2x System and Insertion effects work the same way as in a

sound mixer, as shown in the diagram at right. For example, System

effects can be applied to musical instruments (i.e. Parts) which are

connected to the various mixer channels; the amount of each System

effect is determined by channel “send” and system “return” level

controls. An Insertion effect can be connected (“inserted”) into the

signal flow of a specific channel in order to process the sound of that

instrument (i.e. Layer/Part) only.

With the CS2x, in Performance mode the Insertion effect (Variation) can

be applied to one or more of the four Layers, while in Multi Play mode

it can only be applied to a single Part.

The System and Insertion effect configurations can be controlled in

detail by XG song data (signified by the XG mark) when the CS2x is in

Multi Play mode.

Digital Effects

The CS2x features three independent digital effects units, Reverb, Chorus and Variation, which can be applied to the voices in a

variety of ways to provide a wide range of sound processing capabilities. In Performance mode you can choose the Reverb, Chorus

and Variation effect types, as well as set additional parameters for the Variation effect. In Multi Play mode, system exclusive (MIDI)

data programmed in a song sequence (of an external sequencer or computer) can change the various CS2x effect parameters at

specific points in the song to greatly enhance the sound and impact of the playback.

■ Type 1: Reverb

Performance Mode

The diagram below shows the signal flow of the three effects when the

CS2x is in Performance mode. In this case the Variation effect is fixed as

the Insertion effect.

The Variation Send On/Off switch 1 determines which Layers the

Variation effect is applied to. The Performance Layer Edit 4 menu

EFFECT VARI SEND parameter turns the Variation effect ON/OFF for

each Layer (page 55).

The Variation effect wet/dry balance 2 determines the ratio of effected

(wet) signal to original (dry) signal. The resulting Variation effect signal

is then sent to the Reverb effect via the Reverb send control 3, and to

the Chorus effect via the Chorus send control 4; the Send Chorus To

Reverb signal 5 can be controlled by the ASSIGN 1 knob. The

Performance Layer Edit 4 menu EFFECT REV SEND 6 and CHO SEND

7 parameters determine the respective Reverb and Chorus send levels

applied to each Layer (page 55). Layers which are switched off 1, as

well as Parts 5~16, can still have System Reverb and Chorus effects

applied to them.

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

14 1512 L116 L3L2

Multi Play Mode

Part 1-16

Performance Mode

Layer 1-4

SYSTEM EFFECT

Reverb Effect

Chorus Effect

Variation Effect

Can be used as either System

or Insertion effect.

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

100

LEVEL

Insertion Effect Insertion Effect

APPENDIX

cCS2x_App 12/10/98 5:14 PM Page 70

Appendix

The diagram below shows the signal flow of the three effects when the

CS2x is in Multi Play mode and the Variation effect is designated as a

System effect.

Each of the 16 Parts has a Dry send 1 level which controls the amount

of original signal for each Part (page 60). Reverb send 2, Chorus send

3, and Variation send 4 levels control the amount of effect applied to

each Part, determined by the Multi Edit EFFECT REV SEND, CHO SEND

and VARI SEND parameters (between 0~127), respectively (page 60).

Reverb return 5, Chorus return 6 and Variation return 7 levels can

also be controlled to determine the amount of each effect applied (page

60).

The Send Chorus to Reverb 8 level is sent from the Chorus effect to the

Reverb effect (page 60). The Send Variation to Reverb 9 and Send

Variation to Chorus ) levels are sent from the Variation effect to the

Reverb and Chorus effects, respectively (page 60). These three

parameters let you make series and parallel effect configurations which

provide enormous sound enhancement flexibility.

If you select Effect Off in the Variation Type menu, the Layers which

have the VARI SEND function set to ON will not sound. When you

don’t want to use the Variation Effect on the Layers, set the VARI

TYPE to Thru.

Part 1

Part 2

Part 16

Rev

Cho

Vari

Rev Return Level

Cho Return

Vari Return

Vari to Rev

Vari to Cho

Cho to Rev

Dry Send

Rev Send Cho Send Vari Send

Vari Send, Cho Send, Rev Send = 0~127

•XG effect set to System

Out

2 3 4

)

Part 1

Part 2

Part 3

Part 16

wet/dry

MULTI

Send Cho to Rev

Rev Return Level

Cho Return Level

Cho SendRev Send

Rev

•XG effect set to Insertion

•Part 3 VARI SEND set to ON

Cho

Out

Vari

2 3

Reverb and Chorus send levels for Layers with the Variation Send

On/Off switch set to ON are determined by the highest numbered

Layer. For example, if Layers 1, 2 and 3 are switched on, then the

Reverb and Chorus send level for Layer 3 will determine the

amount of effect applied to each Layer.

In Performance mode effect send levels for Parts 5~16 (as well as

Layers 1~4) can be controlled by an external MIDI sequencer. The

Variation effect cannot be applied to Parts 5~16.

Multi Play Mode

The diagram below shows the signal flow of the three effects when the

CS2x is in Multi Play mode and the Variation effect is designated as an

Insertion effect.

In Multi Play mode the various effect settings can be controlled by

MIDI system exclusive Parameter Change messages (received from

an external sequencer or computer). The illustrations at right show

the Reverb, Chorus and Variation send parameters which can be

controlled from the CS2x panel. For details about the others, refer

to each page number as listed in the following explanation.

When the CS2x is in Multi Play mode, the Variation Effect is

automatically reset as an Insertion Effect. If you want to set the

Variation Effect as a System Effect, you need to send a parameter

change message to the CS2x from an external MIDI sequencer.

The Variation (Insertion) effect can be applied to any one of the 16 Parts

at a time, designated by switching the Multi Edit EFFECT VARI SEND

parameter to ON (page 60). The ratio of Variation effect (wet) signal to

original (dry) signal is determined by the wet/dry balance 1, which in

turn controls the amount of Variation effect signal applied to the Part

(page 60).

Although only one Part at a time can have the Variation effect applied

to it, all Parts, including the Part with Variation effect, can have Reverb

and Chorus applied, determined by the Reverb send 2 and Chorus

send 3 level settings (between 0~127) of the Multi Edit EFFECT REV

SEND and CHO SEND parameters, respectively (page 60). Reverb

return 4 and Chorus return 5 levels can also be controlled to

determine the amount of each effect applied. The Send Chorus to

Reverb 6 level from the Chorus effect to the Reverb effect can also be

controlled in a series, if you assign it to the ASSIGN 1 knob (page 47);

in this case, the Chorus return % level should be set to “0”.

Layer 1

PERFORMANCE

Layer 2

Layer 3

Layer 4

off

wet/dry

Part 5

Part 16

Cho

Rev

Cho Send

Rev Send

Out

Knobl (Cho to Rev)

(for each layer/part)

Vari

cCS2x_App 12/10/98 5:14 PM Page 71

Appendix

MIDI Messages

Transmitted/Received by the CS2x

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 CS2x can receive/transmit.

1. CHANNEL MESSAGES

Channel messages are the data related to the performance on the

keyboard for the specific channel.

1.1 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 = 60

Velocity range = 1 - 127 (Only the Note On velocity is received)

Note On: Generated when a key is pressed.

Note 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.

1.2 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.

1.2.1 Bank Select MSB (Control #000)

Bank Select LSB (Control #032)

Messages which select variation voice bank numbers by combining

and sending the MSB and LSB from an external device.

MSB and LSB functions differently depending on the tone generator

mode.

In XG mode, MSB numbers select voice type (Normal Voice or

Drum Voice), and LSB numbers select voice banks.

In TG300B mode, LSB is fixed, and MSB numbers select voice

banks.

(For more information about Banks and Programs, see Voice List in

the “Data List” book.)

A new bank selection will not become effective until the next

Program Change message is received.

Many MIDI messages are expressed in hexadecimal or binary numbers.

Hexadecimal numbers may include the letter “H” as a suffix. The letter

“n” indicates a certain whole number.

The chart below lists the corresponding decimal number for each

hexadecimal/binary number.

Decimal Hexadecimal Binary

0000 0000

0000 0001

0000 0010

0000 0011

0000 0100

0000 0101

0000 0110

0000 0111

0000 1000

0000 1001

0000 1010

0000 1011

0000 1100

0000 1101

0000 1110

0000 1111

0001 0000

0001 0001

0001 0010

0001 0011

0001 0100

0001 0101

0001 0110

0001 0111

0001 1000

0001 1001

0001 1010

0001 1011

0001 1100

0001 1101

0001 1110

0001 1111

0010 0000

0010 0001

0010 0010

0010 0011

0010 0100

0010 0101

0010 0110

0010 0111

0010 1000

0010 1001

0010 1010

0010 1011

0010 1100

0010 1101

0010 1110

0010 1111

0011 0000

0011 0001

0011 0010

0011 0011

0011 0100

0011 0101

0011 0110

0011 0111

0011 1000

0011 1001

0011 1010

0011 1011

0011 1100

0011 1101

0011 1110

0011 1111

Decimal Hexadecimal Binary

100

101

102

103

104

105

106

107

108

109

110

111

112

113

114

115

116

117

118

119

120

121

122

123

124

125

126

127

0100 0000

0100 0001

0100 0010

0100 0011

0100 0100

0100 0101

0100 0110

0100 0111

0100 1000

0100 1001

0100 1010

0100 1011

0100 1100

0100 1101

0100 1110

0100 1111

0101 0000

0101 0001

0101 0010

0101 0011

0101 0100

0101 0101

0101 0110

0101 0111

0101 1000

0101 1001

0101 1010

0101 1011

0101 1100

0101 1101

0101 1110

0101 1111

0110 0000

0110 0001

0110 0010

0110 0011

0110 0100

0110 0101

0110 0110

0110 0111

0110 1000

0110 1001

0110 1010

0110 1011

0110 1100

0110 1101

0110 1110

0110 1111

0111 0000

0111 0001

0111 0010

0111 0011

0111 0100

0111 0101

0111 0110

0111 0111

0111 1000

0111 1001

0111 1010

0111 1011

0111 1100

0111 1101

0111 1110

0111 1111

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 CS2x can control a MIDI device by transmitting note related data and various types of controller data. The CS2x can be

controlled by the incoming MIDI messages which automatically determine tone generator mode, select MIDI channels, voices and

effects, change parameter values, and of course play the voices specified for the various Parts.

cCS2x_App 12/10/98 5:15 PM Page 72

Appendix

1.2.8 General Purpose 1, 2, 3, 4, 5, 6, 7, 8

(Control #016, 017, 018, 019, 080, 081, 082, 083)

Control #016 are messages which are transmitted by operating the

connected Foot Controller, used to control specific parameter such

as voice parameters and Variation effect parameters. Control #017

and Control #018 are messages which are transmitted by operating

the ASSIGN1 and ASSIGN2 knobs, respectively. Control #080 and

#081 are transmitted by operating the DECAY and HPF Cutoff

Knobs, respectively. Control #019, #082 and #083 are undefined.

1.2.9 Hold1 (Control #064)

Messages which control sustain on/off.

Setting the value between 64 - 127 turns the sustain on, between 0

- 63 turns the sustain off.

1.2.10 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.

1.2.11 Sostenuto (Control #066)

Messages which control sostenuto on/off.

Holding specific notes and then pressing and holding the sostenuto

pedal will sustain those notes as you play subsequent notes, until

the pedal is released.

Setting the value between 64 -127 turns the sostenuto on, between

0 - 63 turns the sostenuto off.

1.2.12 Soft Pedal (Control #067)

Messages which control soft pedal on/off.

Notes played while holding the soft pedal will be dampened.

Setting the value between 64 -127 turns the soft pedal on, between

0 - 63 turns the soft pedal off.

1.2.13 Harmonic Content (Control #071)

Messages which adjust the filter resonance set for each voice.

The value set here is an offset value which will be added to or

subtracted from the voice data.

Higher values will result in a more characteristic, resonant sound.

Depending on the voice, the effective range may be narrower than

the range available for adjustment.

1.2.14 Release Time (Control #072)

Messages which adjust the EG release time set for each voice.

The value set here is an offset value which will be added to or

subtracted from the voice data.

1.2.15 Attack Time (Control #073)

Messages which adjust the EG attack time set for each voice.

The value set here is an offset value which will be added to or

subtracted from the voice data.

1.2.16 Brightness (Control #074)

Messages which adjust the filter cutoff frequency set for each voice.

The value set here is an offset value which will be added to or

subtracted from the voice data.

Lower values will result in a softer sound.

Depending on the voice, the effective range may be narrower than

the range available for adjustment.

1.2.2 Modulation (Control #001)

Messages which control vibrato depth using the Modulation Wheel.

Setting the value to 127 produces maximum vibrato and 0 results

in vibrato off.

1.2.3 Portamento Time (Control #005)

Messages which control the duration of portamento, or a

continuous pitch glide between successively played notes.

When the parameter 1.2.10 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.

1.2.4 Data Entry MSB (Control #006)

Data Entry LSB (Control #038)

Messages which set the value for the parameter specified by

1.2.23RPN MSB/LSB and 1.2.22 NRPN MSB/LSB.

Parameter value is determined by combining MSB and LSB.

1.2.5 Main Volume (Control #007)

Messages which control the volume of each Part.

Setting the value to 127 produces maximum volume and 0 results

in volume off.

The messages 007 (Main Volume) or 011 (Expression) will be

transmitted using an optional controller connected to the FOOT

VOLUME jack on the rear panel if an appropriate setting is selected

in the Assign Control Number section in Utility mode.

1.2.6 Pan (Control #010)

Messages which control the stereo panning position of each Part

(for stereo output).

Setting the value to 127 positions the sound to the far right and 0

positions the sound to the far left.

1.2.7 Expression (Control #011)

Messages which control intonation expression of each Part during

performance.

Setting the value to 127 produces maximum volume and 0 results

in volume off.

The messages 007 (Main Volume) or 011 (Expression) will be

transmitted using an optional controller connected to the FOOT

VOLUME jack on the rear panel if an appropriate setting is selected

in the Assign Control Number section in Utility mode.

cCS2x_App 12/10/98 5:15 PM Page 73

Appendix

1.2.23 RPN (Registered Parameter Number)

LSB (Control #100)

RPN (Registered Parameter Number)

MSB (Control #101)

Messages which offset, or add or subtract values from a Part’s pitch

bend sensitivity, tuning, or other parameter settings.

First send the RPN MSB and RPN LSB to specify the parameter

which is to be controlled. Then use 1.2.21 Data

Increment/Decrement to set the value of the specified parameter.

Note that once the RPN has been set for a channel, subsequent data

entry will be recognized as the same RPN’s value change. Therefore

after you use the RPN, you should set a Null (7FH, 7FH) value to

avoid an unexpected result.

The following RPN numbers can be received.

1.2.24 Channel Mode Messages

The following Channel Mode Messages can be received.

1.2.24.1 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.

2nd BYTE 3rd BYTE MESSAGE

120 0 All Sounds Off

121 0 Reset All Controllers

123 0 All Notes Off

126 0 ~ 16 Mono

127 0 Poly

RPN MSB RPN LSB PARAMETER

00H 00H Pitch Bend Sensitivity

00H 01H Fine Tune

00H 02H Coarse Tune

7FH 7FH Null

NRPN MSB NRPN LSB

01H 08H

01H 09H

01H 0AH

01H 20H

01H 21H

01H 24H

01H 30H

01H 31H

01H 34H

01H 35H

01H 63H

01H 64H

01H 66H

14H rr

15H rr

16H rr

17H rr

18H rr

19H rr

1AH rr

1CH rr

1DH rr

1EH rr

1FH rr

24H rr

30H rr

31H rr

34H rr

35H rr

PARAMETER

Vibrato Rate

Vibrato Depth

Vibrato Delay

Low Pass Filter Cutoff Frequency

Low Pass Filter Resonance

High Pass Filter Cutoff Frequency

EQ Bass Gain

EQ Treble Gain

EQ Bass Frequency

EQ Treble Frequency

EG Attack Time

EG Decay Time

EG Release Time

Drum Low Pass Filter Cutoff Frequency

Drum Low Pass Filter Resonance

Drum EG Attack Rate

Drum EG Decay Rate

Drum Instrument Pitch Coarse

Drum Instrument Pitch Fine

Drum Instrument Level

Drum Instrument Panpot

Drum Instrument Reverb Send Level

Drum Instrument Chorus Send Level

Drum Instrument Variation Send Level

Drum High Pass Filter Cutoff Frequency

Drum EQ Bass Gain

Drum EQ Treble Gain

Drum EQ Bass Frequency

Drum EQ Treble Frequency

*rr=Note number for each drum voice instrument.

1.2.17 Portamento Control (Control #084)

Messages which apply a portamento between the currently-

sounding note and the subsequent note.

Portamento Control is transmitted specifying the note-on key of the

currently-sounding note.

Specify a Portamento Source Key number between 0 - 127.

When a Portamento Control message is received, the currently

sounding pitch will change with a Portamento Time of 0 to the next

note-on key on the same channel.

For example, the following settings would apply a portamento from

note C3 to C4.

90H 3CH 7FH C3 Note on

B0H 54H 3CH Source key number set to C3

90H 48H 7FH C4 Note on (When C4 is on, C3 is raised by a

portamento to C4.)

1.2.18 Effect1 Depth (Reverb Send Level)

(Control #091)

Messages which adjust the send level for the Reverb effect.

1.2.19 Effect3 Depth (Chorus Send Level)

(Control #093)

Messages which adjust the send level for the Chorus effect.

1.2.20 Effect4 Depth

(Variation Effect Send Level)

(Control #094)

Messages which adjust the send level for the Variation effect.

If Variation effect uses System effect, this message sets the send level

for the Variation effect. If it uses Insertion effect, this setting is

invalid.

1.2.21 Data Increment (Control #096)

Decrement (Control #097) for RPN

Messages which increase or decrease the MSB value of pitch bend

sensitivity, fine tune, or coarse tune in steps of 1. You are required

to assign one of those parameters using the RPN in the external

device in advance.

The data byte is ignored.

When the maximum value or minimum value is reached, the value

will not be incremented or decremented further.

(Incrementing the fine tune will not cause the coarse tune to be

incremented.)

1.2.22 NRPN

(Non-Registered Parameter Number)

LSB

(Control #098)

NRPN (Non-Registered Parameter Number)

MSB (Control #099)

Messages which adjust a voice’s vibrato, filter, EG, drum setup or

other parameter settings.

First send the NRPN MSB and NRPN LSB to specify the parameter

which is to be controlled. Then use 1.2.4 Data Entry to set the value

of the specified parameter.

Note that once the NRPN has been set for a channel, subsequent

data entry will be recognized as the same NRPN’s value change.

Therefore, after you use the NRPN, you should set a Null (7FH,

7FH) value to avoid an unexpected result.

The following NRPN numbers can be received.

cCS2x_App 12/10/98 5:15 PM Page 74

Appendix

2. SYSTEM MESSAGES

System messages are the data related to the overall system of the device.

2.1 System Exclusive Messages

System Exclusive messages control various functions of the CS2x,

including master volume and master tuning, tone generator mode,

effect type and various other parameters.

2.1.1 General MIDI Mode On

When General MIDI mode on is received, the tone generator mode

will be changed to XG mode.

When this happens, the CS2x will receive the MIDI messages

which are compatible with GM System Level 1, and consequently

will not receive NRPN and Bank Select messages.

Since approximately 50ms is required to execute this message, be

sure to leave an appropriate interval before the subsequent

message.

F0 7E 7F 09 01 F7 (Hexadecimal)

2.1.2 Master Volume

When received, the Volume MSB will be effective for the System

Parameter.

F0 7F 7F 04 01 ll mm F7 (Hexadecimal)

* mm(MSB) = appropriate volume value, ll(LSB) = ignored

2.1.3 XG System On

When this data is received, the CS2x will switch to XG mode and

all the parameters will be initialized accordingly, and XG-

compatible messages such as NRPN and Bank Select messages can

be received.

Since approximately 50ms is required to execute this message, be

sure to leave an appropriate interval before the subsequent

message.

F0 43 1n 4C 00 00 7E 00 F7 (Hexadecimal)

*n = device number

TG300B Reset

F0 41 1n 42 12 40 00 7F 00 41 F7 (Hexadecimal)

*n = device number

2.1.4 Performance Mode On

F0 43 1n 63 50 00 06 03 F7 (Hexadecimal)

*n = device number

2.2 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 CS2x 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 “Data List” book for more

information on the various messages.

1.2.24.2 Reset All Controllers (Control #121)

The values of the following controllers will be reset to the

defaults.

1.2.24.3 All Notes Off (Control #123)

Clears all notes currently on for the specified channel.

However, if Hold1 or Sostenuto is on, notes will continue

sounding until these are turned off.

1.2.24.4 Mono (Control #126)

Performs the same function as when an All Sounds Off 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).

1.2.24.5 Poly (Control #127)

Performs the same function as when an All Sounds Off message

is received, and sets the corresponding channel to Poly Mode

(Mode 3).

1.3 Program Change

Messages which determine which voice to select for each Part.

With a combination of Bank Select, you can select not only basic voice

numbers, but also variation voice bank numbers.

1.4 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.

1.5 Polyphonic Key Pressure

Messages which let you control the sounds by the pressure you apply to

the keys after the initial striking of the keys, for each individual key.

1.6 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.

CONTROLLER VALUE

Pitch Bend Change 0 (center)

Aftertouch 0 (off)

Modulation 0 (off)

Foot Controller 0 (min)

Expression 127 (max)

Hold1 0 (off)

Portamento 0 (off)*

Sostenuto 0 (off)

Soft Pedal 0 (off)

Portamento Control Cancels the Portamento source key number

RPN Number not specified; internal data will not change

NRPN

* In Performance mode, 1 (on).

Number not specified; internal data will not change

cCS2x_App 12/10/98 5:15 PM Page 75

Appendix

Specifications

KEYBOARD 61 keys with Initial Touch

TONE GENERATOR AWM2 (Wave ROM 16MB)

POLYPHONY 64 notes

MULTI TIMBRE 16 (DVA)

PERFORMANCE 256 Presets, 256 Users

VOICE Normal Voices Total 779

XG 586

TG300B 614

Voices For Performances

Drum Voices Total 30

XG 20

TG300B 10

ARPEGGIATOR 40

EFFECT Reverb 12

Chorus 14

Variation 62

CONTROLS STANDBY/ON, VOLUME, PITCH, MODULATION, Sound Control Knobs 8, SCENE 1/2,

Numeric Keypad, ENTER, Mode Select (PERFORMANCE, MULTI, STORE, UTILITY),

ARPEGGIATOR, SHIFT/OCTAVE, PART/LAYER +/-, PRESET, USER, PROGRAM +/-, Edit

Parameter Rotary Switch, Parameter Value Up/Down buttons 10

DISPLAY LCD (Back Lit)

TERMINALS PHONES (Stereo Phone), OUTPUT (Phone): L[MONO]/R, DC IN, FOOT VOLUME,

FOOT CONTROLLER, FOOTSWITCH, INPUT, TO HOST, HOST SELECT, MIDI

IN/OUT/THRU

POWER SUPPLY AC adaptor PA-3B*

DIMENSIONS 976(W) x 285(D) x 103(H)mm (38-3/8” x 11-1/4” x 4-1/16”)

WEIGHT 5.7kg (12 lbs., 9 oz.)

ACCESSORIES Yamaha AC Adaptor PA-3B*

Owner’s Manual, Data List

Specifications and descriptions in this owner’s manual are for 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.

* Power supply recommendation may vary from country to country. Please check with your nearest Yamaha dealer

for further details.

cCS2x_App 12/10/98 5:15 PM Page 76

Appendix

Troubleshooting

The following table provides troubleshooting hints and page references for some common problems.

Most problems may be simply the result of incorrect settings. Before calling for professional service,

refer to the troubleshooting advice below to see if you can find and correct the cause of the problem.

No sound.

● Is the volume set appropriately? (page 8)

● When the Foot Controller is connected to the FOOT VOLUME jack, is the Foot Volume pressed

down? (page 10)

● Are the volume settings for each Layer/Part appropriate? (page 54, 59)

● Are the effect settings appropriate? (page 44, 70)

● Is the Bank set to off? (page 54, 58)

● Is the receive channel set to off? (page 63)

● Is the audio equipment connected appropriately? (page 11)

● Is Local set to off? (page 63)

● If you are playing back song data using an external device, are the volume related settings for

the song appropriate?

● Are the Note Limit settings and/or Velocity Limit settings appropriate? (page 48)

No Arpeggiator sound.

● Are the settings for the Velocity Limit appropriate? Set Velocity Limit Low to “0” and Velocity

Limit Hi to “127”. (page 48)

Distorted sounds.

● Are the effect settings appropriate? (page 44, 55, 59, 70)

● Is the volume level set too loud?

Small sounds.

● Is the MIDI volume or MIDI expression set too low?

Wrong pitch.

● Are the tuning-related parameters set to “0”? Check the Note Shift setting (page 48), Detune

setting (page 48), Master Tuning (page 61) and Keyboard Transpose setting (page 62).

Sound is choppy and interrupted.

● The maximum polyphony of 64 notes (the number of notes that can be played simultaneously)

has been exceeded. (page 56, 60)

Sound Control Knobs do not work.

● Is a Scene key turned on? (page 25)

Only one note sounds at a time.

● Is the play mode set to MONO? (page 56, 60)

Cannot enter Store mode.

● Is Performance mode or Multi Play mode selected? (page 40, 57)

cCS2x_App 12/10/98 5:15 PM Page 77

Appendix

Error Messages

The following messages may appear during operation, indicating problems or incorrect operation.

Follow the instructions in the explanations below to remedy the problem.

Battery Low

The memory-backup battery is low; memory cannot be backed up. Store the necessary data to a

MIDI data storage device such as Yamaha MIDI Data Filer MDF3, 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 Number is set to off.

Device Number Error

Cannot receive MIDI bulk data, due to improper Device Number setting. Match the device

numbers for both the CS2x and the external device.

TG-B Mode Error

When TG300B mode is accidentally selected by receiving a TG300B reset message from an

external device, you cannot perform edit operations. Press PERFORMANCE or MULTI button to

exit the TG300B mode.

Receiving

Displays when the CS2x receives the bulk data with the compatible format. Continue normal

operation.

Rx Mode Error

Displays when receiving Performance bulk data in Multi Play mode or XG effect bulk in

Performance mode.

cCS2x_App 12/10/98 5:15 PM Page 78

Appendix

Index

[-/NO/QUICK PC] button..........................................9

About MIDI ............................................................72

AEG (Amplitude Envelope Generator) ..................50

Arpeggiator ......................................................27, 43

[ARPEGGIO] button ................................................8

ASSIGN CTRL NO (Assign Control Number)........64

ASSIGN1 PARAM (ASSIGN1 Parameter) ............47

ASSIGN2................................................................49

BANK......................................................................54

BULK DUMP ..........................................................64

Category Codes ....................................................24

Common Edit 1 ......................................................43

Common Edit 2 ......................................................45

DC IN terminal........................................................10

DEMO function ........................................................9

Demo Songs ..........................................................14

DEVICE NO (Device Number) ..............................63

Drum Voices ....................................................18, 59

EDIT PARAMETER ROTARY switch ......................9

Edit Parameters ....................................................20

EFFECT ....................................................44, 55, 59

Effects ....................................................................70

[ENTER/YES] button................................................9

Error Messages......................................................78

Factory Settings ....................................................69

FC (Foot Control) ..................................................46

FEG (Filter Envelope Generator) ..........................52

FILTER ............................................................55, 60

Foot Controller ......................................................12

FOOT CONTROLLER jack....................................10

FOOT VOLUME jack..............................................10

FOOTSWITCH jack................................................10

General MIDI..........................................................33

HOST SELECT switch ..........................................10

INPUT jack ............................................................10

KBD TRANS (Keyboard Transpose)......................62

Keyboard..................................................................9

LAYER....................................................................29

Layer Edit 1............................................................47

Layer Edit 2............................................................50

Layer Edit 3............................................................52

Layer Edit 4............................................................54

Layers ....................................................................18

LCD..........................................................................8

LFO (Low Frequency Oscillator)............................51

LOCAL....................................................................63

Main Features ..........................................................7

MASTER TUNE ....................................................61

MIDI........................................................................63

MIDI terminals........................................................10

MODULATION wheel ........................................9, 25

[MULTI] button..........................................................9

Mult Store ..............................................................68

Multi Part Edit ........................................................57

Multi Play In Performance Mode......................33, 56

Multi Play Mode ........................................22, 31, 57

MW (Modulation Wheel) ........................................46

Normal Voices..................................................18, 59

NOTE ....................................................................48

NUMERIC KEYPAD ..........................................9, 24

Octave Shift Function ............................................25

OUTPUT jacks ......................................................10

P BEND RANGE....................................................45

PAN ..................................................................54, 59

Parameter Value [UP/DOWN] buttons ....................9

Part Assign ............................................................32

PART/LAYER/OCTAVE [-]/[+] buttons......................8

PEG (Pitch Envelope Generator) ..........................53

PERFORM LEVEL ................................................44

PERFORM NAME..................................................45

[PERFORMANCE] button ........................................9

Performance Edit Mode ..................................21, 41

Performance Mode ..........................................23, 40

Performance Modes ..............................................21

Performance Play Mode ..................................21, 40

Performance Store ................................................30

PHONES jack ........................................................10

PITCH wheel......................................................9, 25

POLY/MONO....................................................56, 60

PORTA (Portamento) ............................................47

[PRESET] button......................................................8

PROGRAM ......................................................54, 59

PROGRAM [-]/[+] buttons ........................................8

Quick Program Change..........................................41

Quick Tour ..............................................................23

RCV CH (Receive Channel) ..................................63

[SCENE] buttons......................................................8

SCENE CONTROL Function ..........................25, 26

Scene Store ..........................................................67

Scenes ..................................................................25

[SHIFT] button..........................................................8

SOUND CONTROL knobs ....................8, 19, 26, 65

STANDBY/ON switch ............................................10

[STORE] button........................................................9

Store Mode ......................................................22, 66

SYSTEM ................................................................61

TG300B Mode........................................................59

TO HOST terminal ................................................10

TRANS CH (Transmit Channel) ............................63

TUNE......................................................................48

[USER] button ..........................................................8

[UTILITY] button ......................................................9

Utility Mode ......................................................22, 61

VEL (Velocity) ........................................................48

VEL CURVE (Velocity Curve) ................................62

VEL FIX (Velocity Fix)............................................62

VOLUME..........................................................54, 59

XG Operation ........................................................33

XGworks ................................................................34

cCS2x_App 12/10/98 5:15 PM Page 79

MEMO

cCS2x_App 12/10/98 5:15 PM Page 80

For details of products, please contact your nearest Yamaha or the

authorized distributor listed below.

Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au

distributeur le plus proche de vous figurant dans la liste suivante.

Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten

Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen

Bestimmungsländern erhältlich.

Para detalles sobre productos, contacte su tienda Yamaha más cercana o el

distribuidor autorizado que se lista debajo.

NORTH AMERICA

CANADA

Yamaha Canada Music Ltd.

135 Milner Avenue, Scarborough, Ontario,

M1S 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

CENTRAL & 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

BRAZIL

Yamaha Musical do Brasil LTDA.

Av. Rebouças 2636, São Paulo, Brasil

Tel: 011-853-1377

ARGENTINA

Yamaha Music Argentina S.A.

Viamonte 1145 Piso2-B 1053,

Buenos Aires,Argentina

Tel: 1-371-7021

PANAMA AND OTHER LATIN

AMERICAN COUNTRIES/

CARIBBEAN COUNTRIES

Yamaha de Panama S.A.

Torre Banco General, Piso 7, Urbanización Marbella,

Calle 47 y Aquilino de la Guardia,

Ciudad de Panamá, Panamá

Tel: 507-269-5311

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.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

AUSTRIA

Yamaha Music Austria

Schleiergasse 20,A-1100 Wien Austria

Tel: 01-60203900

THE NETHERLANDS

Yamaha Music Nederland

Kanaalweg 18G, 3526KL, Utrecht,The Netherlands

Tel: 030-2828411

BELGIUM

Yamaha Music Belgium

Keiberg Imperiastraat 8, 1930 Zaventem, Belgium

Tel: 02-7258220

FRANCE

Yamaha Musique France,

Division Professionnelle

BP 70-77312 Marne-la-Vallée Cedex 2, France

Tel: 01-64-61-4000

ITALY

Yamaha Musica Italia S.P.A.,

Combo Division

Viale Italia 88, 20020 Lainate (Milano), Italy

Tel: 02-935-771

SPAIN/PORTUGAL

Yamaha-Hazen Electronica Musical, S.A.

Jorge Juan 30, 28001, Madrid, Spain

Tel: 91-577-7270

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 Göteborg, Sweden

Tel: 031 89 34 00

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

Norsk filial av Yamaha Scandinavia AB

Grini Næringspark 1

N-1345 Østerås, Norway

Tel: 67 16 77 70

ICELAND

Skifan HF

Skeifan 17 P.O. Box 8120

IS-128 Reykjavik, Iceland

Tel: 525 5000

OTHER EUROPEAN COUNTRIES

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen, F.R. of

Germany

Tel: 04101-3030

AFRICA

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2312

MIDDLE EAST

TURKEY/CYPRUS

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

OTHER COUNTRIES

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

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: 2737-7688

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.

Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,

Petaling Jaya, Selangor, Malaysia

Tel: 3-703-0900

PHILIPPINES

Yupangco Music Corporation

339 Gil J. Puyat Avenue, P.O. Box 885 MCPO,

Makati, Metro Manila, Philippines

Tel: 819-7551

SINGAPORE

Yamaha Music Asia Pte., Ltd.

Blk 202 Hougang, Street 21 #02-01,

Singapore 530202

Tel: 747-4374

TAIWAN

Yamaha KHS Music Co., Ltd.

10F, 150,Tun-Hwa Northroad,

Taipei,Taiwan, R.O.C.

Tel: 02-2713-8999

THAILAND

Siam Music Yamaha Co., Ltd.

121/60-61 RS Tower 17th Floor,

Ratchadaphisek RD., Dindaeng,

Bangkok 10320,Thailand

Tel: 02-641-2951

THE PEOPLE’S REPUBLIC OF CHINA

AND OTHER ASIAN COUNTRIES

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

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 430-8650

Tel: 053-460-23170

HEAD OFFICE Yamaha Corporation, Electronic Musical Instrument Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2445

SY18

cCS2x_App 12/10/98 5:15 PM Page 81

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.

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 users

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

* The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

NEDERLAND / THE NETHERLANDS

• Dit apparaat bevat een lithium batterij voor geheugen back-up.

• This apparatus contains a lithium battery for memory back-up.

• 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:

Yamaha Music Nederland Service Center

Address : Kanaalweg 18-G, 3526 KL UTRECHT

Tel : 030-2828425

• Gooi de batterij niet weg, maar lever hem in als KCA.

• Do not throw away the battery. Instead, hand it in as small chemical

waste.

ADVARSEL!

Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning

må kun ske med batteri af samme fabrikat og type. Levér det brugte

batteri tilbage til leverandoren.

VARNING

Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller

en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera

använt batteri enlight fabrikantens instruktion.

VAROITUS

Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo

ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty

paristo valmistajan ohjeiden mukaisesti.

product is found to be the source of interference, which can be

determined by turning the unit “OFF” and “ON”, please try to eliminate the

problem by using one of the following measures:

Relocate either this product or the device that is being affected by the

interference.

Utilize power outlets that are on different branch (circuit breaker or

fuse) circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the antenna.

If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to

co-axial type cable.

If these corrective measures do not produce satisfactory results, please

contact the local retailer authorized to distribute this type of product. If you

can not locate the appropriate retailer, please contact Yamaha Corporation

of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena

Park, CA90620

The above statements apply ONLY to those products distributed by

Yamaha Corporation of America or its subsidiaries.

cCS2x_App 12/10/98 5:15 PM Page 82

SAMPLING UNIT

Cutting-edge groove machine unites sampling, sequencing, effects and mixing.

A unique tool for recording artists, DJs, dance music producers,

and all others who need to create and perform dynamic

sample-based sequences.

Memory

Resolution

Tempo

Recording Mode

Tracks

Songs

Sync Modes

Type

Polyphony

Data formats

Signal Processing

Sampling Wave Memory

Multi-Effector

32,000 notes (no backup)

1 / 480

40.0 to 299.9

Realtime

42 (10 x 4 banks, plus AUDIO IN and MASTER)

MTC, MIDI

AWM2

Max 64 notes

16-bit linear, 8-bit linear

Stereo Sampling

16-bit A/D, 18-bit D/A

4MB standard (expandable to 68MB)

Three units, configurable.

(Also operates on analog input)

Specifications and appearance are subject to change without notice.

SEQUENCER

DATA STORAGE

USER INTERFACE

TONE GENERATOR

OPTIONS

CONNECTORS

SIZE, WEIGHT

Optional support for external SCSI disk

Custom VFD (16 characters and 4-color segments)

12 track pads (8 velocity-sensitive pads)

12 realtime control knobs

Assignable ribbon controller

Internal FDD

Line Out : L/MONO, R (1/4" phone)

Line In / Mic In : 1/4" phone

Stereo Headphones : 1/4" phone

MIDI : IN, OUT

AC Inlet

Wave Memory

SCSI Board

Input/Output

Size (W x D x H)

Weight

72-pin SIMM (4, 8, 16, or 32 MB) x 2

ASIB1 (Same board supported by the EX series)

AEIB1 board; provides assignable outputs and digital I/O

(Same board supported by the A3000)

363 x 310 x 115 mm

6 kg (13.2 lb)

2HD/2DD, for songs and sampling data

Display

Controls

Specifications

An Inspired Sequence Remix Workstation

for Performance & Production

Sequencer

MEMORY CAPACITY 110,000 notes

TIMING RESOLUTION 1/480 quarter-note

POLYPHONY Maximum 64 simultaneous notes

TEMPO 25.0-300.0

RECORDING METHODS Realtime (Replace, Overdub, Punch-in), Step, Grid Step

SEQUENCER TRACKS 16 tracks

TRACKS PER PATTERN 16 tracks

PRESET PATTERNS 960 (60 styles x 16 sections)

USER PATTERNS 800 (50 styles x 16 sections)

PRESET PHRASES 7,726

USER PHRASES PER STYLE

256

PATTERN CHAINS 20 songs

SONGS 20 songs

EDIT Song edit, Phrase edit

JOBS 36 pattern jobs, 8 pattern chain jobs, 28 song jobs

SPLIT Split song, Split pattern

GROOVES Grid Grooves (Note Offset, Clock Shift, Gatetime Offset, Velocity Offset)

PLAY EFFECTS Play Effects (Beat Stretch, Clock Shift, Gatetime, Velocity Offset)

Harmonize (Unison, Octave, Harmonize 1, Harmonize 2)

MIDI DELAY MIDI Delay edit, Feedback edit

ARPEGGIOS Type (Up, Down, Alternate 1, Alternate 2, Random), Sort, Hold, Octave

Range

SEQUENCE FORMATS RM1x format, SMF (Format 0)

Tone Generator

TONE GENERATION AWM2

POLYPHONY Maximum 32 simultaneous notes

MULTI-TIMBRAL Maximum 16 timbres (last-note priority with element reserve, DVA)

PRESET VOICES 654 normal voices, 46 drum-kit voices(excl. GM normal voices and GM

drum-kit voices)

EFFECTS 11 Reverb types, 11 Chorus types, 43 Variations

DIGITAL LOW BOOST ±24dB/50Hz-2.0kHz

Specifications

An extensive arsenal of 700 outstanding dance-

oriented sounds.

An awesome assortment of 50 preset styles, 960

patterns and 7,726 phrases.

8 assignable real-time control knobs, a large LCD

display panel with 4 display knobs and a large multi-

function keyboard.

Each “style” has up to 16 “sections” which can be

switched in real time during playback via the RM1x

keyboard.

In-depth sequence editing functions make it possible to

create and refine complex patterns and musical

textures with extraordinary precision.

Edit and refine the RM1x voices to create sounds that

most ideally suit your own music.

A sophisticated multi-effect system can be used to add

anything from subtle ambience to wild variations.

Realtime “Play Effects” including harmonize with

unison and octave functions, beat stretch, clock shift,

gate time, and velocity offset.

Built-in floppy disk drive for convenient, low cost data

storage and retrieval.

Full MIDI compatibility.

V300660 0106MWAP12.2-02B0

Yamaha CS2X Handleiding

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