Manual Development Group © 2020 Yamaha Corporation Published 06/2020 MW-A0

!
"
#$

%

Manual Development Group

© 2020 Yamaha Corporation
Published 06/2020 MW-A0
EN
Table of Contents
Each chapter in this Reference Manual corresponds to the relevant chapters in the Owner’s Manual.
1 Piano Room 3 5 USB Audio Player/Recorder 58
2 Voices 3 6 Microphone 58
Voice Characteristics ......................................................... 4 Making and Saving the Microphone Settings................... 58
Metronome Settings........................................................... 5 Applying Desired Effects to the Microphone Sound......... 60
Adjusting the Reverb/Chorus Depth and Other Settings for
Piano Voices ...................................................................... 6 7 Registration Memory/Playlist 61
Applying Keyboard Harmony ............................................. 7 Deleting or Renaming the Registration Memory .............. 61
Pitch-Related Settings ..................................................... 10 Disabling Recall of Specific Items (Freeze) ..................... 62
Editing Voices (Voice Set) ............................................... 12 Calling Up Registration Memory Numbers in Order
Disabling Automatic Selection of Voice Sets (Registration Sequence) .................................................. 63
(Effects, etc.).................................................................... 17 Copying the Playlist Records from Another Playlist
(Append Playlist).............................................................. 65
3 Styles 18
8 Mixer 66
Playing Style with the Smart Chord feature ..................... 19
Learning How To Play Specific Chords (Chord Tutor)..... 21 Editing Volume/Pan Parameters...................................... 66
Chord Types Recognized in Fingered ............................. 22 Editing Filter Parameters ................................................. 67
Style Playback Related Settings ...................................... 23 Editing Effect Parameters ................................................ 68
Specifying Chords with Your Right Hand while Playing Bass Editing EQ/Master EQ (Equalizer) Parameters................ 71
with Your Left Hand ......................................................... 25 Editing Compressor (Master Compressor) Parameters... 73
Creating/Editing Styles (Style Creator) ............................ 26 Block Diagram.................................................................. 74
4 Songs 44 9 Connections 75
Editing Music Notation (Score) Settings .......................... 44 Assigning a Specific Function to Each Pedal................... 75
Editing Lyrics/Text Display Settings................................. 47 MIDI Settings ................................................................... 79
Using the Auto Accompaniment Features with Song Making Wireless LAN Settings......................................... 85
Playback .......................................................................... 48
Song Playback Related Parameters (Guide Function, 10 Menu 87
Channel settings, Repeat settings, etc.) .......................... 49
Utility ................................................................................ 87
Creating/Editing Songs (Song Creator) ........................... 52
System ............................................................................. 90
Index 92
Using the PDF manual

• To quickly jump to items and topics of interest, click on the desired items in the “Bookmarks” index to the left of the
main display window. (Click the “Bookmarks” tab to open the index if it is not displayed.)
• Click the page numbers that appear in this manual to go directly to the corresponding page.
• Select “Find” or “Search” from the Adobe Reader “Edit” menu and enter a keyword to locate related information
anywhere in the document.
NOTE The names and positions of menu items may vary according to the version of Adobe Reader being used.
• The illustrations and displays as shown in this manual are for instructional purposes only, and may appear somewhat different
from those on your instrument.
• The explanations in this manual apply to the firmware version 1.00. Yamaha may from time to time update firmware of the
product without notice for improvement. We recommend that you check our website for later releases and upgrade your firm-
ware. https://download.yamaha.com/
• The company names and product names in this manual are the trademarks or registered trademarks of their respective compa-
nies.
2 DGX-670 Reference Manual

1 Piano Room
This function is fully explained in the Owner’s Manual. Refer to the corresponding chapter in the Owner’s Man-
ual.
2 Voices
1
2
Contents
Voices
Voice Characteristics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Metronome Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Adjusting the Reverb/Chorus Depth and Other Settings for Piano Voices . . . . . . . . . . . . . . . . . .6
Applying Keyboard Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Pitch-Related Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
• Fine-tuning the Pitch of the Entire Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
• Scale Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
• Pitch Settings for Each Keyboard Part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Editing Voices (Voice Set) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
• Editable Parameters in the Voice Set Displays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
Disabling Automatic Selection of Voice Sets (Effects, etc.) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
DGX-670 Reference Manual 3

Voice Characteristics
The preset Voices are categorized into the types listed below. Refer to the “Voice List” in the Data List
(separate PDF) to see the type of each Voice.
VRM See the Owner’s Manual, Chapter 2.

(Virtual Resonance
Modeling)
S.Art! See the Owner’s Manual, Chapter 2.

(Super Articulation)
Natural! Natural! Voices are high quality sounds on many specialist sampling techniques.
They are especially suited to recreating Piano and other keyboard instruments.
2 Live! Live! Voices feature stereo sampling, to reproduce accurately the stereo image of
an acoustic instrument, as well as the ambience of the room it was recorded in.
Voices
Cool! Cool! Voices reproduce the complex characteristics of Electric Instruments, by

utilizing sophisticated programming techniques in both voicing, and the use of
DSP effects.
Sweet! Sweet! Voices are acoustic instruments which feature the sampled vibrato of the
original player, creating a far more realistic and emotional performance than
synthesized vibrato.
Drums Drum & Percussion instruments are mapped across the keyboard so you can play
them directly, or use in music production.
Live! Drums Stereo sampling is used for these high definition Drum and Percussion
instruments, which are mapped across the keyboard so you can play them directly,
or use in music production.
SFX Special percussion and sound effects are mapped across the keyboard, so you can
play them directly, or use in music production.
Live! SFX Stereo sampling is used for these high definition special percussion and sound
effects, which are mapped across the keyboard so you can play them directly, or
use in music production.
MegaVoice MegaVoice is a special Voice format designed for use in Styles and Songs, not for
live performance. Different velocity ranges are used to select dramatically
different playing styles simultaneously, and without changing the Voice.
Actual sound maps for the MegaVoices are given in the Data List (separate PDF).
NOTE MegaVoices are not compatible with other instrument models. For this reason, any Song or Style you’ve created
on this instrument using these Voices will not sound properly when played back on the instruments which do not
have these types of Voices.
NOTE MegaVoices sound differently depending on keyboard range, velocity, touch, etc. Hence, if you apply keyboard
harmony (page 7), change the transpose setting or change the Voice Set parameters, unexpected or undesired
sounds may result.

Metronome Settings
You can set the time signature, volume and sound of the metronome, as well as the Tap Tempo percussion
sound and its volume, which sounds when the [TEMPO/TAP] button is tapped.
1 Call up the operation display.

[MENU] → Cursor buttons [][][E][F] Metronome Setting, [ENTER]
2 Use the Cursor buttons [][] to select the page, and then use the [2 ] – [7 ]
buttons to make necessary settings.
Voices
1 Metronome
[2 ] Volume Determines the volume of the metronome sound.

[3 ] – Sound Determines whether a bell accent is sounded or not at the first beat of
[5 ] each measure.
[6 ]/ Time Signature Determines the time signature of the metronome sound.
[7 ]
2 Tap Tempo
[2 ] Volume Determines the volume of the tap sound which sounds when the
[TEMPO/TAP] button is tapped.
[3 ] – Sound Selects the percussion sound which sounds when the [TEMPO/TAP]
[5 ] button is tapped.

Adjusting the Reverb/Chorus Depth and Other Settings for Piano
Voices
For the Piano Voices, you can set the VRM-related parameters and the volume of Key Off Sampling.

[MENU] → Cursor buttons [][][E][F] Voice Setting, [ENTER] → TAB [E] Piano
2 Use the Cursor buttons [][] to select the page, and then use the [1 ] – [8 ]
2 Cursor [][]
Voices
1 VRM
These settings are applied commonly to all parts (Main/Layer/Left) for which VRM Voices are selected.
[1 ]/ VRM Turns the VRM effect on or off.

[2 ]
[3 ]/ Damper Resonance Adjusts the depth of the VRM effect heard when pressing the
[4 ] damper pedal.
[5 ]/ String Resonance Adjusts the depth of the VRM effect heard when playing the key-
[6 ] board.
[7 ] Reverb Adjusts the Reverb depth for VRM Voices.
[8 ] Chorus Adjusts the Chorus depth for VRM Voices.
2 Key Off Sampling

These settings are applied commonly to all parts (Main/Layer/Left) for which the following piano Voices
are selected:
CFX Grand, PopGrand, StudioGrand, OctavePiano1, OctavePiano2, RockPiano, AmbientPiano,
CocktailPiano.
[4 ]/ Key Off Sampling Adjusts the volume of the key-off sound (the subtle sound that
[5 ] occurs when you release a key).

Applying Keyboard Harmony
You can apply harmonies to your right-hand performance according to the chords you play with your left hand,
and trigger automatic echo or tremolo even by pressing a single note or two notes.
1 Press the [VOICE EFFECT] button to call up the Voice Effect display, and then press
the Cursor button [] to select 2 Keyboard Harmony.
2 Use the [2 ]/[3 ] buttons to set Keyboard Harmony to On.

When this is set to On, Keyboard Harmony is applied to your keyboard performance automatically.
Voices
2 3
3 Call up the Keyboard Harmony display by pressing the [4 ] (Type) button.
NOTE The display can also be called up via [MENU] → Cursor buttons [][][E][F] Keyboard Harmony, [ENTER].
4 Use the [1 ] – [3 ] (Category) buttons to select the Keyboard Harmony
category, and then use the [4 ] – [6 ] (Type) buttons to select the type.
Keyboard Harmonies are divided into two categories: Harmony and Echo, depending on the particular
effect applied.
4 5

 Harmony
The types from Standard Duet 1 to Strum apply the harmony effect to notes played in the right-hand
section of the keyboard according to the chord specified in the left-hand section of the keyboard. (Note
that the “1+5” and “Octave” settings are not affected by the chord.) If you want to use these types with
the Style stopped, set the Stop ACMP parameter to a setting other than Disabled in the Style Setting
display (page 25).
• When the [ACMP] button is on and the Left part is off:

Split Point
Chord section for Style playback and Harmony effect
2 • When the [ACMP] button is off and the Left part is on:
Split Point
Voices
Main and Layer Voices
Left Voice and chord section for Harmony effect
• When both the [ACMP] button and the Left part are on:
Style Split Point Left Split Point
Left Voice Main and Layer Voices
Chord section for Style playback and Harmony effect
The Multi Assign effect automatically assigns notes played simultaneously on the right-hand section of
the keyboard to separate parts (Voices). Both of the keyboard parts [MAIN] and [LAYER] should be
turned on when using the Multi Assign effect. The Main and Layer Voices are alternately assigned to the
notes in the order you play.
 Echo
When Echo, Tremolo or Trill is selected, the corresponding effect (echo, tremolo, trill) is applied to the
note played in the right-hand section of the keyboard in time with the currently set tempo, regardless of the
[ACMP] and the Left part on/off status. Keep in mind that Trill only works when you hold down two notes
on the keyboard simultaneously (last two notes if more than two notes are held), and it plays those notes
alternately.

5 Use the [7 ] (Detail) buttons to call up the detail setting window, and then use the
[3 ] – [8 ] buttons to make necessary settings.
The available settings differ depending on the Harmony type selected in step 4.
[3 ] Volume This parameter is available for all types with the exception of Multi
Assign. It determines the level of the harmony/echo notes generated by
the Harmony/Echo effect.
[4 ]/ Assign This parameter is available for all types with the exception of Multi
[5 ] Assign. This lets you determine the keyboard part via which the harmony/
echo notes will be sounded.
• Auto: Applies the effect to the part which is turned on. When the both
parts are on, the Main part is given priority over the Layer part.
• Multi: When both parts are on, the note played on the keyboard is
sounded by Main part and the harmonies (effect) are divided to the
Main and Layer parts. When only one part is on, the note played on the
keyboard and effect are sounded by that part. 2
• Main, Layer: Applies the effect to the selected part (Main or Layer).
Voices
[6 ] Speed This parameter is only available when Echo, Tremolo, or Trill is selected
in Type above. It determines the speed of the Echo, Tremolo, and Trill
effects.
[7 ] Chord Note Only This parameter is available when one of the Harmony Types is selected.
When this is set to On, the Harmony effect is applied only to notes
(played in the right-hand section of the keyboard) that belong to a chord
played in the chord section of the keyboard.
[8 ] Minimum This parameter is available for all types with the exception of Multi
Velocity Assign. It determines the lowest velocity value at which the harmony note
will sound. This allows you to selectively apply the harmony by your
playing strength, letting you create harmony accents in the melody. The
harmony effect is applied when you play the key strongly (above the set
value).
6 Play the keyboard.

The effect selected in step 4 is applied to the right-hand melody.

Pitch-Related Settings
Fine-tuning the Pitch of the Entire Instrument
You can fine-tune the pitch of the entire instrument such as keyboard, Style and Song parts (except the
keyboard part played by the Drum Kit or SFX Kit Voices, and audio playback)—a useful feature when
playing this instrument along with other instruments or audio playback.

[MENU] → Cursor buttons [][][E][F] Master Tune/ Scale Tune, [ENTER] → TAB [E] Master Tune
2 Use the [4 ]/[5 ] (Master Tune) buttons to set the tuning in 0.2 Hz steps.
Press both [] and [] buttons (of 4 or 5) simultaneously to reset the value to the factory setting of
2
440.0 Hz.
Scale Tuning
Voices
You can select various scales for playing in custom tunings for specific historical periods or music genres.

[MENU] → Cursor buttons [][][E][F] Master Tune/ Scale Tune, [ENTER] → TAB [F] Scale Tune
2 Use the [1 ] (Type) buttons to call up the Scale Tune Type window, and then use
the [1 ]/[2 ] buttons to select the desired scale.
After selecting, press the [EXIT] button to close the window.
The tuning of each note for the

currently selected scale is shown.
2 3
 Preset Scale types

Equal The pitch range of each octave is divided equally into twelve parts, with each half-
step evenly spaced in pitch. This is the most commonly used tuning in music today.
Pure Major, Pure These tunings preserve the pure mathematical intervals of each scale, especially for
Minor triad chords (root, third, fifth). You can hear this best in actual vocal harmonies—
such as choirs and a cappella singing.
Pythagorean This scale was devised by the famous Greek philosopher and is created from a
series of perfect fifths, which are collapsed into a single octave. The 3rd in this tun-
ing are slightly unstable, but the 4th and 5th are beautiful and suitable for some
leads.
Mean-Tone This scale was created as an improvement on the Pythagorean scale, by making the
major third interval more “in tune.” It was especially popular from the 16th century
to the 18th century. Handel, among others, used this scale.

Werckmeister, This composite scale combines the Werckmeister and Kirnberger systems, which
Kirnberger were themselves improvements on the mean-tone and Pythagorean scales. The
main feature of this scale is that each key has its own unique character. The scale
was used extensively during the time of Bach and Beethoven, and even now it is
often used when performing period music on the harpsichord.
Arabic1, Arabic2 Use these tunings when playing Arabic music.
3 Change the following settings as necessary.
[2 ] Base Note Determines the base note for each scale. When the base note is changed,
the pitch of the keyboard is transposed, yet maintains the original pitch
relationship between the notes.
[3 ]/ Tune Select the desired note to be tuned by using the [3 ] buttons and tune
[4 ] it in cents by using the [4 ] buttons.
NOTE In musical terms a “cent” is 1/100th of a semitone. (100 cents equal one semitone.)
2
[5 ]– Part Select Determines whether the Scale Tune setting is applied to each part or not.
[8 ]
Voices
NOTE If you want to store the Scale Tune settings to Registration Memory, be sure to checkmark Scale Tune in the Registration Memory display called up via the
[MEMORY] button.
NOTE If a VRM Voice is selected as the Main part, the resonance of all VRM Voices is set to the same scale type as that of the Main part. If a Voice other than a
VRM Voice is selected as the Main part, the resonance of any other VRM Voices is set to Equal.
Pitch Settings for Each Keyboard Part
You can set the pitch independently for each keyboard part.

[MENU] → Cursor buttons [][][E][F] Voice Setting, [ENTER] → TAB [E][F] Tune
2 Use the Cursor buttons [][] to select the item, and then use the [3 ] – [8 ]
buttons to adjust the value for the corresponding part.
Cursor [][]
1 Tuning
Determines the pitch of each keyboard part.
2 Octave
Determines the range of the pitch change in octaves, over two octaves up or down for each keyboard part.
3 Portamento Time
Portamento is a function that creates a smooth transition in pitch from the first note played on the keyboard
to the next. The Portamento Time determines the pitch transition time. Higher values result in a longer
pitch change time. Setting this to “0” results in no effect. This parameter is available when the selected
keyboard part is set to Mono (page 13).

Editing Voices (Voice Set)
The Voice Set function allows you to create your own Voices by editing some parameters of the existing
Voices. Once you’ve created a Voice, you can save it as a file to internal memory (User drive) or a USB flash
drive for future recall.
1 Select the desired Voice.
2 In the Voice Selection display, press the [5 ] (Voice Set) button to call up the Voice
Set display.
NOTE If the button is not shown, press the [8] (Close) button to call it up.
3 Use the TAB [E][F] buttons to call up the relevant setting page.
For information on the available parameters in each page, see page 13.
2 3
TAB [E][F]
4
Voices
Cursor [][]
5
4
4 As necessary, use the Cursor buttons [][] to select the item (parameter) to be
edited and edit the Voice by using the [1 ]–[7 ] buttons.
Pressing the [8 ] (Compare) button toggles the sound between the edited Voice and original (unedited)
Voice to let you compare the sound played on the keyboard.
5 Press the [8 ] (Save) button to save your edited Voice.

For details on the Save operation, refer to “Basic Operations” in the Owner’s Manual.
NOTICE
The settings will be lost if you select another Voice or turn off the power to the instrument without carrying out the Save operation.

Editable Parameters in the Voice Set Displays
The Voice Set parameters are organized into five different pages. The parameters in each page are described
separately, below.
NOTE The available parameters differ depending on the Voice.
 Common page
1 Volume, Touch Sense, Part Octave
[2 ] Volume Adjusts the volume of the current edited Voice.

[3 ]/ Touch Sense Adjusts the touch sensitivity (velocity sensitivity), or how greatly the vol-
[4 ] ume responds to your playing strength.
Touch Sense Depth Touch Sense Offset
Changes to velocity curve according to Changes to velocity curve according to
2
VelDepth (with Offset set to 64) VelOffset (with Depth set to 64)
Actual Velocity for Actual Velocity for
tone generator tone generator
Offset = 96 (+64)
Depth = 127 (twice) Offset = 127 (+127)
Voices
127 127
Depth = 64 (normal) Offset = 64 (normal)
64 64
Depends
Depth = 32 (half) on offset
Offset = 32 (-64)
Depth = 0
0 0
64 127 Depends
64 127
Received Velocity on offset Received Velocity
(Actual KeyOn speed) (Actual KeyOn speed)
Offset = 0 (-127)
• Depth: Determines the velocity sensitivity, or how much the level of the
Voice changes in response to your playing strength (velocity).
• Offset: Determines the amount by which received velocities are
adjusted for the actual velocity effect.
[5 ]/ Part Octave Shifts the octave range of the edited Voice up or down in octaves. When
[6 ] the edited Voice is used as any of the Main and Layer parts, the Main/
Layer parameter is available; when the edited Voice is used as the Left
part, the Left parameter is available.
2 Mono/Poly, Portamento
[1 ]/ Mono/Poly Determines whether the edited Voice is played monophonically (Mono) or
[2 ] polyphonically (Poly).
[3 ]/ Mono Type Determines the behavior of the notes of decaying sounds, such as a guitar,
[4 ] when they are played with legato with the edited Voice set to Mono above.
• Normal: The next note sounds after the previous note is stopped.
• Legato: The sound of the previously played note is maintained and only
the pitch changes to that of the next note.
• Crossfade: The sound smoothly transitions from the previously played
note to the next note.
NOTE This parameter is unavailable for Super Articulation Voices and Drum/SFX Kit Voices, and behaves
the same as the Normal setting when these Voices are selected.
NOTE When Legato is selected, the behavior (other than what is described here) may be different from Nor-
mal, depending on the panel settings.

[5 ] Portamento Determines the pitch transition time when the edited Voice is set to Mono
Time above.
NOTE Portamento is a function that creates a smooth transition in pitch from the first note played on the
keyboard to the next.
[6 ]/ Portamento Type Determines how an actual pitch transition time is calculated from the Por-
[7 ] tamento Time value above.
• Fixed Rate: Make the pitch change rate to 0: max., 127: min. The actual
pitch transition time varies according to the interval between the two
notes.
• Fixed Time: Make the actual pitch transition time to 0: min., 127: max.
The pitch change rate varies according to the interval between the two
notes.
NOTE The basic rule of Portamento Time is unchanged even if this setting is changed. When the value of
Portamento Time is smaller, the actual time is shorter; when the value is larger, the actual time is
2
longer.
NOTE The greater the value of Portamento Time, the clearer the effect of this setting will be.
Voices
 Controller page
1 Center Pedal, 2 Left Pedal
These allow you to select the function to be assigned to the center or left pedal of the pedal unit (sold
separately) connected to the [PEDAL UNIT] jack.
[1 ] Function Selects the function to be assigned to the center or left pedal. For details
on the pedal functions, see page 76.
[2 ] – Main, Layer, Determines whether the assigned function is effective or not for the
[7 ] Left, etc. respective keyboard part. Depending on the selected function above, the
related parameters such as depth can be set. For details, see the pedal
function list on page 76.
3 Modulation
When a pedal function is set to Modulation (page 77), the pedal can be used to modulate the parameters
below as well as the pitch (vibrato). Here, you can set the degree to which the pedal modulates each of the
following parameters.
[2 ] Filter Determines the degree to which the pedal modulates the Filter Cutoff Fre-
quency. For details about the filter, see below.
[3 ] Amplitude Determines the degree to which the pedal modulates the amplitude (vol-
ume).
[5 ] LFO PMOD Determines the degree to which the pedal modulates the pitch, or the
vibrato effect.
[6 ] LFO FMOD Determines the degree to which the pedal modulates the Filter modula-
tion, or the wah effect.
[7 ] LFO AMOD Determines the degree to which the pedal modulates the amplitude, or the
tremolo effect.

 Sound page
1 Filter, EG
• Filter
Filter is a processor that changes the timbre or tone of a sound by either blocking or passing a specific
frequency range. The parameters below determine the overall timbre of the sound by boosting or cutting a
certain frequency range. In addition to making the sound either brighter or mellower, Filter can be used to
produce electronic, synthesizer-like effects.
[2 ] Brightness Determines the cutoff frequency or Volume

Cutoff Frequency
effective frequency range of the fil-
ter (see diagram). Higher values
result in a brighter sound.
Frequency
These frequencies are Cutoff (pitch)
“passed” by the filter. range
[3 ] Harmonic
Content
Determines the emphasis given to
the cutoff frequency (resonance),
Volume 2
Resonance
set in Brightness above (see dia-
Voices
gram). Higher values result in a
more pronounced effect.
Frequency (pitch)
• EG Level
The EG (Envelope Generator) settings determine how the level of the

sound changes in time. This lets you reproduce many sound
Sustain
characteristics of natural acoustic instruments—such as the quick Level
attack and decay of percussion sounds, or the long release of a
sustained piano tone. Attack Decay Release
Time
Key on Key off
[4 ] Attack Determines how quickly the sound reaches its maximum level after the
key is played. The lower the value, the quicker the attack.
[5 ] Decay Determines how quickly the sound reaches its sustain level (a slightly
lower level than maximum). The lower the value, the quicker the decay.
[6 ] Release Determines how quickly the sound decays to silence after the key is
released. The lower the value, the quicker the decay.
2 Vibrato Pitch
Speed
Vibrato is a quavering, vibrating sound effect that is produced by
regularly modulating the pitch of the Voice.
Depth
Delay
Time
[3 ] Depth Determines the intensity of the Vibrato effect. Higher settings result in a
more pronounced Vibrato.
[4 ] Speed Determines the speed of the Vibrato effect.
[5 ] Delay Determines the amount of time that elapses between the playing of a key
and the start of the Vibrato effect. Higher settings increase the delay of the
Vibrato onset.

 Effect/EQ page
1 Reverb Depth, Chorus Depth, DSP Depth, Vibe Rotor
[1 ]/ Reverb Depth Adjusts the reverb depth. The setting cannot be changed when a VRM
[2 ] Voice is selected.
[3 ]/ Chorus Depth Adjusts the chorus depth. The setting cannot be changed when a VRM
[4 ] Voice is selected.
[5 ] DSP On/Off Determines whether the DSP effect is on or off.
[6 ] DSP Depth Adjusts the DSP depth.
If you want to re-select the DSP type, you can do so in the 2 DSP menu
explained below.
[7 ] Vibe Rotor This will be displayed only if Vibe Rotor is selected for the DSP Type
parameter explained below. Determines whether Vibe Rotor should be set
2 to on or off when selecting a Voice.
2 DSP Type
Voices
[2 ]/ Category Selects the DSP effect category and type. Select a type after selecting a
[3 ] category.
[4 ]/ Type
[5 ]
[6 ] Detail Calls up a detailed setting display.
In the detailed setting display, select the desired parameter by using the
[2 ] – [4 ] buttons, and then adjust the value by using the
[5 ] / [6 ] buttons. This differs depending on the effect type and
cannot be changed. Press the [EXIT] button to close the setting display.
3 EQ
Determines the Frequency and Gain of the Low and High EQ bands. For information about EQ, refer to
page 71.
 Harmony page
From this display, you can set the same parameters as those in the Keyboard Harmony display (step 4 on
page 7). Before making any settings, make sure that the current part is set to Main; in other words, you
should turn on the Main part by pressing the PART ON/OFF [MAIN] button. The settings here are called
up automatically simply by selecting the corresponding Voice.

Disabling Automatic Selection of Voice Sets (Effects, etc.)
Each Voice is linked to its default Voice Set parameter settings, equivalent to those in the Voice Set display
(page 12). Although usually these settings are automatically called up by selecting a Voice, you can also
disable this feature. For example, if you want to change the Voice yet keep the same effect, set the Effect
parameter for the desired keyboard part to Off.

[MENU] → Cursor buttons [][][E][F] Voice Setting, [ENTER] → TAB [F] Voice Set Filter
2 Use the Cursor buttons [][] to select the parameter group to be set.
Each item corresponds to the following parameters in the Voice Set display (page 12).
• 1 Voice: Parameter settings of Common and Sound pages
2
• 2 Effect: Parameter settings of 1 and 2 in the Effect/EQ page
• 3 EQ: Parameter settings of 3 in the Effect/EQ page
• 4 Keyboard Harmony: Parameter settings of Harmony page
• 5 Pedal: Parameter settings of Controller page
Voices
2
Cursor [][]
3 Use the [3 ]–[8 ] buttons to determine whether the parameter selected in
step 2 is called up (On) or not (Off) for each keyboard part.
For each keyboard part, only the parameter settings with checkmarks are called up automatically together
with the Voice selection.

3 Styles
Contents
Playing Style with the Smart Chord feature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
• Smart Chord Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Learning How To Play Specific Chords (Chord Tutor) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Chord Types Recognized in Fingered. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Style Playback Related Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Specifying Chords with Your Right Hand while Playing Bass with Your Left Hand . . . . . . . . . .25
Creating/Editing Styles (Style Creator) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
• Basic Procedure for Creating a Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
• Realtime Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
• Assigning the Source Pattern to Each Channel (Assembly) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
• Editing the Rhythmic Feel (Groove) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
3
• Editing Data for Each Channel (Channel) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
• Making Style File Format Settings (Parameter) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
• Editing the Rhythm Part of a Style (Drum Setup) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Styles
Style Types (Characteristics)

The particular type of Style is indicated above (or in the icon at the left of) the Style name on the Style
Selection display or the Main display. The defining characteristics of these Styles and their performance
advantages are described below.
• Adaptive: These Styles can be used with the Adaptive Style function in which the Main variation changes
automatically depending on how dynamically you play the keyboard—without your needing to press the
MAIN VARIATION buttons. For details, refer to the Owner’s Manual.
• Unison: These Styles can be used with the Unison & Accent function, which lets you play in unison and/or
add accents during Style playback. For details, refer to the Owner’s Manual.
• Session: These Styles provide even greater realism and authentic backing by mixing in original chord types
and changes, as well as special riffs with chord changes, with the Main sections. These have been pro-
grammed to add “spice” and a professional touch to your performances of certain songs and in certain
genres. Keep in mind, however, that the Styles may not necessarily be appropriate—or even harmonically
correct—for all songs and for all chord playing. In some cases for example, playing a simple major triad for
a country song may result in a “jazzy” seventh chord, or playing an on-bass chord may result in inappropri-
ate or unexpected accompaniment.
• Pianist: These special Styles provide piano-only accompaniment. Just by playing the proper chords with
your left hand, you can automatically add complicated, professional-sounding arpeggios and bass/chord pat-
terns.

Playing Style with the Smart Chord feature
If you want to fully enjoy playing in various Styles but don’t know how to play the appropriate chords, set the
Chord Fingering type to Smart Chord. This lets you control Styles with just a single finger, as long as you
know the key of the music you’re playing—even if you don’t know any chord fingering such as major, minor,
diminished and so on. Appropriate chords suited for the music genre will sound whenever you press a single
note, as if you were playing the “right” chords.
Try out the Smart Chord feature with the following sample score. Simply play the root notes of the chords
indicated in this score with your left hand as you play the melody with your right hand, and listen to how the
chords with their notes and voicings match the music genre you’ve set.
 “Home Sweet Home”

Chord section
T
h A# C# D# F# G# A# C# D# F# G# A# C# D# F#
• Style: 70sPopDuo
e
l
o
Bb Db Eb Gb Ab Bb Db Eb Gb Ab Bb Db Eb Gb • Key Signature: F Major (b*1)
w
e
s
t • Type: Standard
A B C D E F G A B C D E F G A B C D E F
Key Signature
3
(Key in F major)
Styles
F C7 F C7 F Chord Types
œ ˙ œ j
&b c œ œ. œ œ œ œ. œ œ œ ˙. œ
J
C7 F C7 F
5
œ ˙ œ j
& b œ. œ œ œ œ. œ œ œ ˙.
œ
J
F B
b F C7 F
9
œ. œ œ œ ˙ œ œ.
j œ
&b J œ œ œ œ ˙.
F B
b F
#
F dim7 C 7/G C7 F
13
œ. œ œ œ ˙ œ j
&b J œ œ. œ œ œ w
F
#
C dim7 Dm C F
17
& b ww ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ .. œ
F B
b F
#
F dim7 G m7 C7 F
21
œ. œ œ œ ˙ œ œ œ
&b J œ œ œ w
Try also selecting Style Easy Swing (via the [STANDARDS & JAZZ] button) by using this score. The Smart
Chord type changes to Jazz, letting you experience a different feel in the Song.

1 Select the desired Style and make sure that the STYLE CONTROL [ACMP] button is on
(the lamp is lit).
For the example score, press the [BALLAD] button, and then select 70sPopDuo.

[MENU] → Cursor buttons [][][E][F] Split Point/Chord Fingering, [ENTER] → TAB [F] Chord
Fingering
3 Use the [2 ] – [4 ] (Fingering Type) buttons to select Smart Chord.
Indicates the selected key signature.

Set this to the same as your music score.
3
Styles
3 4
4 Use the [5 ] / [6 ] (Key Signature) buttons to select the key signature.
Make sure to select the key signature which is same as that on your music score, or your desired key for
playing.
For the example score, select F Major (b*1).
After selecting, press the [EXIT] button to close the window.
5 Use the [7 ] / [8 ] (Type) buttons to select the type of music genre.
The type selected here determines the specific chord assignment for each scale note in the Chord section.
Although selecting a Style in step 1 will automatically set the optimum type, you can select a different
type here for more appropriate results, if necessary.
For the example score, select Standard.
NOTE Each music type assumes only typical or conventional chord progression for the Style.
NOTE Examples of the chord assignments are provided in the Smart Chord Chart on page 21.
6 Press the STYLE CONTROL [SYNC START] button to enable synchronized start.
7 According to the music score or the chord progression of your performance, play only
the root key with the left hand.
Pressing a key will start playback of the Style.
Chord section
Split Point (F#2 as default)

Smart Chord Chart
This chart shows how the chord is played when you simply press the root note of chord in C major or A minor
for each Type. The chord changes depending on the selected Type and Key Signature. Examples of F major for
Pop and E minor for Jazz are also shown below.
Smart Chord Root Note

setting C C# D D# E F F# G G# A A# B
Key
Type
Signature
C major C C#dim Dm Eb Em F F#dim G7 G#dim Am Bb G/B

Standard
A minor C C#dim Dm D#dim7 E7 F F#dim G7 E7/G# Am Bb Bm7b5
C major Cadd9 C#dim7 Dm7 Ebdim7 Em7 FM7 F#dim G7 G#dim Am7 Bb G/B
Pop
A minor C C#dim7 Dm7 D#dim7 E7 FM7 F#dim G7 E7/G# Am7 Bb G/B
C major CM79 C#dim7 Dm79 Ebdim7 Em7 F6 9 F#dim7 G 79 G#dim Am711 Bb7 Bm7b5
Jazz
A minor CM79 C#dim7 Dm79 D#dim7 E7 FM79 F#m7b5 G 79 G#7 Amadd9 Bb7 Bm7b5
C major C C#dim Dm Eb Em F F#dim G G#dim Am Bb G/B
3
Dance
A minor Cm C#m Dm D#m Em Fm F#m Gm G# Am Bb Bm
C major C C#dim Dm Eb E1+5 F1+5 F#dim G7 G#dim Am Bb G/B

Simple
A minor C C#dim Dm D#dim7 E1+5 F F#dim G7 E7/G# Am Bb Bm7b5
Styles
Example chords for key of F major, Pop Type setting.
Pop F major C7 C#dim Dm7 Eb C/E Fadd9 F#dim7 Gm7 Abdim7 Am7 BbM7 Bdim
Example chords for key of E minor, Jazz Type setting.

Jazz E minor CM79 C#m7b5 D79 D#7 Emadd9 F7 F#m7b5 GM79 G#dim7 Am79 A#dim7 B7
Learning How To Play Specific Chords (Chord Tutor)

If you know the name of a chord but don’t know how to play it, the Chord Tutor function conveniently shows
you which notes to play.

[MENU] → Cursor buttons [][][E][F] Chord Tutor, [ENTER]
2 Use the [1 ] /[2 ] (Root) buttons to select the chord root, and use the [3 ] /
[4 ] (Type) buttons to select the chord type.
The notes you need to play are shown in the display.
NOTE Depending on the chord, some notes may be omitted.

Chord Types Recognized in Fingered
3
Styles
Chord Name [Abbreviation] Normal Voicing* Display for root “C”

1+8 1+8 C1+8
1+5 1+5 C1+5
Major [M] 1+3+5 C
Sixth [6] 1+(3)+5+6 C6
Major seventh [M7] 1+3+(5)+7 CM7
Major seventh flatted fifth [M7b5] 1+3+b5+7 CM7(b5)
Major seventh add sharp eleventh [M7(#11)] 1+(2)+3+#4+5+7 CM7(#11)
Add ninth [add9] 1+2+3+5 Cadd9
Major seventh ninth [M7_9] 1+2+3+(5)+7 CM7(9)
Sixth ninth [6_9] 1+2+3+(5)+6 C6(9)
Flatted fifth [(b5)] 1+3+b5 Cb5
Augmented [aug] 1+3+#5 Caug
Seventh augmented [7aug] 1+3+#5+b7 C7aug
Major seventh augmented [M7aug] 1+(3)+#5+7 CM7aug
Minor [m] 1+b3+5 Cm
Minor sixth [m6] 1+b3+5+6 Cm6
Minor seventh [m7] 1+b3+(5)+b7 Cm7
Minor seventh flatted fifth [m7b5] 1+b3+b5+b7 Cm7(b5)
Minor add ninth [m(9)] 1+2+b3+5 Cm add9
Minor seventh ninth [m7(9)] 1+2+b3+(5)+b7 Cm7(9)
Minor seventh eleventh [m7(11)] 1+(2)+b3+4+5+(b7) Cm7(11)
Minor major seventh flatted fifth [mM7b5] 1+b3+b5+7 CmM7(b5)
Minor major seventh [mM7] 1+b3+(5)+7 CmM7
Minor major seventh ninth [mM7(9)] 1+2+b3+(5)+7 CmM7(9)
Diminished [dim] 1+b3+b5 Cdim
Diminished seventh [dim7] 1+b3+b5+6 Cdim7
Seventh [7] 1+3+(5)+b7 C7
Seventh suspended fourth [7sus4] 1+4+5+b7 C7sus4
Seventh ninth [7(9)] 1+2+3+(5)+b7 C7(9)
Seventh add sharp eleventh [7(#11)] 1+(2)+3+#4+5+b7 C7(#11)
Seventh add thirteenth [7(13)] 1+3+(5)+6+b7 C7(13)
Seventh flatted fifth [7b5] 1+3+b5+b7 C7(b5)
Seventh flatted ninth [7(b9)] 1+b2+3+(5)+b7 C7(b9)
Seventh add flatted thirteenth [7(b13)] 1+3+5+b6+b7 C7(b13)
Seventh sharp ninth [7(#9)] 1+#2+3+(5)+b7 C7(#9)
Suspended fourth [sus4] 1+4+5 Csus4
One plus two plus five [sus2] 1+2+5 Csus2
cancel 1+b2+2 Cancel
NOTE Notes in parentheses can be omitted.

NOTE The “cancel” indication refers to Chord Cancel, which stops the last selected chord from playing and leaves only the drums/rhythm.

Style Playback Related Settings
The instrument has a variety of settings for Style playback which can be accessed in the display below.

[MENU] → Cursor buttons [][][E][F] Style Setting, [ENTER] → TAB [E][F] Setting1 or Setting2
2 Use the Cursor buttons [][] to select the page, and then use the corresponding
[1 ]–[8 ] buttons for each setting.
Setting1 page Setting2 page
Cursor Cursor
[][] [][]
Styles
 Setting1 page
1 Unison& Accent, Auto Fill-in
[1 ]– These are used for the Unison & Accent function. Refer to the Owner’s Manual, Chapter 3.
[6 ]
[7 ]/ Auto Fill In When this is set to On, pressing any of the MAIN VARIATION [A] − [D]
[8 ] buttons as you play automatically plays a fill-in section.
2 Style Change Behavior

[2 ]/ Section Set Determines the default section that is automatically called up when select-
[3 ] ing different Styles (when Style playback is stopped). When set to Off and
Style playback is stopped, the active section is maintained even if the dif-
ferent Style is selected. When any of the Main A–D sections is not
included in the Style data, the nearest section is automatically selected.
For example, when Main D is not contained in the selected Style, Main C
will be called up.
[4 ]/ Tempo This determines whether the tempo setting of the Style changes or not
[5 ] when you change Styles.
• Lock: The previous tempo setting is always maintained. When the
Style tempo is locked to the previous setting, a padlock icon appears
above the Style name on the Main display.
• Hold: During Style playback, the previous tempo setting is main-
tained. When Style playback is stopped, the tempo changes to that of
the initial default tempo for the selected Style.
• Reset: The tempo always changes to that of the initial default tempo
for the selected Style.

[6 ]/ Part On/Off This determines whether the Style Channel On/Off status changes or not
[7 ] when you change Styles.
• Lock: The Channel On/Off status of the previous Style is always
maintained.
• Hold: During Style playback, the Channel On/Off status of the previ-
ous Style is maintained. When Style playback is stopped, all Style
Channels are set to On.
• Reset: All Style Channels are set to On.
 Setting2 page
1 OTS Link Timing, Intro/Ending, Synchro Stop, ACMP On/Off
[1 ]/ OTS Link This applies to the OTS Link function. This parameter determines the tim-
[2 ] Timing ing in which the One Touch Settings change with the MAIN VARIATION
[A]–[D] change. (The [OTS LINK] button must be on.)
• Real Time: One Touch Setting is immediately called up when you
press MAIN VARIATION [A]–[D] buttons.
• Next Bar: One Touch Setting is called up at the next measure, after
3 [3 ]/ Intro/Ending Set
you press MAIN VARIATION [A]–[D] buttons.
Three different types of Intro/Ending sections are provided for each Style.
[4 ] This selects the Intro/Ending type.
Styles
NOTE The Intro 1 section consists of only the Rhythm part while Intro 2 and 3 consist of all the parts as
well as the Rhythm part. When you play Intro 2 or 3, in order to have the complete Intro section
sound properly, you need to play chords in the chord section with the [ACMP] turned on.
NOTE When 1 is selected here, if you press the [ENDING/rit.] button while the Style is playing, a fill-in
automatically plays before the Ending section.
[5 ]/ Synchro Stop Turns the Synchro Stop function on/off. When this is set to On, you can
[6 ] start the Style anytime you want by simply playing the keys in the chord
section of the keyboard, and stop the Style by releasing them. To use this
function, make sure that the [ACMP] button is on.
NOTE When the Chord Fingering type is set to Full Keyboard or AI Full Keyboard, or when the Unison
function is turned on, Synchro Stop cannot be turned on.
[7 ]/ ACMP On/Off Determines whether the [ACMP] button is on or off when the power is
[8 ] Default turned on.
2 Synchro Stop Timing, Stop ACMP

[3 ]/ Synchro Stop This determines how long you can hold a chord before the Synchro Stop
[4 ] Timing function is automatically canceled. When Synchro Stop above is set to
On, and this is set to a value other than Off, this automatically cancels the
Synchro Stop function if you hold a chord for longer than the time set
here. This conveniently resets Style playback control to normal, letting
you release the keys and still have the Style play. In other words, if you
release the keys sooner than the time set here, the Synchro Stop function
works.

[5 ]/ Stop ACMP When the [ACMP] button is turned on and the [SYNC START] button is
[6 ] off, you can play chords in the chord section of the keyboard with the
Style stopped, and still hear the accompaniment chord. In this condition—
called “Stop Accompaniment”—any valid chord fingerings are recog-
nized, and the chord root/type are shown in the display. Here, you can
determine whether the chord played in the chord section will sound or not
in the Stop Accompaniment status.
• Disabled: Disables the Stop Accompaniment feature. When Style
playback is stopped, any pressed notes in the chord section of the key-
board will not be recognized as chords.
• Off: The chord played in the chord section will not sound.
• Style: The chord played in the chord section will sound via the Voices
for the Pad channel and the Bass channel of the selected Style.
• Fixed: The chord played in the chord section will sound via the speci-
fied Voice, regardless of the selected Style.
NOTE When the selected Style contains MegaVoices, unexpected sounds may result when this is set to
Style.
NOTE If you record a Song using the Stop Accompaniment, both the Voice that is sounded and the chord
3
data will be recorded when set to Style, and only the chord data will be recorded when set to Off or
Fixed.
NOTE When this is set to Disabled, chords are not recognized while the Style is stopped. For this reason,
Keyboard Harmony is not applied even if you play a chord in the chord section of the keyboard while
the Style is stopped.
Styles
Specifying Chords with Your Right Hand while Playing Bass with
Your Left Hand
By changing the Chord Detection Area from the left-hand section to the right-hand section, you can play a bass
line with your left hand while using your right hand to play chords for controlling Style playback.

[MENU] → Cursor buttons [][][E][F] Split Point/Chord Fingering, [ENTER] → TAB [E] Split
Point
2 Use the [2 ]/[3 ] (Chord Detection Area) buttons to set to Upper.
The whole right-hand (Upper) section functions as the Chord section as well as for melody performance.
Fingering type is set to Fingered* and Manual Bass (see below) is set to On automatically.
NOTE When the Chord Detection Area is set to Upper, only Fingered* is available. This type is basically same as Fingered, except that “1+5,” “1+8” and Chord
Cancel are not available.
Left Split Point
Left part Main/Layer parts
Chord Detection Area

(Upper)
Style Split Point
By using the [1 ] (Manual Bass) buttons, you can turn the Manual Bass function on/off. When this is
set to On, the Voice for the bass part of the current Style is muted and assigned to the Left part.
NOTE This parameter is effective only when the Chord Detection Area is set to Upper.

Creating/Editing Styles (Style Creator)
The Style Creator function lets you create original Styles by recording rhythm patterns from the keyboard
and using already-recorded Style data. Basically, select a preset Style that is closest to the type you want to
create, and then record the rhythm pattern, bass line, chord backing, or phrase (referred to as “Source
Pattern” in the Style Creator) for each channel of each Section.
 Style Data Structure — Source Patterns

A Style is made up of the different Sections (Intro, Main, Ending, etc.) and each Section has eight separate
channels, each of which is referred to as “Source Pattern.” With the Style Creator feature, you can create a
Style by separately recording the Source Pattern for each channel, or by importing pattern data from other
existing Styles.
Ending 3
Ending 2
Intro
Fill In
3
Main B
Main A
Rhythm 1 Recording or copying from another Style
Styles
Rhythm 2 Recording or copying from another Style
Bass Recording or copying from another Style
Chord 1 Recording or copying from another Style Creating a Source

Pattern for each channel
Chord 2 Recording or copying from another Style separately
Pad Recording or copying from another Style
Phrase 1 Recording or copying from another Style
Phrase 2 Recording or copying from another Style
Basic Procedure for Creating a Style
1 Select the desired Style to be used as the basis for the new Style.
2 Call up the Style Creator display.

[MENU] → Cursor buttons [][][E][F] Style Creator, [ENTER]
A message appears asking if you want to edit the selected style or create a new one.
3 Press one of the [5 ]/[6 ] (Current Style) buttons to edit the selected Style, or
press one of the [7 ]/[8 ] (New Style) buttons to create a new Style.
When one of the [7 ]/[8 ] buttons is pressed, a blank Style (named “NewStyle”) for recording is
automatically created.
4 From the Basic page, select a Section.

(If the Rec Channel window is shown in the lower half section of the display, press the [EXIT] button.)
Use the Cursor button [] to select 1 Section, and then use the [3 ]/[4 ] (Section) buttons to
select a Section.
NOTE Fill In A – D, Intro 1 – 4 and Ending 1 – 4 can be selected on the display although they are not available on the panel.

As necessary, make the following settings.
• For the current Section, select the pattern length via the [5 ]/[6 ] (Pattern Length) buttons.
After selecting, press the [ENTER] button to actually enter the specified length.
• For the entire current Style, use the Cursor buttons [][] to select 2 Tempo/Time Signature, and then
set the Tempo via the [3 ]/[4 ] buttons, and the Time Signature via the [5 ]/[6 ]
buttons.
NOTE Changing the Time Signature clears the data from all sections, and you will need to create the Style from scratch.
3
5
Styles
Create the Source Pattern for each channel.
• Realtime Recording on the Basic page (page 28)
Lets you record the Style by simply playing the keyboard.
• Style Assembly on the Assembly page (page 32)
Lets you copy various patterns from other preset Styles or Styles you have already created.
6 Edit the already recorded channel data.

• Editing the channel data on the Groove (page 34), and Channel (page 36) pages
Lets you change the rhythmic feel, quantizing and velocity, etc.
• Editing the SFF parameters on the Parameter page (page 37)
Lets you edit the SFF (Style File Format) related parameters of the already recorded channels.
• Editing the rhythm part on the Basic page by using the Drum Setup function (page 41)
Lets you edit the rhythm part of the Style, such as changing the sounds of the individual instruments.
7 Repeat steps 4–6 as desired.
8 Press one of the [8 ] (Save) buttons on any of the pages to save the created Style.
For instructions, refer to “Basic Operations” in the Owner’s Manual.
NOTICE
The created Style will be lost if you change to another Style or turn off the power to the instrument without carrying out the Save operation.

Realtime Recording
In the Basic page, you can record your original rhythm pattern from the keyboard.
Realtime Recording Characteristics in the Style Creator

• Loop Recording
Style playback repeats the rhythm patterns of several measures in a “loop,” and Style recording is also done
using loops. For example, if you start recording with a two-measure Main section, the two measures are
repeatedly recorded. Notes that you record will play back from the next repetition (loop), letting you record
while hearing previously recorded material.
• Overdub Recording
This method records new material to a channel already containing recorded data, without deleting the
original data. In Style recording, the recorded data is not deleted, except when using functions such as
Rhythm Clear (page 29) and Channel Delete (pages 29, 31). For example, if you start recording with a two-
measure Main section, the two measures are repeated many times. Notes that you record will play back from
the next repetition, letting you overdub new material to the loop while hearing previously recorded material.
When creating a Style based on an existing internal Style, overdub recording is applied only to the rhythm
channels. For all other channels (except rhythm), you need to delete the original data before recording.
3
 Recording Rhythm Channels 1–2
Styles
The procedure below applies to step 5 in the Basic Procedure on page 27.
1 From the Basic page, use the [1 ] (Rec Ch) buttons to call up the Rec Channel
window in the lower half section of the display.
2 Hold down the [1 ] (Rhy1) or [2 ] (Rhy2) button to select the desired channel as the
recording target.
A Rhythm channel can be selected as the recording target no matter whether already recorded data is
included or not. If already recorded data is included in the selected channel, you can record notes
additionally to the existing data.
3 If necessary, select a Voice then practice the rhythm pattern to be recorded.

Press the [1 ] or [2 ] button (selected channel) to call up the Voice Selection display then select the
desired Voice—in this case, a Drum Kit, since we'll be creating a rhythm. After selecting, press the [EXIT]
button to return to the original Style Creator display. With the selected Voice, practice the rhythm pattern
to be recorded.
• Available Voices for recording
For the Rhy1 channel, all Voices can be used for recording.
For the Rhy2 channel, only Drum/SFX Kits can be used for recording.
NOTE For information on which key to play for each Drum/SFX sound, refer to the Drum/Key Assignment List in the Data List on the website.

4 Press the STYLE CONTROL [START/STOP] button to start recording.
As the already recorded data plays back, use the [1 ]–[8 ] buttons to turn each channel on or off as
desired.
If necessary, you can delete channel data. Use the Cursor buttons [][] to select 3 Rhythm Clear/
Channel Delete/Drum Setup, and then press one of the [4 ]/[5 ] (Channel Delete) buttons to call
up the operation display. On the Channel Delete window, press the [1 ]–[8 ] buttons corresponding to
the desired channel to delete, and then press the [ENTER] button to actually delete the channel data. To
close the Channel Delete window, press the [EXIT] button.
5 As soon as loop playback returns to the first beat in the first measure, start playing
the rhythm pattern to be recorded.
If the rhythm is difficult to play in real time, break it up into individual parts and play each separately as
the playback loops, as shown in the example below.
Loop 1st round
Bass Drum
Styles
Loop 2nd round
Snare Drum
Bass Drum
Loop 3rd round
Hi-Hat
Snare Drum
Bass Drum
Deleting mistakenly recorded notes (Rhythm Clear)

If you make a mistake or play any wrong notes, you can delete those specific notes. Use the Cursor buttons
[][] to select 3 Rhythm Clear/Channel Delete/Drum Setup. While holding down one of the [2 ]/
[3 ] (Rhythm Clear) buttons, press the corresponding key on the keyboard.
6 Press the [START/STOP] button to stop playback.

If you want to add more notes, press the [START/STOP] button again to continue recording.
7 Press the appropriate [1 ] (Rhy1) or [2 ] (Rhy2) button on the Rec Channel window
to disable recording.
If the Rec Channel window is not shown, use the [1 ](Rec Ch) buttons.
NOTICE
The created Style will be lost if you change to another Style or turn off the power to the instrument without carrying out the Save operation
(step 8 on page 27).

 Recording to the Bass, Chord 1–2, Pad and Phrase 1–2 Channels
The procedure below applies to step 5 in the Basic Procedure on page 27.
1 From the Basic page, use the [1 ] (Rec Ch) buttons to display the Rec Channel
3 2 Hold down one of the [3 ]–[8 ] (Bass–Phr2) buttons to select the desired channel
as the recording target.
If a preset Style is selected, a confirmation message appears, prompting you whether or not to delete the
Styles
already recorded data of the selected channel. Press one of the [7 ] (OK) buttons to delete data and the
selected channel is specified as the recording target. Note that channel data other than the Rhythm
channels of the preset Style cannot be overdubbed.
3 If necessary, select a Voice, and then practice the bass line, chord backing, or phrase
to be recorded.
Press one of the [3 ]–[8 ] buttons (selected channel) to call up the Voice Selection display then select
the desired Voice. After selecting, press the [EXIT] button to return to the original display. With the
selected Voice, practice the phrase or chord backing to be recorded.
• Available Voices for recording
Any except for the Drum Kit/SFX kit Voices can be used for recording.
• Record a phrase in CM7 (for playing appropriate notes while chords change during performance)
Rules when recording a Main or Fill
With the default initial settings, the Source Root/Chord (page 38) is set to CM7. This means that you
should record a Source Pattern using a CM7 scale, which will change according to the chords you
specify during normal performance. Record a bass line, phrase or chord backing which you want to hear
when CM7 is specified. See below for details.
• Use only the CM7 scale tones when recording the Bass and Phr (Phrase) channels (i.e., C, D, E, G, A,
and B).
• Use only the chord tones when recording the Chd (Chord) and Pad channels (i.e., C, E, G, and B).
C = Chord note
C R C C R C C, R = Recommended note
If you observe this rule, Style playback notes are appropriately converted depending on the chord
changes you make during your performance.
Rules when recording an Intro or Ending
These Sections are designed assuming that the chord is not changed during playback. This is why you
need not observe the rule for Main and Fill-in Sections described above, and you can create special
chord progressions when recording. However, follow the rules below since the Source Root/Chord is set
to CM7.
• When recording the Intro, make sure that the recorded phrase leads properly into a C scale.
• When recording the Ending, make sure that the recorded phrase begins with or properly follows a C scale.

• Set the Source Root/Chord if necessary
Although the Source Root/Chord is set to CM7 as described above, you can change this to any desired
key or chord. Use the TAB [E][F] buttons to call up the Parameter page, and set the Source Root and
Chord to the favorite or desired Root and Chord type. Keep in mind that when you change the Source
Chord from the default CM7 to another chord, the chord notes and recommended notes will also change.
For details, refer to page 38.
4 Press the STYLE CONTROL [START/STOP] button to start recording.

Since already recorded data plays back, use the [1 ]–[8 ] buttons to turn on or off each channel as
desired.
If necessary, you can delete channel data. Use the Cursor buttons [][] to select 3 Rhythm Clear/
Channel Delete/Drum Setup, and then press one of the [4 ]/[5 ] (Channel Delete) buttons to call
up the operation display. On the Channel Delete window, press the [1 ]–[8 ] buttons corresponding to
the desired channel to be deleted, then press the [ENTER] button to actually delete the channel data. To
close the Channel Delete window, press the [EXIT] button.
5 As soon as loop playback returns to the first beat in the first measure, start playing
the bass line, chord backing or phrase to be recorded.
6 Press the [START/STOP] button to stop playback.

If you want to add more notes, press the [START/STOP] button again to continue recording.
3
Styles
• To hear the playback sound of the already recorded channels with another Source Root/Chord:
1) Use the TAB [E][F] buttons to call up the Parameter page.
2) Use the [1 ] (Rec Ch) buttons to call up the Rec Channel window, and then use the [1 ]–[8 ]
buttons to turn the desired channel on/off.
3) Press the [EXIT] button to close the Rec Channel window.
4) Press the STYLE CONTROL [START/STOP] button to start playback.
5) On the Parameter page, set the Play Root and Chord to the desired Chord root and Chord type.
The above operation lets you hear how the Source Pattern is played back via chord changes during normal
performance.
7 Press the appropriate [3 ]–[8 ] (Bass–Phr2) button on the Rec Channel window to
disable recording.
If the Rec Channel window is not shown, use the [1 ] (Rec Ch) buttons.
NOTICE

Assigning the Source Pattern to Each Channel (Assembly)
The instructions below apply to step 5 of the Basic Procedure on page 27. On the Assembly page, you can
copy channel data as a Source Pattern from another Style to the currently edited Style. Use this function if
you find a favorite rhythm pattern, bass line, chord backing or phrase from another Style.
1 In the Assembly page, select the Section to be edited if necessary.

Even if the Section to be edited has already been selected on the Basic page, you can change the Section
also on the Assembly page. Press one of the Section buttons on the panel to call up the Section window,
and then use the [5 ]/[6 ] (Section) buttons to select the desired section. After selecting, use the
[8 ] (OK) buttons to actually enter the selection.
3
NOTE Fill In A – D, Intro 1 – 4 and Ending 1 – 4 can be selected on the display although they are not available on the panel.
Styles
2 Select the desired channel to be replaced via the Cursor buttons [][][E][F].
[ENTER]
[EXIT]
3 Press the [ENTER] button to call up the Style Selection display.
4 Select the desired Style, and then press the [EXIT] button to return to the original
display.
5 Select the Section and Channel of the selected Style by using the [2 ]/[3 ]
(Section) and [4 ]/[5 ] (Channel) buttons.
6 Confirm the sound with the newly assigned Source Pattern by pressing the STYLE
CONTROL [START/STOP] button to playback the Style.

Setting the Playback Type During Style Assembly
When assembling the Style while listening to Style playback, you can select the playback channels
(type). In the Assembly page, use the [6 ]/[7 ] (Play Type) buttons to select the type.
• Solo: Plays back the selected channel in the Assembly page. Any channels set to Rec in the Rec
Channel window on the Basic page are played back simultaneously.
• On: Plays back the selected channel in the Assembly page. Any channels set to other than Off in the
Rec Channel window on the Basic page are played back simultaneously.
• Off: Mutes the selected channel in the Assembly page.
7 As desired, repeat steps 2 – 6 for another channel.
NOTICE
Styles

Editing the Rhythmic Feel (Groove)
The instructions below apply to step 6 of the Basic Procedure on page 27. On the Groove page, you can
change the timing of all notes and velocities, and edit the rhythmic feel for each channel of the current
Section selected on the Basic page or the panel button.
1 In the Groove page, use the Cursor buttons [][] to select the edit menu, and then
edit the data by using the [1 ]–[7 ] buttons.
Cursor [][]
3
Styles
1 Groove
This lets you add swing to the music or change the “feel” of the beat by making subtle shifts in the timing
(clock) of the Style. The Groove settings are applied to all channels of the Section selected on the Basic
page.
[1 ]/ Original Beat Specifies the beats to which Groove timing is to be applied. In other
[2 ] words, if 8 Beat is selected, Groove timing is applied to 8th notes; if
12 Beat is selected, Groove timing is applied to 8th-note triplets.
[3 ]/ Beat Converter Actually changes the timing of the beats (specified in the Original Beat
[4 ] parameter above) to the selected value. For example, when Original Beat
is set to 8 Beat and Beat Converter is set to “12,” all 8th notes in the sec-
tion are shifted to 8th-note triplet timing. The “16A” and “16B” Beat Con-
verter which appear when Original Beat is set to 12 Beat are variations on
a basic 16th-note setting.
[5 ] Swing Produces a “swing” feel by shifting the timing of the back beats, depend-
ing on the Original Beat parameter above. For example, if the specified
Original Beat value is 8 Beat, the Swing parameter will selectively delay
the 2nd, 4th, 6th, and 8th beats of each measure to create a swing feel. The
settings “A” through “E” produce different degrees of swing, with “A”
being the most subtle and “E” being the most pronounced.
[6 ]/ Fine Selects a variety of Groove “templates” to be applied to the selected sec-
[7 ] tion. The Push settings cause certain beats to be played early, while
Heavy settings delay the timing of certain beats. The numbered settings
(2, 3, 4, 5) determine which beats are to be affected. All beats up to the
specified beat—but not including the first beat—will be played early or
delayed (for example, the 2nd and 3rd beats, if “3” is selected). In all
cases, “A” types produce minimum effect, “B” types produce medium
effect, and “C” types produce maximum effect.

2 Dynamics
This changes the velocity/volume (or accent) of certain notes in the Style playback. The Dynamics settings
are applied to each channel or all channels of the Section selected on the Basic page.
[2 ] Channel Selects the desired channel (part) to which Dynamics is to be applied. The
selected channel is shown at the upper left of the display.
[3 ]/ Accent Type Determines the type of accent applied—in other words, which notes in the
[4 ] part(s) are emphasized with the Dynamics settings.
[5 ] Strength Determines how strongly the selected Accent Type (above) will be
applied. The higher the value, the stronger the effect.
[6 ] Expand/Comp. Expands or compresses the range of velocity values. Values higher than
100% expand the dynamic range, while values lower than 100% compress
it.
[7 ] Boost/Cut Boosts or cuts all velocity values in the selected section/channel. Values
above 100% boost the overall velocity, while values below 100% reduce
it.
2 Press the [ENTER] button to actually enter the edits for each display.
The values which are shown in the Strength, Expand/Comp. and Boost/Cut parameters are expressed as a
3
percentage of the last set value.
Styles
After the operation is completed, “Undo -> [ENTER]” is displayed. You can restore the original data if
you are not satisfied with the Groove or Dynamics results by pressing the [ENTER] button. The Undo
function only has one level; only the previous operation can be undone.
NOTICE
The edited Style will be lost if you change to another Style or turn off the power to the instrument without carrying out the Save operation

Editing Data for Each Channel (Channel)
The instructions below apply to step 6 of the Basic Procedure on page 27. On the Channel page, you can edit
recorded data for each channel of the current Section selected on the Basic page or via the panel buttons.
1 In the Channel page, use the Cursor buttons [][] to select the edit menu.
2 3
3 1 Quantize
Same as in the Song Creator (page 56), with the exception of the two additional available parameters below.
Styles
Eighth notes with swing
Sixteenth notes with swing

2 Velocity Change
Boosts or cuts the velocity of all notes in the specified channel, according to the percentage specified here.
3 Bar Copy
This function allows data to be copied from one measure or group of measures to another location within
the specified channel.
[4 ] Top Specifies the first (Top) and last (Last) measures in the region to be copied.
[5 ] Last
[6 ] Dest. Specifies the first measure of the destination location, to which the data is to be
copied.
4 Bar Clear
This function clears all data from the specified range of measures within the selected channel.
5 Remove Event
This function lets you remove specific events from the selected channel.
2 Use the [2 ] (Channel) buttons to select the channel to be edited.

The selected channel is shown at the upper left of the display.
3 Use the [3 ]–[7 ] buttons to edit the data.
After the operation is completed, “Undo -> [ENTER]” is displayed. You can restore the original data if
you are not satisfied with the results of the edit by pressing the [ENTER] button. The Undo function only
has one level; only the previous operation can be undone.
NOTICE

Making Style File Format Settings (Parameter)
The instructions below apply to step 6 of the Basic Procedure on page 27. The Style File Format (SFF)
combines all of Yamaha’s auto accompaniment (Style playback) know-how into a single unified format.
Setting the SFF related parameters determines how the original notes are converted to the actual sounded
notes based on the chord you specify in the Chord area of the keyboard. The conversion flow is shown below.
Source Pattern settings

• Source Root Set these parameters
• Source Chord before recording.
Determines what key and what chord type are used for playing.
Chord changes during normal performance
Note Conversion from the Source Pattern

• NTR (Conversion via Chord Root change) … page 38
• NTT (Conversion via Chord Type change) … page 38
3
Octave Setting of the Converted Notes Set these parameters
Styles
• High Key (Upper octave limit of Note Transposition) after recording.
• Note Limit (Note range between the highest and lowest notes)
Others
• RTR (How the note pitch changes in response to chord changes)
Actual Sounded Notes
The parameters shown above can be set in the Parameter page.

NOTE The parameters you can set here are compatible with the SFF GE format. This is why the Style files created on this instrument can be played back only on
instruments which are compatible with SFF GE.
1 In the Parameter page, use the Cursor buttons [][] to select the edit menu.
For details of the edit menu, see page 38.
2 3
2 Use the [2 ] (Channel) buttons to select the channel to be edited.

The selected channel is shown at the upper left of the display.

3 Use the [3 ]–[7 ] buttons to edit the data.
For details on editable parameters, see below.
NOTICE
1 Source Root/Chord (Play Root/Chord)

IMPORTANT
The parameters here should be set before recording. If you change the settings after recording, the appropriate note conversion cannot
be done even when you specify various chord types.
Before recording, you should set these parameters which determine what key is used for playing when you
record the Source Pattern to the Bass, Chord, Pad or Phrase channel. If you set this to “Fm7,” your
recorded original phrase (Source Pattern) will be triggered by specifying Fm7 during normal performance.
CM7 (Source Chord Root = C and Source Chord Type = M7) is set by default. Depending on the settings
here, the playable notes (chord notes and recommended scale notes) will differ. For details, see below.
3 When the Source Root is C:

Styles
C = Chord notes
C, R = Recommended notes
NOTE When the parameters for the selected channel are set to NTR: Fixed, NTT: Bypass, and Bass: Off, the parameters here are changed to Play Root instead of
Source Root. In this case, you can hear the resulting sound while you change the Chord Root/Type during playback.
NOTE The settings here are not applied when NTR is set to Gtr.
2 NTR/NTT
The settings here determine how the original notes of the Source Pattern are converted in response to the
Chord change during normal performance.
[3 ] NTR (Note Trans- Determines the relative position of the root note in the chord, when converted
position Rule) from the Source Pattern in response to chord changes. Refer to the list below.
[4 ]– NTT (Note Trans- Sets the note transposition table for the source pattern. Refer to the list below.
[6 ] position Table)
[7 ] Bass The channel for which this is set to On will be played back by the bass root
note, when the on-bass chord is recognized by the instrument. When NTR is
set to Gtr and this parameter is set to On, only the note which is assigned to
bass will be played back by the bass root note.
NOTE Since the Rhythm channels should not be affected by chord changes, make sure that the parameters are set to NTR: Fixed, NTT: Bypass, and Bass: Off. In
this case, Source Root is changed to Play Root.

NTR (Note Transposition Rule)
Trans When the root note is transposed, the interval between notes
(Root Transpose) is maintained. For example, the notes C3, E3 and G3 in the
key of C become F3, A3 and C4 when they are transposed When playing When playing
a C major an F major
to F. Use this setting for channels that contain melody lines. chord. chord.
Fixed The note is kept as close as possible to the previous note

(Root Fixed) range. For example, the notes C3, E3 and G3 in the key of C
become C3, F3 and A3 when they are transposed to F. Use When playing When playing
a C major an F major
this setting for channels that contain chord parts. chord. chord.
Gtr This is exclusively for transposing guitar accompaniment. Notes are transposed to
(Guitar) approximate the chords played with natural guitar fingering.
NTT (Note Transposition Table)

When NTR is set to Trans or Fixed
Bypass When NTR is set to Fixed, the transposition table used does not do any note conver-
sion. When NTR is set to Trans, the table used only converts the notes by maintaining
3
the pitch relationship between notes.
Melody Suitable for melody line transposition. Use this for melody channels such as Phrase 1
and Phrase 2.
Styles
Chord Suitable for chordal parts transposition. Use this for the Chord 1 and Chord 2 channels,
especially when they contain piano or guitar-like chordal parts.
Melodic Minor When the played chord changes from a major to a minor chord, this table lowers the
third interval in the scale by a semitone. When the chord changes from a minor to a
major chord, the minor third interval is raised by a semitone. Other notes are not
changed. Use this for melody channels of Sections which respond only to major/minor
chords, such as Intros and Endings.
Melodic Minor In addition to the Melodic Minor transposition above, augmented and diminished
5th chords affect the 5th note of the Source Pattern.
Harmonic Minor When the played chord changes from a major to a minor chord, this table lowers the
third and sixth intervals in the scale by a semitone. When the chord changes from a
minor to a major chord, the minor third and flatted sixth intervals are raised by a semi-
tone. Other notes are not changed. Use this for chord channels of Sections which
respond only to major/minor chords, such as Intros and Endings.
Harmonic Minor In addition to the Harmonic Minor transposition above, augmented and diminished
5th chords affect the 5th note of the Source pattern.
Natural Minor When the played chord changes from a major to a minor chord, this table lowers the
third, sixth and seventh intervals in the scale by a semitone. When the chord changes
from a minor to a major chord, the minor third, flatted sixth and flatted seventh inter-
vals are raised by a semitone. Other notes are not changed. Use this for chord channels
of Sections which respond only to major/minor chords such as in Intros and Endings.
Natural Minor In addition to the Natural Minor transposition above, augmented and diminished
5th chords affect the 5th note of the Source pattern.
Dorian When the played chord changes from a major to a minor chord, this table lowers the
third and seventh intervals in the scale by a semitone. When the chord changes from a
minor to a major chord, the minor third and flatted seventh intervals are raised by a
semitone. Other notes are not changed. Use this for chord channels of Sections which
respond only to major/minor chords such as in Intros and Endings.
Dorian 5th In addition to the Dorian transposition above, augmented and diminished chords affect
the 5th note of the Source pattern.

When NTR is set to Gtr
All-Purpose This table covers both stroke- and arpeggio-played sounds.
Stroke Suitable for strumming sounds of the guitar. Some notes may sound as if they are
muted—this is the normal condition when chords are played on guitar by strum-
ming.
Arpeggio Suitable for arpeggio-played sound of the guitar, resulting in beautiful four-note
arpeggio sounds.
3 High Key / Note Limit

The settings here adjust the Octave of the notes converted from the original ones through NTT and NTR.
[4 ]/ High Key This sets the highest key (upper octave limit) of the note transposition for
[5 ] the chord root change. Any notes calculated to be higher than the highest
key are transposed down to the next lowest octave. This setting is avail-
able only when the NTR parameter (page 38) is set to Root Trans.
Example—When the highest key is F.
3
Root changes
Notes played
Styles
[6 ] Note Limit Low These set the note range (highest and lowest notes) for Voices recorded to
the Style channels. By judicious setting of this range, you can ensure that
[7 ] Note Limit High the Voices sound as realistic as possible—in other words, that no notes
outside the natural range are sounded (e.g., high bass sounds or low pic-
colo sounds).
Example—When the lowest note is C3 and the highest is D4.
Root changes
Notes played
High Limit
Low Limit
4 RTR (Retrigger Rule)

These settings determine whether notes stop sounding or not and how they change pitch in response to
chord changes. Use the [4 ]–[7 ] (RTR) buttons to select one of the following types.
Stop The notes stop sounding.

Pitch Shift The pitch of the note will bend without a new attack to match the type of the
new chord.
Pitch Shift to Root The pitch of the note will bend without a new attack to match the root of the
new chord. However, the octave of the new note remains the same.
Retrigger The note is retriggered with a new attack at a new pitch corresponding to the
next chord.
Retrigger to Root The note is retriggered with a new attack at the root note of the next chord.
However, the octave of the new note remains the same.

Editing the Rhythm Part of a Style (Drum Setup)
The procedure below applies to step 6 in the Basic Procedure on page 27. The Drum Setup function allows
you to edit the rhythm part of the current Style, such as changing the drum instruments and make various
settings.
1 From the Basic page, use the [1 ] (Rec Ch) buttons to call up the Rec Channel
2 3
Styles
2 Hold down the [1 ] (Rhy1) or [2 ] (Rhy2) button to select the desired channel as the
editing target.
NOTE If the different drum sounds are assigned to each section of the selected channel, the sounds are set to that of the current section in order to use the Drum
Setup function.
3 Use the Cursor buttons [][] to select 3 Rhythm Clear/Channel Delete/Drum Setup,
and then press one of the [6 ]/[7 ] (Drum Setup) buttons to call up the Drum
Setup window.
3 5
4 If necessary, press the STYLE CONTROL [START/STOP] button to start playback of

the rhythm part.
The sounds played back are indicated on the display keyboard, letting you to check the note to edit.
5 Use the [1 ]/[2 ] (Note) buttons to select the note to edit.
NOTE You can also select the note by pressing the note on the keyboard.

6 Select the desired instrument to be used.
6-1 Use the [3 ]/[4 ] (Instrument) buttons to call up the window to select the instrument.
6-1 6-2
6-2 Use the [2 ]–[7 ] buttons to select the Kit, Category and Instrument in order.
6-3 Press the [EXIT] button to close the window.
3 7 If necessary, set the volume level, pan or pitch by using the [5 ]–[7 ] buttons.
8 If necessary, make more detailed settings.

Styles
8-1 Use the [8 ] (Detail) buttons to call up the detailed settings window.
8-2 Use the [3 ]–[5 ] buttons to select the parameter, and then use the [6 ]/ [7 ]
buttons to set the value.
The parameters with “*” in the list below indicates that the settings here affect the settings in step 7.
Pitch Coarse* For coarse tuning of the pitch in semitone increments.
Pitch Fine* For fine tuning of the pitch in cent increments.

NOTE In musical terms a “cent” is 1/100th of a semitone. (100 cents equal one semitone.)
Level* For adjusting the volume level.
Alternate Group Determines the Alternate Group. Any instruments in the same group number can-
not sound at the same time. Playing any instrument within a numbered group will
immediately stop the sound of any other instrument in the same group of the same
number. If this is set to 0, the instruments in the group can sound at the same time.
Pan* Determines the stereo position.
Reverb Send For adjusting the reverb depth.
Chorus Send For adjusting the chorus depth

Variation Send For adjusting the variation effect (DSP1) depth.
When the Connection parameter is set to Insertion on the Mixer display and this
rhythm channel is selected as the assign part, this parameter affects as below.
• When Variation Send is set to 0: No effects are applied to the instrument (Inser-
tion Off).
• When Variation Send is set to 1–127: Effects are applied to the instrument
(Insertion On).
Key Assign Determines the Key Assign mode. This parameter is effective only when the kit’s
XG parameter “SAME NOTE NUMBER KEY ON ASSIGN” (see the Data List
on the website) is set to “INST.”
• Single: Each successive playing of the same sound results in the previous being
cut off or muted.
• Multi: Each sound continues to its full decay, even when played successively
multiple times.
Rcv Note Off Determines whether note-off messages are received or not.
Rcv Note On Determines whether note-on messages are received or not.
Filter Cutoff Determines the cutoff frequency or effective frequency range of the filter. Higher
Filter Resonance
values result in a brighter sound.
Determines the emphasis given to the cutoff frequency (resonance), set in Filter
3
Cutoff above. Higher values result in a more pronounced effect.
Styles
EG Attack Determines how quickly the sound reaches its maximum level after the key is
played. The higher the value, the quicker the attack.
EG Decay 1 Determines how quickly the sound reaches its sustain level (a slightly lower level
than maximum). The higher the value, the quicker the decay.
EG Decay 2 Determines how quickly the sound decays to silence after the key is released. The
higher the value, the quicker the decay.
8-3 Press the [EXIT] button to close the window.
9 Press the [EXIT] button to close the Drum Setup window and return to the Basic page.
NOTICE

4 Songs
Contents
Editing Music Notation (Score) Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Editing Lyrics/Text Display Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Using the Auto Accompaniment Features with Song Playback . . . . . . . . . . . . . . . . . . . . . . . . . .48
Song Playback Related Parameters (Guide Function, Channel settings, Repeat settings, etc.) . . . .49
• Keyboard and Vocal Practice Using the Guide Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
Creating/Editing Songs (Song Creator) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
• Selecting the Setup Data to be Recorded to the Top Position of the Song (Setup page) . . . . . . .52
• Re-recording a Specific Section—Punch In/Out (Rec Mode page) . . . . . . . . . . . . . . . . . . . . . . . .53
• Editing Channel Events of Existing Song Data (Channel page) . . . . . . . . . . . . . . . . . . . . . . . . . .55
Editing Music Notation (Score) Settings
4
After selecting a Song, you can call up the music notation of the current Song by pressing the [SCORE/
LYRICS] button. If it is not shown, press the button again. You can change the notation indication as desired
to suit your personal preferences.
NOTE You can save the settings here as a part of a Song by accessing [MENU] → Cursor buttons [][][E][F] Song Creator, [ENTER] → TAB [E][F] Setup.
Songs
See page 52.
[1 ] Left Turns indication of the left-hand notation on or off. If this parameter appears grayed
out and is unavailable, go to the detailed setting display (page 45), and then set the Left
Ch to any channel except Auto. Or, from the Setting page on the Song Setting display
(page 50), set the Left parameter of Part Channel to any channel except Off.
NOTE Both Right (below) and Left cannot be turned off at the same time.
[2 ] Right Turns indication of the right-hand notation on or off.

NOTE Both Right and Left (above) cannot be turned off at the same time.
[3 ] Chord Turns indication of the chords on or off. If the selected Song does not contain chord
data, chords are not displayed.
[4 ] Lyrics Turns indication of the Lyrics on or off. If the selected Song does not contain lyric data,
lyrics are not displayed. If the Song contains Pedal events, pressing these buttons
switches among Pedal, Lyrics and off. When Pedal is selected, Pedal events are shown
instead of Lyrics on the display.

[5 ] Note Turns indication of the note names on or off. The note name is indicated at the left of
the note. When the space between the notes is too small, the indication may be moved
to the top left of the note. If the Song contains Fingering events, pressing these buttons
switches among Fingering, Note and off. When Fingering is selected, Fingering
events are shown instead of note names on the display.
[6 ] Size Small/ Determines the display zoom level of the notation.
Large
[7 ] Play Setting Turns playback on or off for the desired part.
• Right ([6 ]): Turns playback on or off for the Right Hand Part, to which you
can assign the desired channel by Part Channel on the Setting page of the Song
Setting display (page 50).
• Left ([5 ]): Turns playback on or off for the Left Hand Part, to which you
can assign the desired channel on the Setting page of the Song Setting display
(page 50).
• Extra ([4 ]): Turns playback of all channels on or off, except for those
assigned to the Left and Right Hand Parts described above.
[8 ] Set Up Calls up the detailed setting display. See below.
Pressing the [8 ] (Set Up) button on the Score display calls up the detailed setting
display. You can set the view type by using the [1 ]–[6 ] buttons, and then press
the [8 ] (OK) button. 4
Songs
[1 ] Left Ch Determines which MIDI channel in the Song data is used for the left-hand/right-hand
part. This setting returns to Auto when a different Song is selected.
• Auto: The MIDI channels in the Song data for the right- and left-hand parts are
assigned automatically—setting each part to the channel which has been speci-
[2 ] Right Ch fied at the Part Channel on the Setting page of the Song Setting display
(page 50).
• 1–16: Assigns the specified MIDI channel (1–16) to each of the left- and right-
hand parts.
• Off (Left Ch only): Assigns no channel to the left-hand part. This disables dis-
play of the left-hand key range.
[3 ]/ Key Signature This lets you enter key signature changes in the middle of a Song, at the stopped posi-
[4 ] tion. This menu is useful when the selected Song contains no key signature settings for
displaying notation.
[5 ] Quantize This gives you control over the note resolution in the notation, letting you shift or cor-
rect the timing of all displayed notes so that they line up to a particular note value.
Make sure to select the smallest note value used in the Song.

[6 ] Note Name Selects the type of the note name indicated at the left of the note in the notation from
among the following three types. The settings here are available when the Note param-
eter above is set to On.
• A, B, C: Note names are indicated as letters (C, D, E, F, G, A, B).
• Fixed Do: Note names are indicated in solfeggio, with the note of C fixed to Do.
• Movable Do: Note names are indicated in solfeggio according to the scale inter-
vals, and as such are relative to the key. The root note is indicated as Do. For
example, in the key of G major the root note of “Sol” would be indicated as
“Do.”
4
Songs

Editing Lyrics/Text Display Settings
To view the lyrics of the selected Song or the text, press the [SCORE/LYRICS] button. If the Score display is
shown instead, press the button again. If you wish to view the lyrics, select a Song beforehand. If you wish to
view a computer-generated text file on this instrument’s display, connect the USB flash drive containing the
text file (up to 60 KB; extension “.txt”) beforehand. You can change the lyrics indication as desired to suit
your personal preferences.
NOTE When the lyrics are garbled or unreadable, you may need to change the Lyrics Language setting from the [MENU] → Cursor buttons [][][E][F] Song
Setting, [ENTER] → TAB [F] Setting → Cursor button [] 2 Lyrics Language (page 50).
NOTE When you create a text file on a computer, make sure to enter line breaks manually. This is necessary because the auto line breaks cannot be entered on this
instrument. If a sentence extends beyond the display and cannot be shown properly, revise the text data by manually entering appropriate line breaks.
Lyrics display Text display

The lyrics in the Song data are shown. The texts created on a computer are shown.
[2 ]
[1 ]
Songs
[1 ] Lyrics Switches the screen between the Lyrics display (lyrics data in the Song is
shown) and the Text display (a text file selected via the [5 ]/[6 ] but-
[2 ] Text tons).
[4 ] Clear Clears the text from the display. This operation does not delete the text file
(only when a text itself, but simply leaves the display empty of any text file.
file is selected)
[5 ]/ Text File Calls up the text File Selection display. After selecting, press the [EXIT] button
[6 ] to return back to the Lyrics/Text display.
[7 ]/ Font Size-S/M/L/ Determines the font type and size. For fonts not indicated with a “P,” the letters
[8 ] S(P)/M(P)/L(P) are uniformly spaced in the same width, and are suitable for displaying lyrics
(only when a text with chord names, since the positions of chord names are fixed to the corre-
file is selected) sponding lyrics. For fonts indicated with a “P,” the letters and spacings have
different widths, and are suitable for displaying lyrics without chord names or
explanatory notes.

Using the Auto Accompaniment Features with Song Playback
When playing back a Song and a Style at the same time, channels 9-16 in the Song data are replaced with
Style channels—allowing you to play the accompaniment parts of the Song yourself. Try playing chords
along with the Song playback as shown in the instructions below.
1 Select a Song.
2 Select a Style.
3 Press the SONG [F/ K] (Play/Pause) button and the [G] (Rewind) button
simultaneously.
4 Make sure that the STYLE CONTROL [ACMP] button is on (the lamp is lit), and then
press the [SYNC START] button to enable synchronized start of the accompaniment.
4
Songs
5 Press the STYLE CONTROL [START/STOP] button or play the keyboard.

Both the Song and Style start playing together. You can see the chord information on the score display
(page 44) while you play.
NOTE When playing back a Song and a Style at the same time, the tempo value set in the Song is automatically used.
When the Song playback is stopped, Style playback is also stopped at the same time.

Song Playback Related Parameters (Guide Function, Channel
settings, Repeat settings, etc.)
The instrument has a variety of Song playback functions—repeat playback, various guide settings, etc.—
which can be accessed in the display below.

[MENU] → Cursor buttons [][][E][F] Song Setting, [ENTER] → TAB [E][F] Play or Setting
2 Use the Cursor buttons [][] to select the page, and then use the [1 ]–[8 ]
Play page Setting page
Cursor Cursor
[][] [][]
Songs
 Play page
1 Repeat Mode, Fast Forward Type, Style Synchro Stop, Chord Detection Priority
[1 ]/ Repeat Mode Determines the method of repeat playback.
[2 ] • Off: Plays through the selected Song, then stops.
• Single: Plays through the selected Song repeatedly.
• All: Continues playback through all the Songs in the specified folder
repeatedly.
• Random: Continues playback at random through all the Songs in the
specified folder repeatedly.
[3 ]/ Fast Forward Determines the fast forward type of when pressing the [H] (Fast For-
[4 ] Type ward) button during Song playback.
• Jump: Pressing the [H] (Fast Forward) button once instantly sets the
playback position to the next measure without sounding. Holding the
[H] (Fast Forward) button scrolls forward continuously.
• Scrub: Pressing and holding the [H] (Fast Forward) plays and sounds
the Song at high speed.
[5 ]/ Style Synchro When this is set to On, Style playback stops at the same time as when
[6 ] Stop Song playback is stopped. On some Song data which contains settings
related to the Style (such as Style start/stop, Style selection, section etc.),
Style playback stops when the Song stops regardless of the setting here.

[7 ]/ Chord Detection Determines the priority of the chords for accompaniment, either the ones
[8 ] Priority contained in the Song being played back or the chord you’ve just played
in the chord section of the keyboard.
• MIDI Song: Gives priority to the chords contained in the Song.
• Keyboard: Gives priority to the chords you play in the chord section of
the keyboard. Set this if you want to practice playing chords with Song
playback. Once you play in the chord section during Song playback, the
instrument ignores the chords contained in the Song until the playback
ends.
2 Quick Start, Phrase Mark Repeat

[3 ]/ Quick Start On some commercially available Song data, certain settings related to the
[4 ] Song (such as Voice selection, volume, etc.) are recorded to the first mea-
sure, before the actual note data. When Quick Start is set to On, the
instrument reads all initial non-note data of the Song at the highest possi-
ble speed, then automatically slows down to the appropriate tempo at the
first note. This allows you to start playback as quickly as possible, with a
minimum pause for reading of data.
[5 ]/ Phrase Mark Phrase Mark is a pre-programmed part of some Song data, which specifies
[6 ] Repeat a certain location (set of measures) in the Song. When this is On, the sec-
4
tion corresponding to the specified Phrase Mark number is repeatedly
played back. This parameter is available only when the Song containing
Phrase Mark settings is selected.
Songs
 Setting page
1 Part Channel, Guide Mode
[2 ] Part Channel • Left, Right: These parameters determine which MIDI channel in the
Song data is assigned to the left- or right-hand part of the Guide func-
[3 ] tion and the Song Score function. For the channel specified here, “L” or
“R” is shown in the Channel On/Off (Song) display.
[4 ] • Auto Ch Set: When set to On, this automatically sets the proper MIDI
channels for the Right- and Left hand parts pre-programmed in the com-
mercially available Song data. Normally, this should be set to On.
[6 ]/ Guide Mode See the Guide Function explained below.
[7 ]
2 Lyrics Language
[4 ]/ Lyrics Language Determines the language displayed in the Lyrics display.
[5 ] • Auto: When the language is specified in the Song data, the lyrics are
displayed accordingly.
• International: Handles the displayed lyrics as a western language.
• Japanese: Handles the displayed lyrics as Japanese.
Keyboard and Vocal Practice Using the Guide Function
With the Guide function, the instrument indicates the timing you need to play notes in the Score display for
ease in learning. This instrument also features convenient vocal practice tools that let you adjust the timing of
Song playback to match your vocal performance.
1 Select the desired Song, and then call up the Score display.

2 Call up the setting display.
[MENU] → Cursor buttons [][][E][F] Song Setting, [ENTER] → TAB [F] Setting → Cursor
button [] 1 Guide Mode.
3 Use the [6 ]/[7 ] (Guide Mode) buttons to select the desired Guide mode.
Guide modes for keyboard practice

• Follow Lights
4
When this is selected, Song playback pauses, waiting for you to play the notes correctly. When you play
the correct notes, Song playback continues. Follow Lights was developed for the Yamaha Clavinova
series. This function is used for practicing purposes, with built-in lamps on the keyboard indicating the
notes to be played. Even though the DGX-670 does not have these lamps, you can use the same function
Songs
by following the indications in the Score display.
• Any Key
With this function, you can play the melody of a Song just by pressing a single key (any key is OK) in time
with the rhythm. Song playback pauses and waits for you to play any key. Simply play a key on the
keyboard in time with the music and Song playback continues.
• Your Tempo
The same as Follow Lights, except that Song playback matches the speed at which you play.
Guide mode for singing

• Karao-Key
This function lets you control the Song playback timing with just one finger, while you sing along. This is
useful for singing to your own performance. Song playback pauses, waiting for you to sing. Simply play
any key on the keyboard (playing the keyboard produces no sound) and Song playback continues.
4 Press the SONG [GUIDE] button to turn it on.
5 Press the SONG [F/ K] (Play/Pause) button to start playback.

Practice playing the keyboard or singing, along with the Guide mode selected in step 3.
6 After your practice, turn the [GUIDE] button off.

NOTE You can save the Guide settings as a part of the Song data (page 52). For Songs to which the Guide settings have been saved, the Guide function will be
automatically turned on and the related settings will be recalled when the Song is selected.

Creating/Editing Songs (Song Creator)
The Owner’s Manual covers how to create an original Song by recording your keyboard performance (called
“Realtime Recording”). This Reference Manual shows how to edit a recorded Song.
Selecting the Setup Data to be Recorded to the Top Position of the

Song (Setup page)
The current settings of the Mixer display and other panel settings you made can be recorded to the top
position of the Song as Setup data. The panel settings recorded here are automatically recalled when the Song
starts.
1 Select the Song to which you want to record the Setup data.

[MENU] → Cursor buttons [][][E][F] Song Creator, [ENTER] → TAB [E][F] Setup
3 Press the SONG [G] (Rewind) button to move the Song position to the top of the Song.
4 4 Use the Cursor buttons [][][E][F] to select the data to be recorded, and then
press the [ENTER] button to enter (or remove) the corresponding checkmark.
Songs
4
Cursor [][][E][F],
[ENTER]
5 6
The selected data will be automatically called up when you select the Song, and playback features and
functions are recalled. The data selected here can be recorded only to the top position of the Song, except
for the Keyboard Voice.
• Voice, Volume, Pan, EQ, Filter, Effect, Tempo: Records the tempo setting and all settings made from
the Mixer display (page 66).
• Keyboard Voice: Records the panel settings, including the Voice selection of the keyboard parts (Main,
Layer and Left) and their on/off status. Panel settings recorded here are same as the ones memorized to
the One Touch Setting. This can be recorded at any point in a Song, letting you change Voices in the
middle of a Song.
• Lyrics Setting: Records the settings in the Lyrics display.
• Score Setting: Records the settings in the Score display.
• Guide Setting: Records the settings of the Guide functions including the Guide on/off setting.
• Mic Setting: Records the microphone settings in the Mixer page of the Mic Setting display (page 60).
5 Use the [6 ]/[7 ] (Apply) buttons to actually record the data.

6 Use the [8 ] (Save) buttons to carry out the Save operation.
For details, refer to “Basic Operations” in the Owner’s Manual.
NOTICE
The edited Song data will be lost if you select another Song or turn off the power to the instrument without carrying out the Save opera-
tion.
Re-recording a Specific Section—Punch In/Out (Rec Mode page)
When re-recording a specific section of an already-recorded Song, use the Punch In/Out function. In this
method, only the data between the Punch In point and the Punch Out point is overwritten with the newly
recorded data. Keep in mind that the notes before and after the Punch In/Out points are not recorded over,
although you will hear them play back normally to guide you in the Punch In/Out timing.
1 Select the desired Song for re-recording.

[MENU] → Cursor buttons [][][E][F] Song Creator, [ENTER] → TAB [E] Rec Mode
3 Determine the settings for recording.
Songs
3 6
[1 ]– Rec Start Determines the recording start behavior by using the [1 ]/[2 ] but-
[3 ] (Punch In) tons.
• Normal: Overwrite recording starts when the Song playback is started via
the SONG [F/ K]] (Play/Pause) button or when you play the keyboard in
the Synchro Standby mode.
• First Key On: The Song plays back normally, then starts overwrite record-
ing as soon as you play the keyboard.
• Punch In At: The Song plays back normally up to the beginning of the
indicated Punch In measure, then starts overwrite recording at that point.
You can set the Punch In measure by using the [3 ] buttons.
[4 ]– Rec End Determines the recording end behavior, or how data is handled after record-
[6 ] (Punch Out) ing is stopped by using the [4 ]/[5 ] buttons.
• Replace All: This deletes all data after the point at which recording is
stopped.
• Punch Out: The Song position at which recording is stopped is regarded as
the Punch Out point. This setting maintains all data after the point at which
recording is stopped.
• Punch Out At: Actual overwrite recording continues until the beginning of
the specified Punch Out measure (set with the corresponding display but-
ton), at which point recording stops and normal playback continues. This
setting maintains all data after the point at which recording is stopped. You
can set the Punch Out measure by using the [6 ] buttons.

[7 ] Pedal Punch When this is set to On, you can use the center pedal of the pedal unit (sold
In/Out separately) to control the Punch In and Punch Out points. While a Song is
playing back, pressing (and holding) the center pedal instantly enables Punch
In recording, while releasing the pedal stops recording (Punch Out). You can
press and release the center pedal as often as you want during playback to
punch in/out of overwrite recording. Note that the current function assign-
ment of the center pedal is canceled when the Pedal Punch In/Out function
is set to On.
NOTE Pedal Punch In/Out operation may be reversed depending on the particular pedal you’ve connected to the
instrument. If necessary, change the pedal polarity to reverse the control (page 76).
4 Press the SONG [REC] button.

The Channel On/Off (Song) display appears. While holding down the [REC] button, press the appropriate
[1 ]–[8 ] buttons to set the desired channel to “Rec.”
+
4
If necessary, use the Data dial to change the part assignment for the channel to be recorded.
Songs
5 Press the SONG [F/ K] (Play/Pause) button to start Punch In/Out recording.
According to the settings in step 3, play the keyboard between the Punch In and Punch Out points. Refer to
the examples of various settings illustrated on the next page.
NOTICE
The recorded Song data will be lost if you select another Song or turn off the power to the instrument without carrying out the Save oper-
ation.

 Examples of re-recording with various Punch In/Out settings
This instrument features several different ways you use the Punch In/Out function. The illustrations below
indicate a variety of situations in which selected measures in an eight-measure phrase are re-recorded.
Rec Start setting Original data
Rec Stop setting 1 2 3 4 5 6 7 8 *1 If you want to re-record from the 3rd
measure in this setting, move the
Song position to the 3rd measure
Start overwrite recording *1 Stop recording *2 then start recording to avoid over-
Normal writing measures 1–2.
Replace All 1 2 3 4 5 Deleted *2 To stop recording, press the [REC]
button at the end of measure 5.
Start overwrite recording *1 Stop recording *2
Normal
Punch Out 1 2 3 4 5 6 7 8
Start overwrite recording *1 Stop overwrite recording/play original data
Normal
Punch Out At 006 1 2 3 4 5 6 7 8
Play back Play the keyboard to start
original data overwrite recording Stop recording *2
First Key On
Replace All 1 2 3 4 5 Deleted

original data overwrite recording Stop recording *2
First Key On
Punch Out 1 2 3 4 5 6 7 8
original data overwrite recording Stop overwrite recording/play original data
First Key On
Punch Out At 006 1 2 3 4 5 6 7 8
Play back
original data Start overwrite recording Stop recording *2
Punch In At 003
Replace All
4
1 2 3 4 5 Deleted
Play back
original data Start overwrite recording Stop recording *2
Punch In At 003
Punch Out 1 2 3 4 5 6 7 8
Songs
Play back
original data Start overwrite recording Stop overwrite recording/play original data
Punch In At 003
Punch Out At 006 1 2 3 4 5 6 7 8
Previously recorded data
Newly recorded data
Deleted data
Editing Channel Events of Existing Song Data (Channel page)
You can apply various useful functions to already recorded data, such as Quantize and Transpose, on the
Channel page.
1 Select a Song to be edited.

[MENU] → Cursor buttons [][][E][F] Song Creator, [ENTER] → TAB [F] Channel
3 Use the Cursor buttons [][][E][F] to select the item to be edited, and then press
the [ENTER] button to call up the edit display.
Cursor [][][E][F], [ENTER]

4 Edit the data by referring to the description of each edit display below.
After the operation is completed, the “Execute --> [ENTER]” indication on the display changes to “Undo
--> [ENTER],” letting you restore the original data if you are not satisfied with the operation results. The
Undo function only has one level; only the previous operation can be undone.
NOTICE
The edited Song data will be lost if you select another Song or turn off the power to the instrument without carrying out the Save opera-
tion.
 Quantize
The Quantize function allows you to align the timing of all the notes in a channel. For example, if you
record the musical phrase shown below, you may not play it with absolute precision, and your
performance may have been slightly ahead of or behind the precise timing. Quantize is a convenient way
of correcting for this.
4
[1 ]/ Channel Determines which MIDI channel in the Song data is to be quantized.
Songs
[2 ]
[3 ]– Size Selects the quantize size (resolution). For optimum results, you should set
[5 ] the Quantize size to the shortest note value in the channel. For example, if
eighth notes are the shortest in the channel, you should use eighth note as
the Quantize size.
Quarter-note length
After 1/8 note quantization
Settings:
1/16 note+
1/4 note 1/8 note 1/16 note 1/32 note 1/8 note triplet*
1/4 note 1/8 note 1/16 note 1/8 note+ 1/16 note+
triplet triplet triplet 1/8 note triplet* 1/16 note triplet*
The three Quantize settings marked with asterisks (*) are exceptionally
convenient, since they allow you to quantize two different note values at
the same time. For example, when the straight eighth notes and eighth-
note triplets are contained in the same channel, if you quantize by the
straight eighth notes, all notes in the channel are quantized to straight
eighth notes—completely eliminating any triplet feel. However, if you use
the eighth note + eighth note triplet setting, both the straight and triplet
notes will be quantized correctly.

[6 ]/ Strength Determines how strongly the notes will be quantized. A setting of 100%
[7 ] produces exact timing. If a value less than 100% is selected, notes will be
moved toward the specified quantization beats according to the specified
percentage. Applying less than 100% quantization lets you preserve some
of the “human” feel in the recording.
Quarter-note length
Original data
(assuming 4/4 meter)
Quantizing
strength =100
Quantizing
strength =50
 Delete
You can delete the data of the specified channel in the Song. Select the channel whose data is to be deleted
by using the Cursor buttons [][][E][F], and then enter (or remove) checkmarks by using the
[6 ]/[7 ] (Mark) buttons. Press the [ENTER] button to actually delete the channel(s).
NOTE You can enter or remove the checkmarks for all channels by using the [1 ]/[2 ] (All Channels) buttons.
 Mix
This function lets you mix the data of two channels and place the results in a different channel. It also lets
you copy the data from one channel to another. 4
[2 ]/
Songs
Source 1 Determines the MIDI channel (1–16) to be mixed. All MIDI events of the
[3 ] channel specified here are copied to the destination channel.
[4 ]/ Source 2 Determines the MIDI channel (1–16) to be mixed. Only note events of the
[5 ] channel specified here are copied to the destination channel. Besides the
values 1–16, there is a Copy setting that allows you to copy the data from
Source 1 to the destination channel.
[6 ]/ Destination Determines the channel into which the mix or copy results will be placed.
[7 ]
 Transpose
This allows you to transpose the recorded data of individual channels up or down by a maximum of two
octaves in semitone increments. Select the desired channel to be transposed by using the Cursor buttons
[][][E][F], and then set the value by using the data dial. Press the [ENTER] button to actually
transpose the channel(s).
NOTE You can select all channels by using the [1 ]/[2 ] (All Channels) buttons, letting you transpose all channels at the same time.
NOTE Make sure not to transpose channels 9 and 10. In general, Drum Kits are assigned to these channels. If you transpose the channels of Drum Kits, the
instruments assigned to each key will be changed.

5 USB Audio Player/Recorder
This function is fully explained in the Owner’s Manual. Refer to the corresponding chapter in the Owner’s Man-
ual.
6 Microphone
Contents
Making and Saving the Microphone Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
• Parameters that can be set in the Setting page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Applying Desired Effects to the Microphone Sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
5 Making and Saving the Microphone Settings
6 This section lets you set parameters for various Effects that are applied to the microphone sound. You should
make both Vocal and Talk settings—Vocal, for your singing performance, and Talk, for making
announcements between songs, for example.
USB Audio Player/Recorder / Microphone

[MIC SETTING] → TAB [F] Setting
2 Press the [1 ] (Vocal) or [1 ] (Talk) button to select the desired setting display.
3
Cursor [][][E][F]
2 4 5
3 Use the Cursor buttons [][][E][F] to select the desired parameter to be adjusted.
For details on each parameter, refer to page 59.

4 Set the value for the selected parameter by using the Data dial or the [2 ] – [7 ]
buttons just below the selected parameter.
5 After you have made desired settings, use the [8 ] (Select & Save) buttons to save
the settings as a file to the User drive.
All the settings (both Vocal and Talk) are saved together as a single file. Up to 60 files can be saved.
NOTE The microphone setting file can be saved only to the internal User drive. If you want to save this setting to the USB flash drive, save the User Effect file on
the display called up via [MENU] → Cursor buttons [][][E][F] System, [ENTER] → TAB [E][F] Setup Files. For details, refer to page 90.
Calling Up the Microphone Settings Saved to User drive

1 Call up the operation display by using the [8 ] (Select & Save) buttons as in step 5 above.
2 Select the desired setting file.
Parameters that can be set in the Setting page
When Vocal is selected: 1 When Talk is selected: 1
2 3 2 3
6
4
1 3 Band EQ EQ (Equalizer) is a processor that divides the frequency spectrum into multiple bands
which can be boosted or cut as required to tailor the overall frequency response. The
Microphone
instrument features a three-band (Low, Mid and High) digital equalizer function for
the microphone sound. For each of three bands, you can adjust the center frequency
(Hz) and level (dB) via the corresponding knobs on the display.
2 Noise Gate This effect mutes the input signal when the input from the microphone falls below a
specified level. This effectively cuts off extraneous noise, allowing the desired signal
(vocal, etc.) to pass.
SW (Switch) Turns the Noise Gate on or off.
TH. (Threshold) Adjusts the input level above which the gate begins to open.
3 Compressor This effect holds down the output when the input signal from the microphone
exceeds a specified level. This is especially useful for smoothing out vocals that have
widely varying dynamics. It effectively “compresses” the signal, making soft parts
louder and loud parts softer.
SW (Switch) Turns Compressor on or off.
TH. (Threshold) Adjusts the input level above which compression begins to be
applied.
Ratio Adjusts the compression ratio. Higher ratios result in a more

compressed sound, with a reduced dynamic range.
Output Adjusts the final output level.

4 Talk Mixing Lets you make settings for talking or making announcements between songs during a
performance.
Reduction Level Determines the amount of reduction to be applied to the overall

sound (excepting the microphone input)—allowing you to effec-
tively adjust the balance between your voice and the overall
instrument sound.
Pan Determines the stereo pan position of the microphone sound.
Effect Depth Determines the depth of the Reverb or Chorus effects applied to
the microphone sound.
Volume Determines the output volume of the microphone sound.
Applying Desired Effects to the Microphone Sound

In addition to Reverb and Chorus, a wide variety of Effect Types are provided. You can select the desired
effect type in the display called up via [MIC SETTING] → TAB [E] Mixer → [8 ] (DSP).
The parameters and operations on this display are the same as those in the Mixer display called up via the
[MIXER/EQ] button. For details, refer to page 69. If you want to apply the effect only to the microphone
sound, make sure to select DSP 5 as an effect block, and Mic as a part.
To save the settings you’ve made on the Mixer page of the Mic Setting display, register them to Registration
Memory.
6
Microphone

7 Registration Memory/Playlist
Contents
Deleting or Renaming the Registration Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
Disabling Recall of Specific Items (Freeze) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Calling Up Registration Memory Numbers in Order (Registration Sequence) . . . . . . . . . . . . . .63
• Program a Registration Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63
• Using the Registration Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65
Copying the Playlist Records from Another Playlist (Append Playlist) . . . . . . . . . . . . . . . . . . .65
Deleting or Renaming the Registration Memory

You can rename or delete each Registration Memory number (1 – 4) contained in the Bank.
1 Press the REGISTRATION MEMORY [BANK] button to call up the Registration Bank
Selection display, and then select the desired Bank file.
2 6-1
7
Registration Memory/Playlist
4
2 Press the [7 ] (Edit) button to call up the Registration Edit display.

NOTE If the button is not shown, press the [8] (Close) button to call it up.
NOTE You can call up the information window to confirm which Voices and Style are memorized to the [1] – [4] buttons of a Registration Memory Bank by
pressing the [6] (Info) button. The display consists of two pages: Voice related and Style-related. You can alternate between the two by using the TAB
[E][F] buttons.
3 Select the desired Registration Memory number.
4 Press the [1 ] (Name) button to rename or [5 ] (Delete) button.
5 Select the desired Registration Memory number to rename or delete.
6 Save the current Bank containing the edited Registration Memories.

6-1 Press the [8 ] button to return to the Registration Bank Selection display.
6-2 Press the [8 ] (File) button, and then press the [6 ] (Save) button to save the Bank file.

Disabling Recall of Specific Items (Freeze)
Registration Memory lets you recall all the panel setups you made with a single button press. However, there
may be times that you want certain items to remain the same, even when switching Registration Memory
setups. When you want to switch the Voice settings but still maintain the Style settings, for example, you can
“freeze” only the Style settings and have those Style settings remain, even when you select another
Registration Memory number.

[MENU] → Cursor buttons [][][E][F] Regist Sequence/Freeze, [ENTER] → TAB [F] Freeze
2 Use the Cursor buttons [][][E][F] to select the item to be registered, and then
press the [ENTER] button to enter (or remove) the corresponding checkmark.
Items having checkmarks will be frozen when the Freeze function is turned on.
2
3 Use the [1 ] (Freeze) buttons to turn the Freeze function on.
7 With this operation, you can “freeze” or maintain checkmarked items, even when you select another
Registration Memory number. To turn off the Freeze function, use the [1 ] (Freeze) buttons again.
4 Press the [EXIT] button to exit from the operation display.

NOTICE
Settings in the Freeze display are automatically saved to the instrument when you exit from this display. However, if you turn the power
off without exiting from this display, the settings will be lost.

Calling Up Registration Memory Numbers in Order (Registration Sequence)
As convenient as the Registration Memory buttons are, there may be times during a performance when you
want to quickly switch between settings. The convenient Registration Sequence function lets you call up the
four setups in any order you specify, by simply using the TAB [E][F] buttons (in the Main display) or the
pedal as you play.
Program a Registration Sequence
1 If you intend to use a pedal or pedals to switch the Registration Memory number,
connect a pedal or pedal unit to the [AUX PEDAL] jack or the [PEDAL UNIT] jack.
2 Press the REGISTRATION MEMORY [BANK] button to call up the Registration Bank
Selection display, and then select the desired Bank to be programmed.

[MENU] → Cursor buttons [][][E][F] Regist Sequence/Freeze, [ENTER] → TAB [E] Registration
Sequence.
4 If you use a pedal, specify here how the pedal will be used—to advance or to reverse
through the sequence.
Use the [8 ] (Pedal) buttons to call up the operation window.
• [5 ]/[6 ] (Prev.): Selects which pedal is used for reversing the Registration Sequence.
• [7 ]/[8 ] (Next): Selects which pedal is used for advancing the Registration Sequence.
AUX indicates the pedal connected to the [AUX PEDAL] jack, while Right, Center and Left indicate the
pedals of the pedal unit connected to the [PEDAL UNIT] jack.
Indicates the name of the currently selected
7
Registration Memory Bank.
Note that the pedal settings here (other than Off) will take priority over the settings in the Pedal page of
the Controller display (page 75). If you want to use the pedal for a function other than Registration
Sequence, make sure to set this to Off.
After making setups, press the [EXIT] button to close the window.

5 Program the Sequence order, from left to right.
Press one of the REGISTRATION MEMORY [1]–[4] buttons on the panel, and then use the [4 ]
(Insert) buttons to input the number. The Cursor position can be moved by using the Cursor buttons
[][][E][F].
Indicates the Registration Memory

numbers, in the order of the current
Registration Sequence.
7 5 6
[3 ] Replace Replaces the number at the cursor position with the currently selected Registra-
tion Memory number.
[4 ] Insert Inserts the number of the currently selected Registration Memory number to the
cursor position.
[5 ] Delete Deletes the number at the cursor position.
6 Press one of the [6 ]/[7 ] (Sequence End) buttons repeatedly to determine how
Registration Sequence behaves when reaching the end of the sequence.
• Stop................. Pressing the TAB [F] button or the “advance” pedal has no effect. The sequence is
7 “stopped.”
• Top .................. The sequence starts again at the beginning.
• Next Bank...... The sequence automatically moves to the beginning of the next Registration Memory
Bank in the same folder.
7 Use the [1 ] (Seq.) buttons to turn the Registration Sequence function on.
8 Press the [EXIT] button to save the Registration Sequence settings as part of the
current Registration Bank file.
When a message appears asking you to change the settings, use the [7 ] (Yes) buttons to actually save
the sequence data.
NOTICE
Settings in the Registration Sequence display will be lost if you select another Registration Bank without carrying out the Save operation.

Using the Registration Sequence
1 Select the desired Registration Bank and make sure that the Registration Sequence
function is turned on.
2 On the Main display, confirm the Registration Sequence.
NOTE When the Registration Sequence is turned on, the numbers 1–4 are shown even if the sequence has not been programmed.
3 Press the TAB [E] or [F] button, or press the pedal to select the first Registration
Memory number.
The selected number is highlighted.
4 Use the TAB buttons or pedal during your keyboard performance.
To return to the status in which no Registration Memory number is selected, press the TAB [E] and [F]
buttons simultaneously while the Main display is shown.
NOTE The pedal can be used for Registration Sequence even when the Main display is not shown.
NOTE You can also assign the other functions to the pedal — Punch In/Out of Song (page 53) and the function set in the Pedal page of the Controller display
(page 75). If you assign multiple functions to the pedal, the priority is: Punch In/Out of Song → Registration Sequence → the function set in the Pedal
page of the Controller display.
Copying the Playlist Records from Another Playlist (Append Playlist)

“Append Playlist” allows you to copy the existing Playlist file and add it to the current Playlist file.
1 On the Playlist display, use the [8 ] (Option) buttons to call up the operation
window.
1,5 2 5
2 Use the [5 ]/[6 ] (Append Playlist) buttons to call up the Playlist File Selection
display.
3 Select the desired Playlist file to append by using the Cursor buttons [][][E][F].
A confirmation message appears. If you want to cancel the operation, press one of the [6 ] buttons
here.
4 Use the [7 ] (Yes) buttons to add the Records.
All Records in the selected Playlist file are added at the bottom of the current Playlist.
5 Use the [8 ] (Option) buttons to call up the operation window, and then use the
[7 ] (Select & Save) buttons to save the appended Records to the current Playlist
file.

8 Mixer
Contents
Editing Volume/Pan Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66
Editing Filter Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
Editing Effect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68
• Adjusting the Effect Depth for Each Part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68
• Selecting an Effect Type for each Block . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69
• Editing and Saving Your Original Effect Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Editing EQ/Master EQ (Equalizer) Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
• Editing Part EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
• Editing Master EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
Editing Compressor (Master Compressor) Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Regarding the Mixer, the Reference Manual covers detailed descriptions of each parameter while the Owner’s
Manual covers the basic instructions. After making settings described in this chapter, make sure to save the
Mixer settings by following the instructions in the Owner's Manual.
Select the part to be edited by pressing the [MIXER/EQ] button repeatedly, and then select the page for the rel-
evant parameters by using the TAB [E][F] buttons.
Pressing the [MIXER/EQ]

button repeatedly selects
the part to be edited.
For a visual indication of the signal flow and configuration of the Mixer, refer to the Block Diagram on page 74.
Editing Volume/Pan Parameters

8
Voice, etc.
Mixer
Move the Cursor on the display by using the Cursor buttons [][][E][F], and then use the Data dial or
the [1 ]–[8 ] buttons to edit parameters.

Voice, etc. Allows you to re-select the Voices for each keyboard part or each part (channel) of the
Style or Song. Press the [1 ]–[8 ] buttons to call up the Voice selection page
for the part. After selecting the desired Voice, press the [EXIT] button to return to the
Mixer display.
When the Panel part is selected, the same operation allows you to re-select the Style,
Song or Audio file (instead of the Voice) for the corresponding part.
NOTE When a GM Song is selected, only a Drum Kit Voice can be selected for channel 10 (in the Song Ch9-16 page).
NOTE For a Style or Song channel, calling up a rhythm/percussion Voice (Drum Kit, etc.) will replace the channel settings
with those for the new Voice. In such a case, the original settings may not be restored even if you re-select the original
Voice. To restore the original sound, select the same Style or Song again without carrying out the Save operation.
Panpot Determines the stereo position of the selected part (channel).
Volume Determines the volume of each part or channel, giving you fine control over the bal-
ance of all the parts.
Editing Filter Parameters

This function modifies the tonal characteristics (brightness, etc.) of the sound by cutting the output of a specific
frequency portion of the sound.
8
Mixer
Harmonic Allows you to adjust the Resonance (page 15) for each part.
Content
Brightness Determines the brightness of the sound for each part by adjusting the Cutoff Fre-
quency (page 15).

Editing Effect Parameters
This instrument features seven Effect Blocks, giving you powerful tools to richly enhance the sounds of the
instrument or completely transform them. The Effects are divided into the following groups:
 Reverb, Chorus:
The Effects of these Blocks are applied to the overall sound or all Parts. In each of these Effect Blocks, you
can select only one Effect Type at a time and adjust the Send Level (Depth) for each Part as well as the
Return Level for all Parts.
 DSP1:
When the Connection parameter selected in step 2 of page 70 is set to System, the Effects of this Block are
applied only to the Style and Song sounds. In this status, you can select only one Effect Type at a time and
adjust the Send Level (Depth) for each Part as well as Return Level for all Parts. When the Connection
parameter is set to Insertion, the Effect of this Block is applied to a specific channel of the Style and Song.
 DSP2-5:
The Effects of these Blocks are applied to a specific Part or Channel. Different Effect Types can be selected
for each of the available Parts or Channels.
Adjusting the Effect Depth for Each Part
8 Use the Cursor buttons [][][E][F] to select the desired Effect Block, and then use the Data dial or the
[1 ]–[8 ] buttons to adjust the Effect Depth for each Part.
Mixer

Selecting an Effect Type for each Block
1 In the Effect page, press the [ENTER] button to call up the Type Select display.
[ENTER]
2 3 4
2 Use the [1 ]/[2 ] (Block) buttons to select the Effect Block.
Effect Effect-applicable Effect characteristics

Block parts
Reverb All parts Recreates the warm ambience of playing in a concert hall or jazz club.
Chorus All parts Produces a richly textured sound as if several parts are being played
simultaneously. In addition, other type effects (such as reverb, delay,
etc.) can also be selected in this effect block.
DSP1 Style part, In addition to Reverb and Chorus, a wide variety of Effect Types are
Song channel 1–16 provided, such as Distortion. This effect is applied only to Style/Song
parts. When the Connection parameter selected in step 2 of page 70 is
set to System, the DSP1 effect will be applied overall to the Style and
Song. When it is set to Insertion, the DSP1 effect will be applied to a
8
specific part of the Style or Song.
DSP2, Main, Layer Left, In addition to Reverb and Chorus, a wide variety of Effect Types are
DSP3, Song channel 1–16, provided, such as Distortion. For each of DSP2–5, you can select one of
Mixer
DSP4, Mic* the Parts or Channels listed at left. When you select Layer for DSP2, for
DSP5 example, the DSP2 Effect is applied only to the Layer part. Note that if
you select a Song or Style which needs the DSP2–5 Blocks, the Part
assignment of these three Blocks will be changed automatically with
last priority according to the data.
* The Mic part can only be processed with DSP5. If you want to apply a certain
Effect only to the microphone sound, use DSP5 and select Mic.
3 Use the [3 ] (Part) buttons to select the Part to which you want to apply the effect.
Note that a Part cannot be selected if Reverb, Chorus, or DSP1 (when the Connection parameter is set to
System in step 2 on page 70) is selected. This is because only one of the Effect Types can be selected to be
commonly applied to all available Parts.
4 Use the [4 ]/[5 ] (Category) buttons to select the Effect Category, and then use
the [6 ]/[7 ] (Type) buttons to select the Effect Type.
Note that the Reverb Block is not divided into any Categories.
If you want to edit detailed Parameters of the selected Effect Type, press one of the [8 ] (Detail)
buttons. For details, refer to the next section.

Editing and Saving Your Original Effect Type
1 Once you’ve selected an Effect Block and Effect Type in the previous section, use the
[8 ] (Detail) buttons to call up the display for editing the effect parameters.
2 3
2 Use the [2 ]–[4 ] (Parameter) buttons to select a parameter, and then use the
[5 ]/[6 ] (Value) buttons to edit the value.
When Reverb, Chorus, or DSP1 is selected as the Effect Block, you can adjust the Return Level via the
[7 ] (Effect Return Level) buttons.
3 Press one of the [8 ] (Save) buttons to call up the User Effect display for the Save
operation.
4 Use the [2 ]–[5 ] (Memory) buttons to select the destination for saving the
settings as a User Effect.
If necessary, change the User Effect name. Press one of the [6 ] (Rename) buttons to call up the
Character Entry window, enter the name, and then press the [8 ] (OK) button.
8
Mixer
5 Press the [8 ] (OK) button to carry out the Save operation.

To return to the previous display, press the [EXIT] button.
To call up the User Effect saved here, select the User category of the corresponding Effect Block in step 4
on page 69.

Editing EQ/Master EQ (Equalizer) Parameters
Equalizer (also called “EQ”) is a sound processor that divides the frequency spectrum into multiple bands
that can be boosted or cut as required to tailor the overall frequency response.
The EQ page selected by using the TAB [E][F] buttons lets you adjust the EQ for each corresponding part,
while the Master EQ page lets you make overall EQ adjustments for the entire instrument. The Master EQ
page can also be called up directly from any display by pressing the [MIXER/EQ] and [CHANNEL ON/
OFF] buttons simultaneously.
Editing Part EQ
High Boosts or attenuates the high EQ band for each part.
Low Boosts or attenuates the low EQ band for each part.
Editing Master EQ
The instrument possesses a high-quality five-band digital EQ. With this function, a final effect—tone
8
control—can be added to the output of your instrument. You can select one of the five preset EQ settings in
Mixer
the Master EQ page. You can even create your own custom EQ settings by adjusting the frequency bands,
and save the settings as User Master EQ types.
NOTE Master EQ cannot be applied to playback of audio received via the USB Audio Player function or the Audio Input Sounds.
Gain Bandwidth (also called “Shape” or “Q”)
0
Frequency
5 bands (default) 80Hz 500Hz 1.0kHz 4.0kHz 8.0kHz

EQ1 EQ2 EQ3 EQ4 EQ5

1 Use the [1 ] (Type) buttons to call up the Master EQ Type window.
[1 ]
[EXIT]
1 3 4 2
2 Use the [1 ] – [4 ] buttons to select the desired Master EQ type, and then press
the [EXIT] button.
• Normal: Normal EQ settings in which the instrument's characteristics are optimally brought out.
• Light: EQ setting for decreasing the level of the low frequencies, making the sound clearer.
• Heavy: EQ setting for boosting the level of the low frequencies, making the sound more powerful.
• Mellow: EQ setting for decreasing the level of the high frequencies, making the sound more mellow.
• Bright: EQ setting for boosting the level of the high frequencies, making the sound brighter.
• User 1–30: Your own custom EQ settings saved in step 5.
3 Use the Cursor buttons [][][E][F] to move the cursor to the desired position, and
then use the Data dial or the [2 ]–[6 ] buttons to adjust the Gain level of each
band as well as the Q (bandwidth) and the Frequency (center frequency).
You can boost or cut all the five bands at the same time by using the [7 ] (Total Gain Adjust) buttons.
The higher the value of Q, the narrower the bandwidth. The available Frequency range is different for each
band.
4
8
Press one of the [8 ] (Save) buttons to call up the User Master EQ display for the
Save operation.
5 Use the [2 ]–[5 ] buttons to select the destination for saving the settings as a
Mixer
User Master EQ type.

If necessary, change the Master EQ name. Use the [6 ] (Rename) buttons to call up the Character
Entry window, enter the name, and then press the [8 ] (OK) button. The Master EQ setting saved here
can be selected as described in step 1–2.

Editing Compressor (Master Compressor) Parameters
Compressor is an effect commonly used to limit and compress the dynamics (softness/loudness) of an audio
signal. For signals that vary widely in dynamics, such as vocals and guitar parts, it “squeezes” the dynamic
range, effectively making soft sounds louder and loud sounds softer. When used with gain to boost the overall
level, this creates a more powerful, more consistently high-level sound.
This instrument features the Master Compressor applied to the entire sound of this instrument. Although the
preset Master Compressor settings are provided, you can create and save your original Master Compressor by
adjusting the related parameters.
NOTE Master Compressor cannot be applied to playback of audio received via the USB Audio Player function and the Audio Input Sounds.
1 Use the [1 ] (CMP) buttons to turn the Master Compressor on.
[2 ]
Displays the
Gain Reduction
(compressed
level) and
output level.
[EXIT]
1 2 4 5 3
2 Use the [2 ] (Type) buttons to call up the Master Compressor Type window.
3 Use the [1 ] – [4 ] buttons to select the Master Compressor type, and then
press the [EXIT] button.
• Natural: Natural Compressor settings in which the effect is moderately pronounced.
8
• Rich: Rich Compressor settings in which the instrument’s characteristics are optimally brought out. This
is good for enhancing acoustic instruments, jazz music, etc.
• Punchy: Highly exaggerated Compressor settings. This is good for enhancing rock music.
Mixer
• Electronic: Compressor settings in which the electronic dance music’s characteristics are optimally
brought out.
• Loud: Powerful Compressor settings. This is good for enhancing energetic music such as rock or gospel
music.
• User 1–30: Your own custom Master Compressor settings saved in step 5.
4 Edit the Master Compressor.
[3 ] Compression Determines the threshold (minimum level at which compression starts).
[4 ] Texture Determines the ratio of compression (how much the dynamic range is
compressed).
[5 ]/ Output Determines the output level.

[6 ]

5 Press one of the [8 ] (Save) buttons to call up the User Master Compressor display
for the Save operation.
6 Use the [2 ]–[5 ] buttons to select the destination for saving the settings as a
User Master Compressor type.
If necessary, change the Master Compressor name. Use the [6 ] (Rename) buttons to call up the
Character Entry window, enter the name, and then press the [8 ] (OK) button. The Master Compressor
setting saved here can be selected as described in step 2–3.
Block Diagram
8
Mixer

9 Connections
Contents
Assigning a Specific Function to Each Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
• Assignable Pedal Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
MIDI Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
• MIDI System Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
• MIDI Transmit Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82
• MIDI Receive Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
• Bass Note Settings for Style Playback via MIDI Receive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
• Chord Type Settings for Style Playback via MIDI Receive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
Making Wireless LAN Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
• Infrastructure Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
• Access Point Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86
Assigning a Specific Function to Each Pedal

The functions of the pedal connected to the [AUX PEDAL] jack and the pedals of the pedal unit connected to
the [PEDAL UNIT] jack can be changed individually from the default settings (sustain, etc.).
NOTE For information on connecting a pedal or a pedal unit, refer to “Panel Controls and Terminals” on the Owner’s Manual.

[MENU] → Cursor buttons [][][E][F] Controller, [ENTER] → TAB [E] Pedal
2 Use the Cursor buttons [][] to select the pedals to which the function is to be
assigned.
1 AUX is the function for the pedal connected to the [AUX PEDAL] jack, and 2 Right, 3 Center, 4 Left are
for the pedals of the pedal unit connected to the [PEDAL UNIT] jack.
9
Cursor [][]
Connections
3 Use the [1 ] buttons to select the function to be assigned to the pedal specified in
step 2.
For information on available functions, see pages 76–78.
NOTE You can also assign other functions to the pedal—Punch in/out of Song (page 53) and Registration Sequence (page 63). If you assign multiple functions
to the pedal, the priority is: Punch in/out of Song → Registration Sequence → Functions assigned here.

4 Use the [2 ]–[8 ] buttons to set the details of the selected functions (the part
for which the function is applied, etc.).
The available parameters differ depending on the function selected in step 3.
5 If necessary, make the following settings on the display called up via TAB [F] Setting
 Cursor button [] 3.
Cursor []
[3 ] – Switch with When this is set to Off, the function assignments of the Center and Left
[4 ] Main Voice pedals of the pedal unit connected to the [PEDAL UNIT] jack are main-
tained even if the Main Voice is changed (page 14).
[5 ] – AUX Pedal Pedal on/off operation may differ depending on the particular pedal
[6 ] Polarity you’ve connected to the [AUX PEDAL] jack. For example, pressing down
on one pedal may turn the selected function on, while pressing a different
make/brand of pedal may turn the function off. If necessary, use this set-
ting to reverse the operation.
Assignable Pedal Functions
For functions indicated with “*”, use the separately sold pedal FC3A or the pedal unit LP-1B/LP-1WH;
proper operation cannot be done with a footswitch.
Articulation 1, 2 When you use a Super Articulation Voice that has an effect assigned to the pedal, you
can enable the effect by pressing the pedal. You can turn this pedal function on or off
for each keyboard part on this display.
9 Unison On/Off Allows you to use a pedal to turn the Unison function on/off.
Sustain Allows you to use a pedal to control sustain. When you press and hold the pedal, all
Connections
notes played on the keyboard have a longer sustain. Releasing the pedal immediately
stops (damps) any sustained notes. You can turn this pedal function on or off for each
keyboard part on this display. The Half Pedal Point parameter allows you to specify
how far down you should press on the pedal until the damper effect starts working.
Sostenuto Allows you to use a pedal to control the Sostenuto effect. If you play a note or chord
on the keyboard and press the pedal while holding the note(s), the notes will sustain
as long as the pedal is held. However, all subsequent notes will not sustain. This
makes it possible to sustain a chord, for example, while other notes are played stac-
cato. You can turn this pedal function on or off for each keyboard part on this display.
Soft Allows you to use a pedal to control the Soft effect. Pressing this pedal reduces the
volume and changes the timbre of the notes you play. This is effective only for cer-
tain appropriate Voices. You can turn this pedal function on or off for each keyboard
part on this display. The Half Pedal Point parameter allows you to specify how far
down you should press on the pedal until the soft effect starts working.

Glide Up, When the pedal is pressed, the pitch goes up (is raised) or down (is lowered), and
Glide Down then returns to normal pitch when the pedal is released. You can turn this pedal func-
tion on or off for each keyboard part on this display.
• Range: Determines the range of the pitch change, in semitones.
• On Speed: Determines the speed of the pitch change when the pedal is pressed.
• Off Speed: Determines the speed of the pitch change when the pedal is released.
Portamento The portamento effect (a smooth slide between notes) can be produced while the
pedal is pressed. Portamento is produced when notes are played legato style (i.e., a
note is played while the preceding note is still held). This function does not affect
certain Natural! Voices, which would not sound appropriately with this function. You
can turn this pedal function on or off for each keyboard part on this display. The por-
tamento time can also be adjusted from the Voice Set display (page 13).
Pitch Bend Up*, Allows you to bend the pitch of notes up or down by using the pedal. You can turn
Pitch Bend Down* this pedal function on or off for each keyboard part on this display.
• Range: Determines the range of the pitch change, in semitones.
Modulation* Applies modulation effects, such as vibrato, to notes played on the keyboard. More-
over, various effects can be added to the Super Articulation Voice. The effect
becomes deeper when pressing down the pedal. You can turn this pedal function on
or off for each keyboard part on this display.
Modulation Alt Unlike the Modulation above, pressing the pedal or footswitch alternates the on/off
status of the vibrato effect. You can turn this function on or off for each keyboard part
on this display.
Vibe Rotor On/Off Switches the Vibe Rotor on and off when the DSP Type (page 16) is set to Vibe
Rotor. You can turn this pedal function on or off for each keyboard part on this dis-
play.
Organ Rotary Slow/ Switches the Rotary Speaker speed between “Slow” and “Fast.” This can be used
Fast only when an organ effect (page 68) such as “RotarySp1” is applied. You can turn
this pedal function on or off for each keyboard part on this display.
NOTE Since the Super Articulation Voices contain the effect as part of the wave data, you need to assign Articulation 1 or 2
(not Organ Rotary Slow/Fast) to control the effect.
Keyboard Harmony Turns Keyboard Harmony (page 7) on and off.

On/Off
Style Start/Stop Same as the STYLE CONTROL [START/STOP] button.
Synchro Start On/
Off
Same as the [SYNC START] button.
9
Synchro Stop On/ Turns on/off the Synchro Stop function which allows you to start and stop the Style
Connections
Off anytime you want by simply playing or releasing the keys in the chord section of the
keyboard. Make sure that the [ACMP] button is on, and then turn this function on to
use this function.
NOTE When the Fingering type is set to Full Keyboard or AI Full Keyboard, Synchro Stop cannot be turned on.
Intro 1–3 Same as the [INTRO] button. Three types of the Intro section are provided for each
Style and one of them can be assigned to the pedal.
Main A–D Same as the MAIN VARIATION [A]–[D] buttons.
Fill Down Plays a fill-in, which is automatically followed by the previous Main section (that of
the button on the immediate left).
Fill Self Plays a fill-in.
Fill Break Plays a break.

Fill Up Plays a fill-in, followed by the next Main section (that of the button on the immediate
right).
Ending1–3 Same as the [ENDING/rit.] button. Three types of the Ending section are provided
for each Style and one of them can be assigned to the pedal.
Half Bar Fill In While the pedal is pressed, the “Half bar fill-in” function is turned on and changing
sections of a Style at the first beat of the current section starts the next section from
the middle with automatic fill-in.
Fade In/Out Switches the Fade In/Fade Out function on and off. This produces smooth fade-ins
and fade-outs when starting/stopping Style or Song playback. Press the pedal when
playback is stopped and press the STYLE CONTROL [STATR/STOP] button (or the
SONG [F/ K] (Play/Pause) button) to start playback with a fade in. To stop play-
back with a fade out, press the pedal during playback at the appropriate point.
Fingered/ The pedal alternately switches the Chord Fingering types between the Fingered and
Fingered On Bass Fingered On Bass.
Bass Hold While the pedal is pressed, the Accompaniment Style bass note will be held even if
the chord is changed during Style playback. If the fingering is set to AI Full Key-
board, the function does not work.
Song Play/Pause Same as the SONG [F/ K] (Play/Pause) button.
Score Page +, - While the Song is stopped, you can turn to the next/previous score page (one page at
a time).
Lyrics Page +, - While the Song is stopped, you can turn to the next/previous lyrics page (one page at
a time).
Text Page +, - You can turn to the next/previous text page (one page at a time).
Talk On/Off Switches the microphone setup settings between Vocal and Talk.
Tap Tempo Same as the [TEMPO/TAP] button.
Percussion The pedal plays a percussion instrument selected by the [4 ]–[8 ] buttons.
You can use the keyboard to select the desired percussion instrument.
NOTE When you select the percussion instrument by pressing a key on the keyboard, the velocity with which you press the
key determines the percussion volume.
Main Part On/Off Same as the PART ON/OFF [MAIN] button.
9 Layer Part On/Off

Left Part On/Off
Same as the PART ON/OFF [LAYER] button.
Same as the PART ON/OFF [LEFT] button.
Connections

MIDI Settings
In this section, you can make MIDI-related settings for the instrument. This instrument gives you a set of ten
pre-programmed templates that let you instantly and easily reconfigure the instrument to match your
particular MIDI application or external device. Also, you can edit the pre-programmed templates and save up
to ten of your original templates to the User drive.
NOTE You can save all your original templates as a single file to internal memory (User drive) or a USB flash drive. See page 90.
NOTE No MIDI signals are received in the Piano Room.

[MENU] → Cursor buttons [][][E][F] MIDI, [ENTER]
[8 ]
[EXIT]
2 Select a pre-programmed MIDI template from the Preset page.

For details on pre-programmed templates, see below.
If you have already created your original template and saved it to the User page, you can also select that
template from the User page.
3 To edit the template, press the [8 ] (Edit) button to call up the setting display.
4 Use the TAB [E][F] buttons to call up the relevant page, and then set various
parameters to edit the current MIDI template.
• System....................... MIDI System Settings (page 80)
• Transmit.................... MIDI Transmit Settings (page 82)
9
• Receive ..................... MIDI Receive Settings (page 83)
• On Bass Note .......... Bass Note Settings for Style Playback via MIDI Receive (page 84)
• Chord Detect ........... Chord Type Settings for Style Playback via MIDI Receive (page 84) Connections
5 When you’ve finished editing, press the [EXIT] button to return to the MIDI Template
Selection display.
6 Press the TAB [F] button to select the User page, and then press the [6 ] (Save)
button to save the MIDI settings as your original MIDI template.
 Pre-programmed MIDI Templates
All Parts Transmits all parts including the keyboard parts (Main, Layer and Left), with the
exception of Song parts.
KBD & STYLE Basically the same as All Parts with the exception of how keyboard parts are man-
aged. The right-hand parts are handled together as Upper instead of Main and Layer,
and the left-hand part is handled as Lower.

Master KBD In this setting, the instrument functions as a “master” keyboard, playing and con-
trolling one or more connected tone generators or other devices (such as a computer/
sequencer).
Song All transmit channels are set to correspond to Song channels 1–16. This is used to
play Song data with an external tone generator and to record Song data to an external
sequencer.
Clock Ext. Playback or recording (Song, Style, etc.) synchronizes with an external MIDI clock
instead of the instrument’s internal clock. This template should be used when you
wish to set the tempo on the MIDI device connected to the instrument.
MIDI Accord1 MIDI accordions allow you to transmit MIDI data and play connected tone generators
from the keyboard and bass/chord buttons of the accordion. This template lets you
play melodies from the keyboard and control Style playback on the instrument with
the left-hand buttons.
MIDI Accord2 Basically the same as MIDI Accord 1 above, with the exception that the chord/bass
notes you play with your left hand on the MIDI Accordion are recognized also as
MIDI note events.
MIDI Pedal1 MIDI pedal units allow you play connected tone generators with your feet (especially
convenient for playing single note bass parts). This template lets you play/control the
chord root in Style playback with a MIDI pedal unit.
MIDI Pedal2 This template lets you play the bass part for Style playback by using a MIDI pedal
unit.
MIDI OFF No MIDI signals are sent or received.
MIDI System Settings
The explanations here apply to the System page in step 4 on page 79.
Use the Cursor buttons [][] to select the parameters (below), and then set the On/Off status by using the
[1 ]–[8 ] buttons.
9
Connections
1 Local Control
[1 ] – Turns the Local Control for each part on or off. When Local Control is set to On, the key-
[7 ] board of the instrument controls its own (local) internal tone generator, allowing the internal
Voices to be played directly from the keyboard. If you set Local Control to Off, the keyboard
and controllers are internally disconnected from the instrument’s tone generator section so
that no sound is output when you play the keyboard or use the controllers. For example, this
allows you to use an external MIDI sequencer to play the instrument’s internal Voices, and
use the instrument keyboard to record notes to the external sequencer and/or play an external
tone generator.

2 Clock setting, etc.
[1 ]/ Clock Determines whether the instrument is controlled by its own internal clock
[2 ] or a MIDI clock signal received from an external device. Internal is the
normal Clock setting when the instrument is being used alone or as a mas-
ter keyboard to control external devices. If you are using the instrument
with an external sequencer, MIDI computer, or other MIDI device, and
you want to synchronize it to that device, set this parameter to the appro-
priate setting: USB1, USB2 or Wireless LAN. In this case, make sure that
the external device is connected properly (e.g., to the instrument’s [USB
TO HOST] terminal), and that it is properly transmitting a MIDI clock
signal. When this is set for control by an external device (USB1, USB2, or
Wireless LAN), the tempo is indicated as “Ext.” in the Tempo pop-up dis-
play.
NOTE If the Clock is set other than Internal, the Style, Song, Metronome and Tempo cannot be controlled
by the buttons on this instrument.
NOTE Wireless LAN is shown only when the USB Wireless LAN adaptor (UD-WL01) is connected to this
instrument.
[3 ]/ Transmit Clock Turns MIDI clock (F8) transmission on or off. When set to Off, no MIDI
[4 ] clock or Start/Stop data is transmitted even if a Song or Style is played
back.
[5 ]/ Receive Determines whether or not the instrument’s transpose setting is applied to
[6 ] Transpose the note events received by the instrument via MIDI.
[7 ]/ Start/Stop Determines whether incoming FA (start) and FC (stop) messages affect
[8 ] Song or Style playback.
3 Message Switch
[1 ]– Sys/Ex. The Transmit setting turns MIDI transmission of MIDI System Exclusive
[4 ] messages on or off. The Receive setting turns MIDI reception and recog-
nition of MIDI System Exclusive messages generated by external equip-
ment on or off.
[5 ]– Chord Sys/Ex. The Transmit setting turns MIDI transmission of MIDI chord exclusive
[8 ] data (Chord Detect: root and type) on or off. The Receive setting turns
MIDI reception and recognition of MIDI chord exclusive data generated
9
by external equipment on or off.
Connections

MIDI Transmit Settings
The explanations here apply to the Transmit page in step 4 on page 79. This determines which parts will be
sent as MIDI data and over which MIDI channel the data will be sent.
The dots corresponding to each channel (1–16)

flash briefly whenever any data is transmitted on
the channel(s).
NOTE If WLAN is shown, this instrument can handle MIDI
messages received via the USB wireless LAN adap-
tor connected to the [USB TO DEVICE] terminal.
When WLAN is not shown although the USB wire-
less LAN adaptor is connected, turn the instrument
off then on again.
1 2 3
1 Use the [1 ]/[2 ] (Part) buttons to select the part for changing transmit
settings.
You can use the [1 ] buttons to skip up or down through the part type (keyboard part, Style and Song),
while you can use the [2 ] buttons to move up or down to the next part one by one.
The Parts listed on this display are the same as those shown in the Mixer display and Channel On/Off
display with the exception of the two parts below.
• Upper: A keyboard part played on the right side of the keyboard from the Left Split Point.
• Lower: A keyboard part played on the left side of the keyboard from the Left Split Point. This is not
affected by the on/off status of the [ACMP] button.
2 Use the [3 ] (Channel) buttons to select a channel via which the selected part will
be transmitted.
NOTE If the same transmit channel is assigned to several different parts, the transmitted MIDI messages are merged to a single channel—resulting in unex-
pected sounds and possible glitches in the connected MIDI device.
NOTE Protected Songs cannot be transmitted even if the proper Song channels 1–16 are set to be transmitted.
3 Use the [4 ]–[8 ] buttons to enter checkmarks to the types of data to be
transmitted.
9 The MIDI messages with checkmarks can be transmitted.

• [4 ] (Note): Note events
• [5 ] (CC): Control Change
Connections
• [6 ] (PC): Program Change

• [7 ] (PB): Pitch Bend
• [8 ] (AT): After Touch

MIDI Receive Settings
The explanations here apply to the Receive page in step 4 on page 79. This determines which parts will
receive MIDI data and over which MIDI channels the data will be received.

flash briefly whenever any data is received on the
channel(s).
NOTE If WLAN is shown, this instrument can handle MIDI
messages received via the USB wireless LAN adap-
tor connected to the [USB TO DEVICE] terminal.
When WLAN is not shown although the USB wire-
less LAN adaptor is connected, turn the instrument
off then on again.
1 2 3
1 Use the [1 ]/[2 ] (Channel) buttons to select the channel to be received.
You can use the [1 ] buttons to skip up or down through the next port, while you can use the [2 ]
buttons to move up or down to the next channel one by one.
The instrument can receive MIDI messages over 32 channels (16 channels x 2 ports) by USB connection.
2 Use the [3 ] (Part) buttons to select the part via which the selected channel will be
received.
The Parts listed on this display are the same as those shown in the Mixer display and Channel On/Off
display with the exception of the following parts.
• Keyboard: The received note messages control the instrument’s keyboard performance.
• Extra Part 1–5: There are five parts specially reserved for receiving and playing MIDI data. Normally,
these parts are not used by the instrument itself. The instrument can be used as a 32-channel multi-
timbral tone generator by using these five parts in addition to the other parts of the instrument.
3 Use the [4 ]–[8 ] buttons to enter checkmarks to the types of data to be
received.
MIDI messages (page 82) with checkmarks can be received.
MIDI transmission/reception via the USB terminals 9

The relationship of the USB terminals and their handling of MIDI messages (transmitting/receiving Connections
32 channels; 16 channels x 2 ports) is shown in the following diagram:
 MIDI reception  MIDI transmission

[USB TO HOST] terminal [USB TO HOST] terminal
Wireless
LAN Wireless LAN
Port handling
USB1 USB2
Merge
USB1/WLAN USB2 USB/WLAN 01–16

01–16 01–16

Bass Note Settings for Style Playback via MIDI Receive
The explanations here apply to the On Bass Note page in step 4 on page 79. These settings let you determine
the bass note for Style playback, based on the note messages received via MIDI. The note on/off messages
received at the channel(s) set to On are recognized as the bass note of the chord of Style playback. The bass
note will be detected regardless of the [ACMP] button or split point settings. When several channels are
simultaneously set to On, the bass note is detected from merged MIDI data received over the channels.

flash briefly whenever any data is received on the
channel(s).
NOTE If WLAN is shown, this instrument can handle
MIDI messages received via the USB wireless
LAN adaptor connected to the [USB TO DEVICE]
terminal. When WLAN is not shown although the
USB wireless LAN adaptor is connected, turn the
instrument off then on again.
1 Use the Cursor buttons [][] to select the target.
2 Use the [1 ]–[8 ] buttons to set the desired channel to On or Off.
Chord Type Settings for Style Playback via MIDI Receive
The explanations here apply to the Chord Detect page in step 4 on page 79. This page lets you select the
MIDI channels over which the MIDI data from the external device will be used to detect the Chord Type for
Style playback. The note on/off messages received at the channel(s) set to On are recognized as the notes for
detecting chords in Style playback. The chords to be detected depend on the fingering type. The chord types
will be detected regardless of the [ACMP] button or split point settings. When several channels are
simultaneously set to On, the chord type is detected from merged MIDI data received over the channels.
9
Connections
The operation procedure is basically the same as that of the On Bass Note page above.

Making Wireless LAN Settings
By using a USB wireless LAN adaptor (sold separately), you can connect this instrument with a smart device
such as a smartphone or tablet via a wireless network. For general operating instructions, refer to the “Smart
Device Connection Manual” on the website. This section covers only operations that are specific to this
instrument.
Before starting operations, make sure that the USB wireless LAN adaptor is connected to the [USB TO
DEVICE] terminal and call up the setup display via [MENU] → Cursor buttons [][][E][F] Wireless
LAN, [ENTER].
NOTICE
Do not connect this product to public Wi-Fi and/or Internet directly. Only connect this product to the Internet through a router with strong
password-protections. Consult your router manufacturer for information on security best practices.
NOTE If the USB wireless LAN adaptor is not recognized by the instrument, Wireless LAN is not shown. When Wireless LAN is not shown even though a USB wire-
less LAN adaptor has been connected, turn the instrument off then on again.
When the connection is done successfully, “Connected” is shown at the top of the display, and one of the
icons shown below appears indicating the signal strength.
Weak Strong
Infrastructure Mode
[1 ]/ WPS Connects this instrument to the network via WPS. Press one of these buttons fol-
9
[2 ] lowed by the [7 ] (Yes) buttons, and then press the WPS button on your access
Connections
point within two minutes.
[3 ] Mode Switches to the Access Point Mode.
[4 ] Detail For setting the detailed parameters. After making these settings, press one of the
[7 ]/[8 ] (Save) buttons to actually save them.
• IP Address: Sets the IP address and other related parameters.
• Others: Sets the Host name, Time Zone and Daylight Saving Time. When the
instrument is connected to the network with the Infrastructure Mode, the cur-
rent time is shown on the Main display.
[5 ]/ Initialize Initializes the connection setup to the default factory status.
[6 ]

[7 ]/ Connect Use the Cursor buttons [][] to select the network, and then press one of the
[8 ] [7 ]/[8 ] buttons to connect to the selected network. For a network having
a padlock icon, the Character Entry window appears and you need to enter the pass-
word. If you select Other, this calls up the Manual Setup display in which you set
the SSID, security method, and password. After entering those, press one of the
[7 ]/[8 ] buttons in the Manual Setup display to connect to the network.
NOTE Pressing the TAB [E] and [F] buttons simultaneously updates the network list on the display.
Access Point Mode
[3 ] Mode Switches to the Infrastructure Mode.
[4 ] Detail For setting the detailed parameters on the pages below. After making these set-
tings, press one of the [7 ]/[8 ] (Save) button to actually save them.
• Wireless Network: For setting the SSID, security, password, and channel.
• IP Address: For setting the IP address and other related parameters.
• Others: For entering the Host name or showing MAC address, etc.
[5 ]/ Initialize Initializes the connection setup to the default factory status.
[6 ]
9
Connections

10 Menu
Contents
Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87
• Config1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87
• Config2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
• Parameter Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
• USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
System. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
• Common . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
• Backup/Restore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
• Setup Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
• Reset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91
This section covers only the Utility and System displays in the Menu. For other displays, refer to the “Function
List” in the Owner’s Manual to see where you can find the instructions.
Utility
Call up the operation display.
[MENU] → Cursor buttons [][][E][F] Utility, [ENTER]
Config1
Cursor [][]
10
Menu
1 Speaker
[4 ]/ Speaker Determines whether or not the sound is output from the speaker of this
[5 ] instrument.
• Headphone Switch: Speaker sounds normally, but is cut off when head-
phones or an external device is connected to the [PHONES/OUTPUT]
jack.
• On: Speaker sound is always on, even if headphones are connected.
• Off: Speaker sound is off. You can only hear the instrument sound via
the headphones or an external device connected to the [PHONES/OUT-
PUT] jack.

2 AUX In Noise Gate, Audio Loopback
[3 ]/ AUX In Noise Turns on or off the Noise Gate which minimizes noise of the sound input
[4 ] Gate via the [AUX IN] jack.
[5 ]/ Audio Loopback Determines whether audio input from the connected computer or smart
[6 ] device is output to a computer or a smart device or not. For details, refer to
the Owner’s Manual, Chapter 9.
3 Stereophonic Optimizer, IAC

[2 ]/ Stereophonic Turns the Stereophonic Optimizer function on or off.
[3 ] Optimizer • On: This function is effective on the VRM Voices sounded from the
headphones connected to the [PHONES/OUTPUT] jack.
• Off: The effect of Stereophonic Optimizer is not applied.
NOTE In case the 1 Speaker setting above is On and headphones are connected to the [PHONES/OUTPUT] jack,
this function is effective on the VRM Voices from the headphones as well as from the speakers of the
instrument.
[5 ]/ IAC Turns on or off the IAC (Intelligent Acoustic Control). With this function,
[6 ] the sound quality of this instrument is automatically adjusted and controlled
according to the overall volume. Even when the volume is low, this lets you
hear both low sounds and high sounds clearly. IAC is effective only from
the sound output of the instrument speakers.
[7 ] IAC Depth Adjusts the depth of the IAC. The higher the value, the more clearly that
low and high sounds are heard at lower volume levels.
Config2
Cursor [][]
10 1 Style Tempo, Voice Number, Time Stamp

[2 ]/ Style Tempo Determines whether the default tempo of each preset Style is shown or hid-
Menu
[3 ] den above the Style name in the Style Selection display.
[4 ]/ Voice Number Determines whether the Voice bank and number are shown or hidden in the
[5 ] Voice Selection display. Displaying these is helpful when you want to check
which bank select MSB/LSB values and program change number you need
to specify when selecting the Voice from an external MIDI device.
NOTE The numbers displayed here start from “1.” Accordingly the actual MIDI program change numbers are one
lower, since that number system starts from “0.”

[6 ]/ Time Stamp Determines whether the updated date and time are shown or hidden on the
[7 ] File Selection display.
When you connect the instrument to the network with the Infrastructure
Mode (page 85) by using the USB wireless adaptor (UD-WL01), the instru-
ment gets the “clock” information and the current time stamp (date and
time) is recorded to the files you save to the instrument. Once you turn the
power off, the clock is set to the factory default and will not be updated
unless the instrument is connected to the network.
2 Voice Category Button Options, Pop-up Display Time

[3 ]/ Voice Category Determines how the Voice Selection display is opened when one of the
[4 ] Button Options VOICE buttons is pressed.
• Open & Select: Opens the Voice Selection display with the previously
selected Voice in the Voice category automatically selected (when one
of the VOICE buttons is pressed).
• Open Only: Opens the Voice Selection display with the currently
selected Voice (when one of the VOICE buttons is pressed).
[5 ]/ Pop-up Display Determines the time in which the pop-up displays close. (Pop-up displays
[6 ] Time are shown when you press buttons such as TEMPO/TAP or TRANSPOSE,
etc.)
Parameter Lock
This lets you lock or maintain the settings of specific parameters (such as Effect and Split Point), even when
the panel setups are changed by Registration Memory, One Touch Setting, etc.
To set this function, use the Cursor buttons [][][E][F] to select the desired parameter, and then press the
[ENTER] button to enter (or remove) checkmarks. Repeat this step as desired. Items having checkmarks will
be locked.
USB
10
Menu
Refer to the Owner's Manual, Chapter 9.

System
Call up the operation display.
[MENU] → Cursor buttons [][][E][F] System, [ENTER]
Common
Refer to “Starting Up” in the Owner’s Manual.
Backup/Restore
Refer to “Basic Operations” in the Owner’s Manual.
Setup Files
The following settings can be saved as a file individually for future recall. Make all desired settings on the
instrument before saving the file.
Pressing one of the [1 ]–[6 ] buttons calls up the relevant display for saving the data. On the display
that is called up, select the desired destination to save the file, and then press the [6 ] (Save) button.
[1 ]/ System Setup Parameters set on the various displays such as Utility are handled as a single
[2 ] Files System Setup file. Refer to Parameter Chart in the Data List (separate
PDF) for details on which parameters belong to System Setup.
10 [3 ]/
[4 ]
MIDI Setup Files The MIDI settings including the edited MIDI templates saved to the User
drive (page 79) are handled as a single file.
Menu
[5 ]/ User Effect Files The following data can be managed as a single file.
[6 ] • User Microphone Settings .........................................................page 58
• User Effect types .......................................................................page 70
• User Master EQ types ...............................................................page 71
• User Master Compressor types..................................................page 73
To call up the saved data:

Select the desired item in the Setup Files display, and then select the desired file.
If you want to restore the factory programmed settings, select the file in the Preset tab.

Reset
The items checkmarked on this display can be initialized to the default by pressing one of the [7 ]/
[8 ] buttons. To enter (or remove) checkmarks, use the Cursor buttons [][] to select the item, and
then press the [ENTER] button.
Cursor [][], [ENTER]
System Setup Resets the System Setup parameters to the original factory settings. Refer to the
Parameter Chart in the Data List on the website for details about which parame-
ters belong to System Setup.
MIDI Setup Resets the MIDI settings including the MIDI Setups on the USER tab display to
the original factory status.
User Effect Resets the current Effect settings and the following data:
• User Microphone Settings ...........................................................page 58
• User Effect types .........................................................................page 70
• User Master EQ types .................................................................page 71
• User Master Compressor types....................................................page 73
Files & Folders Deletes all files and folders saved in the User drive.
Registration Turns off all the REGISTRATION MEMORY [1]–[4] lamps, indicating that no
Registration Memory Bank is selected although all the Registration Memory
Bank files are maintained. In this status, you can create Registration Memory set-
ups from the current panel settings.
NOTE The same operation can be done by turning the power on while holding the B6 key (rightmost B key). In this case,
you can create Registration Memory setups from the default panel settings.
10
Menu

Index
A G Parameter .........................................37
Access Point Mode ........................... 86 Groove .............................................. 34 Parameter Lock .................................89
ACMP On/Off ................................... 24 Guide ................................................ 50 Part EQ .............................................71
Any Key ............................................ 51 Pedal ...........................................14, 75
Articulation ....................................... 76 Pitch ..................................................10
H
Assembly .......................................... 32 Play Root/Chord ................................38
High Key ........................................... 40
Audio Loopback ............................... 88 Playback (Song) ................................49
AUX In Noise Gate ........................... 88 Playback (Style) ................................23
I Playlist ...............................................65
IAC (Intelligent Acoustic Control) ...... 88 Poly ...................................................13
B
Infrastructure Mode .......................... 85 Pop-up Display Time .........................89
Backup ............................................. 90
Intro .................................................. 24 Portamento .......................................14
Block Diagram .................................. 74
Punch In/Out .....................................53
K
C
Karao-Key ......................................... 51 R
Channel (Song) .......................... 50, 55
Key Off Sampling ................................ 6 Recording (Song) ..............................53
Channel (Style) ................................ 36
Keyboard Harmony ............................. 7 Recording (Style) ..............................28
Chord Detection Area ....................... 25
Registration Memory .........................61
Chord Tutor ....................................... 21
L Registration Sequence ......................63
Chorus ................................... 6, 16, 68
Repeat Mode ....................................49
Common ........................................... 90 Lyrics ................................................ 47
Re-recording .....................................53
Compressor ................................ 59, 73
Reset ................................................91
Config ............................................... 87 M Restore .............................................90
Master Compressor .......................... 73 Reverb ....................................6, 16, 68
D Master EQ ........................................ 71 RTR (Retrigger Rule) ........................40
Damper Resonance ........................... 6 Metronome ......................................... 5
Drum Setup ...................................... 41 Microphone ....................................... 58
S
DSP ............................................ 16, 68 MIDI .................................................. 79
Scale Tuning .....................................10
Dynamics ......................................... 35 Mixer ................................................. 66
Score ................................................44
Modulation ........................................ 14
Setup Data (Song) ............................52
Mono ................................................ 13
E Setup Files ........................................90
Echo ................................................... 8 Smart Chord .....................................19
Effect .................................... 16, 60, 68 N Song Creator .....................................52
EG (Envelope Generator) ................. 15 Noise Gate .................................. 59, 88 Song Settings ....................................49
Ending .............................................. 24 Note Limit ......................................... 40 Source Root/Chord ...........................38
EQ (Equalizer) ...................... 16, 59, 71 NTR (Note Transposition Rule) ......... 38 Speaker ............................................87
Index
NTT (Note Transposition Table) ........ 38 Stereophonic Optimizer ....................88
F Stop ACMP .......................................25
Factory Reset ................................... 91 O String Resonance ...............................6

Octave .............................................. 13 Style Creator .....................................26
Fill-in ........................................... 23, 77
OTS Link Timing ............................... 24 Style Settings ....................................23
Filter ........................................... 15, 67
Synchro Stop ..............................24, 77
Fine-tuning ....................................... 10
System ..............................................90
Follow Lights .................................... 51 P
System Reset ....................................91
Freeze .............................................. 62 Pan ................................................... 66

T
Tap Tempo .......................................... 5
Text ................................................... 47
Time Stamp ...................................... 89
Touch Sense ..................................... 13
Tuning ............................................... 10
U
Unison .............................................. 76
Utility ................................................. 87
V
Vibe Rotor ......................................... 16
Vibrato .............................................. 15
Voice Set (Voice Edit) ....................... 12
Voice Set Filter .................................. 17
Volume .............................................. 66
VRM ................................................... 6
W
Wireless LAN .................................... 85
Y
Your Tempo ....................................... 51
Index

Manual Development Group © 2020 Yamaha Corporation Published 06/2020 MW-A0

Uploaded by

Copyright:

Available Formats

Manual Development Group © 2020 Yamaha Corporation Published 06/2020 MW-A0

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Manual Development Group © 2020 Yamaha Corporation Published 06/2020 MW-A0

Uploaded by

Copyright:

Available Formats



Manual Development Group

1 Piano Room 3 5 USB Audio Player/Recorder 58

Using the PDF manual

2 DGX-670 Reference Manual

DGX-670 Reference Manual 3

VRM See the Owner’s Manual, Chapter 2.

S.Art! See the Owner’s Manual, Chapter 2.

Cool! Cool! Voices reproduce the complex characteristics of Electric Instruments, by

4 DGX-670 Reference Manual

1 Call up the operation display.

[2 ] Volume Determines the volume of the metronome sound.

DGX-670 Reference Manual 5

1 Call up the operation display.

[1 ]/ VRM Turns the VRM effect on or off.

2 Key Off Sampling

6 DGX-670 Reference Manual

2 Use the [2 ]/[3 ] buttons to set Keyboard Harmony to On.

DGX-670 Reference Manual 7

• When the [ACMP] button is on and the Left part is off:

Chord section for Style playback and Harmony effect

Main and Layer Voices

Left Voice and chord section for Harmony effect

Left Voice Main and Layer Voices

Chord section for Style playback and Harmony effect

8 DGX-670 Reference Manual

6 Play the keyboard.

DGX-670 Reference Manual 9

1 Call up the operation display.

1 Call up the operation display.

The tuning of each note for the

 Preset Scale types

10 DGX-670 Reference Manual

3 Change the following settings as necessary.

Pitch Settings for Each Keyboard Part

1 Call up the operation display.

DGX-670 Reference Manual 11

1 Select the desired Voice.

5 Press the [8 ] (Save) button to save your edited Voice.

12 DGX-670 Reference Manual

[2 ] Volume Adjusts the volume of the current edited Voice.

Depth = 64 (normal) Offset = 64 (normal)

DGX-670 Reference Manual 13

14 DGX-670 Reference Manual

[2 ] Brightness Determines the cutoff frequency or Volume

The EG (Envelope Generator) settings determine how the level of the

Key on Key off

DGX-670 Reference Manual 15

2 to on or off when selecting a Voice.

16 DGX-670 Reference Manual

1 Call up the operation display.

DGX-670 Reference Manual 17

Style Types (Characteristics)

18 DGX-670 Reference Manual

 “Home Sweet Home”

DGX-670 Reference Manual 19

2 Call up the operation display.

Indicates the selected key signature.

Split Point (F#2 as default)