A5000E

SPECIAL MESSAGE SECTION
PRODUCT SAFETY MARKINGS: Yamaha electronic products may have either labels similar to the graphics shown below or molded/stamped facsimiles of these graphics on the enclosure. The explanation of these graphics appears on this page. Please observe all cautions indicated on this page and those indicated in the safety instruction section. ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following: Battery Notice: This product MAY contain a small nonrechargable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately ve years. When replacement becomes necessary, contact a qualied service representative to perform the replacement. Warning: Do not attempt to recharge, disassemble, or incinerate this type of battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by applicable laws. Note: In some areas, the servicer is required by law to return the defective parts. However, you do have the option of having the servicer dispose of these parts for you. Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. NOTICE: Service charges incurred due to lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturers warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service. NAME PLATE LOCATION: The graphic below indicates the location of the name plate. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.
CAUTION
RISK OF ELECTRIC SHOCK DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK. DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The exclamation point within the equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. The lightning ash with arrowhead symbol, within the equilateral triangle, is intended to alert the user to the presence of uninsulated dangerous voltage within the products enclosure that may be of sufcient magnitude to constitute a risk of electrical shock.
IMPORTANT NOTICE: All Yamaha electronic products are tested and approved by an independent safety testing laboratory in order that you may be sure that when it is properly installed and used in its normal and customary manner, all foreseeable risks have been eliminated. DO NOT modify this unit or commission others to do so unless specically authorized by Yamaha. Product performance and/or safety standards may be diminished. Claims led under the expressed warranty may be denied if the unit is/has been modied. Implied warranties may also be affected. SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specications without notice or obligation to update existing units.
92-469- (rear)
Rear Panel
Model Serial No. Purchase Date
A5000/A4000 q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q
PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep these precautions in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, shortcircuiting, damages, re or other hazards. These precautions include, but are not limited to, the following:
Do not open the instrument or attempt to disassemble the internal parts or modify them in any way. The instrument contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immediately and have it inspected by qualied Yamaha service personnel. Do not expose the instrument to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings. If the power cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the instrument, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the instrument inspected by qualied Yamaha service personnel. Only use the voltage specied as correct for the instrument. The required voltage is printed on the name plate of the instrument. Always connect the three-pin attachment plug to a property grounded power source. (For more information about the main power supply, see Power Connection.) Before cleaning the instrument, always remove the electric plug from the outlet. Never insert or remove an electric plug with wet hands. Check the electric plug periodically and remove any dirt or dust which may have accumulated on it.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the instrument or other property. These precautions include, but are not limited to, the following:
Do not place the power cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it. When removing the electric plug from the instrument or an outlet, always hold the plug itself and not the cord. Pulling by the cord can damage it. Do not connect the instrument to an electrical outlet using a multiple-connector. Doing so can result in lower sound quality, or possibly cause overheating in the outlet. Remove the electric plug from the outlet when the instrument is not to be used for extended periods of time, or during electrical storms. Before connecting the instrument to other electronic components, turn off the power for all components. Before turning the power on or off for all components, set all volume levels to minimum. Also, be sure to set the volumes of all components at their minimum levels and gradually raise the volume controls while playing the instrument to set the desired listening level. Do not expose the instrument to excessive dust or vibrations, or extreme cold or heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent the possibility of panel disguration or damage to the internal components. Do not use the instrument near other electrical products such as televisions, radios, or speakers, since this might cause interference which can affect proper operation of the other products. Do not place the instrument in an unstable position where it might accidentally fall over. Before moving the instrument, remove all connected cables. When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners, solvents, cleaning uids, or chemical-impregnated wiping cloths. Also, do not place vinyl, plastic or rubber objects on the instrument, since this might discolor the panel or keyboard. Do not rest your weight on, or place heavy objects on the instrument, and do not use excessive force on the buttons, switches or connectors. Do not place objects in front of the instruments air vent, since this may prevent adequate ventilation of the internal components, and possibly result in the instrument overheating. To ensure adequate ventilation and cooling, leave at least 10cm of open space behind the A5000/A4000 rear panel, and at least 4cm of open space above the top cover. Do not operate the instrument for a long period of time at a high or uncomfortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician.
s SAVING USER DATA

To protect against data loss caused by malfunction or operating error, be sure to save your data regularly to oppy disk, hard disk or other strage medium. Yamaha cannot be held responsible for damage caused by improper use or modications to the instrument, or data that is lost or destroyed. Always turn the power off when the instrument is not in use.
s Handling and Installation of Options

WARNING
Before beginning installation, switch off the power to the A5000/A4000 and connected peripherals, and unplug them from the power outlet. Then remove all cables connecting the A5000/A4000 to other devices. (Leaving the power cord connected while working can result in electric shock. Leaving other cables connected can interfere with work.) Do not disassemble, modify, or apply excessive force to board areas and connectors on option boards, hard disk, ZIP drive, and SIMMs. Bending or tampering with boards and connectors may lead to electric shock, re, or equipment failures.
CAUTION
Before handling an option board, hard disk, ZIP drive, or SIMM, you should briey touch the A5000/A4000 metal casing (or other such metallic area) with your bare hand so as to drain off any static charge from your body. Note that even a slight amount of electrostatic discharge may cause damage to these components. It is recommended that you wear gloves to protect your hands from metallic projections on the A5000/A4000, hard disk, SIMMs, ZIP drive, option boards, and other components. Touching leads or connectors with bare hands may cause nger cuts, and may also result in poor electrical contact or electrostatic damage. Take care to avoid dropping screws into the A5000/A4000 unit. If a screw does fall in, be sure to remove it before you reassemble and power up the unit. Starting the unit with a loose screw inside may lead to improper operation or equipment failure. (If you are unable to retrieve a dropped screw, consult your Yamaha dealer for advice.)
* *
(2)-6
Consult your Yamaha dealer if you have any questions regarding installation procedures for options boards, hard disks, SIMMs, or other optional devices. If SIMM memory, hard disk, ZIP drive, or other optional component fails to work properly, consult the item's dealer for advice.
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A5000/A4000
Thank you for your purchase of the Yamaha A5000/A4000 Professional Sampler. The A5000/A4000 incorporates a leading-edge AWM2 tone generator, and is an ideal for use with synthesizers, MIDI keyboards, and other MIDI devices in a wide variety of musical applications. This owners manual will help you get the most from your A5000/A4000s many advanced features. Please read through the essential parts of the manual carefully before beginning work with your sampler, and refer back to the manual for additional information as necessary. Please be sure to store the manual in a safe and handy location.
List of Accessories
Your A5000/A4000 package includes the following accessories. Make sure that all of these accessories are included.
CD-ROM set Booklet (Guide for Accompanying Disks) ............1 Power Cord ............................................................1 Power Cable for Internal Hard Disk........................1 SCSI Cable for Internal Hard Disk .........................1 Owners Manual (this document) ................ 1 Floppy Disk .................................................. 4 Power Cable for ZIP Drive ........................... 1 IDE Cable for Internal Hard Disk ................. 1
Power Cord
Power Cable for Internal Hard Disk (long)
Power Cable for ZIP Drive (short)
SCSI Cable for Internal Hard Disk
IDE Cable for Internal Hard Disk
* If any of the above items is missing, please contact your Yamaha dealer for assistance. * See the CD-ROM jackets or the separate Guide for Accompanying Disks booklet for information about the contents and use of the CD-ROMs and oppy disks.
Unauthorized copying of copyrighted software for purposes other than purchasers personal use is prohibited. 4
Features
Features
Professional Sampler With Endless Potential
The A5000/A4000 provides superior sound and peformance for a wide range of applications including break-beat production and playback, phrase sampling, musical instrument sampling, and much, much more.
Advanced Built-in Effect System

The A5000 has 6 high-performance effect blocks, and the A4000 has 3. An extensive range of effects from simple ambience to sophisticated sound modication can be used to enhance or radically alter the sound of samples, break-beats, or sampled phrases. Effects can even be applied during recording, so you can create samples with integral effects!
Fast, Efcient Operation

A large 320 x 80 dot full-graphic LCD panel displays sample waveforms, effect connections, and other important data in easy-to-understand form. The panel knobs, mode buttons, and function buttons also make operation exceptionally easy, intuitive, and versatile, while offering an amazing degree of realtime playback control.
Exceptional Expandability
With a built-in SCSI interface and internal SCSI and IDE connectors its easy to add internal hard disk or ZIP drives, or external hard disk, ZIP, CD-ROM, CD-R or other drives. Further, 4 SIMM slots allow the sample memory to be expanded to maximum 128 megabytes. An optional AIEB1 I/O expansion board can be installed to provide 6 assignable analog outputs as well as digital coaxial and optical inputs and outputs.
Compatibility with a Wide Range of Sample Formats

In addition to being able to export and import AIFF and WAV wave les to or from oppy disk, SCSI disk, CD-ROM or other media, The A5000/A4000 can import a wide range of sample les from other devices including the Yamaha EX7/5/5R, SU700, and samplers from other manufacturers.
A Wide Selection of Sample Data Included

The A5000/A4000 comes with the CD-ROMs packed with useful sample data and audio sampling sources. Load the sample data directly, and record the audio source material to create your own samples. You can begin using your A5000/A4000 to make music immediately. (An external SCSI CD-ROM drive is required to load the sample data.)
* The company names and product names in this Owners Manual are the trademarks or registered trademarks of their respective companies.
A5000/A4000
Using the Manual
Using the Manual

Manual Organization
This manual is divided into 10 chapters, as follows:
Chapter 1
(page 17 30)
Connecting the A5000/A4000 to external MIDI equipment, ampliers, etc., and powering up. Please read this chapter before using your A5000/A4000 for the rst time.
Chapter 2
(page 31 56)
An easy introduction to sampling and some of the A5000/A4000s main feature. Follow the handson instructions to become familiar with your A5000/A4000.
Chapter 3
(page 57 86)
An in-depth look at the A5000/A4000 system and basic operating procedures. Essential knowledge for anyone who wants to make full use of the A5000/A4000s capabilities.
Chapter 4 Chapter 9
(page 87 230)
The reference chapters, with complete, detailed information on all of the A5000/A4000 functions and features.
Appendix
(page 231)
Information on installing options, specications, error messages, MIDI data format, and more.
Finding Information You Need

The manual offers several ways for you to locate specic information.
The Table of Contents

Look here to locate information in relatively broad categories.
(page 8)
The Index
(page 287)
Function names, key words, and other specic terms are listed in alphabetical order with page numbers allowing you to locate specic information quickly and easily.
Controls & Connectors

When you want to know about specic controls or connectors, go to this section.
(page 10)
The A5000/A4000 Function Tree
(page 73)
The Function Tree lets you nd functions in context within the samplers internal organization.
Using the Manual
Flip Through the Pages

The chapter number and title are printed at the bottom of each manual page. The mode and function described on each page are listed at the top of the page. Next to the mode and function names at the top of each page is a 5 x 6 matrix which visually indicates the function described based on the mode and function button positions as shown below.
Function Buttons
Mode Buttons
EDIT-FILTER
Other Conventions
The following symbols and conventions are used throughout this manual:
This symbol indicates important information that could, for example, prevent you from accidentally erasing valuable data. Additional information that will give you a more complete understanding of the related function or feature. Hints on how you might be able to make the most of a feature or function.
(PLAY-PROGRAM-PgmSel), etc.
This type of expression indicates the mode, function, and display page on which a certain function or parameter can be found. The example points to the PLAY mode PROGRAM function group PgmSel display page.
[PLAY], etc. Indicates a panel button in this case the [PLAY] button. page ??
Page reference. Directs you to another page for related information.
In general this manual describes operation of both the A5000 and A4000. When a feature or function described is different or is not available in the A4000, this will be mentioned in the text or in parentheses following the text. The illustrations and LCD screens as shown in this owners manual are for instructional purposes only, and may be different from your instrument.
A5000/A4000
Contents
Contents
List of Accessories................................................................... 4 Features................................................................................... 5 Using the Manual..................................................................... 6 Manual Organization ............................................................... 6 Finding Information You Need.................................................. 6 Other Conventions................................................................... 7 Panel and Connector Arrangement ....................................... 10 A5000/A4000 Options ........................................................... 14 Handling the Floppy Disk Drive(FDD) and Floppy Disk ......... 15
Reference
Chapter 4 PLAY Mode
About the PLAY Mode.................................................................... 88 1. PROGRAM ................................................................................. 89 Program Select ...................................................................... 89 Program Mix........................................................................... 90 Program Portamento.............................................................. 91 2. SAMPLE ..................................................................................... 93 Select Sample........................................................................ 93 Select Sample from Sample Bank ......................................... 95 3. EASY EDIT ................................................................................. 96 Mix ......................................................................................... 96 Output .................................................................................... 97 Out & Gain ............................................................................. 97 Filter ....................................................................................... 98 Pitch ....................................................................................... 98 Amplitude EG......................................................................... 99 Key ......................................................................................... 99 Velocity................................................................................. 100 Crossfade............................................................................. 100 Control ................................................................................. 101 4. EFFECT .................................................................................... 102 Effect Setup A ...................................................................... 102 Effect Setup B ...................................................................... 104 Effect Edit............................................................................. 104 5. SETUP ...................................................................................... 107 S/H Speed ........................................................................... 107 AD Input ............................................................................... 107 6. CONTROL ................................................................................ 110 Program Controller A/B........................................................ 110 Channel Setup ..................................................................... 112 Program LFO ....................................................................... 113
Chapter 1 Setting Up
Setup Procedure.................................................................... 18 Power Connection.................................................................. 19 Audio Output Connections..................................................... 20 Audio Input Connections........................................................ 23 MIDI Connections .................................................................. 25 Powering On and Off ............................................................. 27 Sound Check ......................................................................... 28
Tutorial
Chapter 2 Sampler Basics & Essential Procedures
Sampler Basics .............................................................................. 32 Essential Procedures .................................................................... 37
Chapter 3 The A5000/A4000 System & Features

1. System Overview ...................................................................... 58 Internal Structure ................................................................... 58 Sampling Tone Generator ...................................................... 59 The Effect Stage .................................................................... 63 Total EQ ................................................................................. 64 Controllers ............................................................................. 64 Sequencer ............................................................................. 64 I/O Interface ........................................................................... 65 Data Organization & Management ........................................ 65 2. The A5000/A4000 Functions .................................................... 68 A5000/A4000 Mode Organization ......................................... 68 Function Tree ......................................................................... 73 3. Basic Operation ........................................................................ 77 Common Mode Display Features .......................................... 77 Selecting Modes & Functions ................................................ 77 Selecting Display Pages ........................................................ 78 Editing Parameters ................................................................ 79 Executing Functions .............................................................. 80 Command Selection .............................................................. 80 Character Entry ..................................................................... 81 MIDI Input .............................................................................. 82 QUICK Entry.......................................................................... 83 Tree View Display .................................................................. 83 A/D Input................................................................................ 85 MIDI Indicator ........................................................................ 85 Shortcut Operation ................................................................ 86 Special Button Functions....................................................... 86 Factory Reset ........................................................................ 86
Chapter 5 EDIT Mode

About the EDIT Mode................................................................... 118 1. TRIM/LOOP .............................................................................. 120 Waveform............................................................................. 120 Sample Information.............................................................. 124 Loop Remix.......................................................................... 125 2. MAP/OUT ................................................................................. 127 Mix & Key Range ................................................................. 127 Pitch ..................................................................................... 129 Expand & Velocity Range..................................................... 131 Level Scaling........................................................................ 132 3. FILTER...................................................................................... 133 Filter & EQ ........................................................................... 133 Filter Scaling ........................................................................ 135 4. EG............................................................................................. 137 Amplitude EG....................................................................... 137 Filter EG............................................................................... 138 Pitch EG............................................................................... 140 5. LFO........................................................................................... 143 LFO ...................................................................................... 143
Contents
6. MIDI/CTRL................................................................................ 145 MIDI Set............................................................................... 145 Sample Controller A & B...................................................... 146
4. MASTER................................................................................... 195 Tuning .................................................................................. 195 Output .................................................................................. 195 5. SYSTEM ................................................................................... 197 KeysSet................................................................................ 197 Customise ............................................................................ 198 6. MIDI .......................................................................................... 200 Channel Message ................................................................ 200 System Exclusive................................................................. 201
Chapter 6 RECORD Mode

About the RECORD Mode ........................................................... 150 1. RECORD .................................................................................. 151 Record ................................................................................. 151 2. SETUP...................................................................................... 153 Record Setup....................................................................... 153 Process................................................................................ 157 3. TRIGGER ................................................................................. 158 Trigger.................................................................................. 158 4. EFFECT.................................................................................... 160 Recording Effect Setup........................................................ 160 Recording Effect Edit ........................................................... 160 5. EXT CTRL (External Control) ................................................. 161 CD-DA Control..................................................................... 161 6. MONITOR ................................................................................. 163 Monitor & Click..................................................................... 163
Chapter 9 COMMAND
About the COMMANDS................................................................ 204 Selecting a Command ......................................................... 206 Command Execution............................................................ 206 COPY................................................................................... 206 DELETE ............................................................................... 208 SAVE.................................................................................... 208 ARRANGE ........................................................................... 211 FREEZE............................................................................... 212 REGISTER .......................................................................... 214 BULK DUMP ........................................................................ 216 INITIALIZE ........................................................................... 217 PROCESS ........................................................................... 218 LOOP DIVIDE ...................................................................... 221 RESAMPLE ......................................................................... 222 STEREO MONO ............................................................. 225 MOVE .................................................................................. 226 CREATE OSC ...................................................................... 227 EXPORT .............................................................................. 228 REVERT .............................................................................. 230
Chapter 7 DISK Mode

About the DISK Mode .................................................................. 166 1. PROGRAM ............................................................................... 167 PgmLoad ............................................................................. 167 2. SAMPLE................................................................................... 169 SmpLoad ............................................................................. 169 3. SEQUENCE.............................................................................. 171 SeqLoad .............................................................................. 171 4. VOLUME................................................................................... 172 Volume................................................................................. 172 5. DISK ......................................................................................... 173 Disk Select........................................................................... 173 Disk Setup ........................................................................... 173 6. IMPORT.................................................................................... 175 Import .................................................................................. 175 7. DISK COMMANDS................................................................... 177 Selecting a Command ......................................................... 177 Command Execution ........................................................... 177 SAVE ................................................................................... 177 FORMAT .............................................................................. 177 COPY VOLUME................................................................... 181 SYSTEM FILE ..................................................................... 182 BACKUP .............................................................................. 182 CD-DA ................................................................................. 184 LOAD OS............................................................................. 185
Appendix
Installing Optional Equipment .................................................... 232 Removing the Top Cover...................................................... 232 Replacing the Top Cover...................................................... 233 Installing SIMMs .................................................................. 234 Installing the AIEB1 I/O Expansion Board ........................... 237 Installing an Internal SCSI Hard Disk .................................. 240 Installing an Internal IDE Hard Disk..................................... 244 Installing an ATAPI ZIP Drive ............................................... 247 Connecting external SCSI devices ...................................... 251 Specications............................................................................... 254 Effect Type List ............................................................................. 256 Effect Parameter List ................................................................... 258 Control Change Number List ...................................................... 270 Troubleshooting ........................................................................... 271 Error Messages ............................................................................ 273 MIDI Data Format ......................................................................... 274 MIDI Implementation Chart ......................................................... 286 Index.............................................................................................. 287
Chapter 8 UTILITY Mode

About the UTILITY Mode ............................................................. 188 1. TOTAL EQ ................................................................................ 189 Total Equalizer ..................................................................... 189 2. PANEL PLAY............................................................................ 191 Knob Controller.................................................................... 191 Knob Controller Setup ......................................................... 191 Function Key Play Setup...................................................... 192 3. SEQUENCE.............................................................................. 194 Sequence ............................................................................ 194
A5000/A4000
Panel and Connector Arrangement

s Front Panel
w y
q MASTER VOL (Master Volume)

Adjusts the volume of the signal appearing at the STEREO OUT L/MONO and R jacks as well as the PHONES jack. This control does not affect output from the ASSIGNABLE OUT L and R jacks. This knob does not affect the output level at the ASSIGNABLE OUT connectors, or at the various connectors provided on the optional I/O expansion board (AIEB1 board).
r INPUT L, INPUT R jacks

Use these jacks to input an analog signal for recording, or for realtime output (A/D In feature). Use the INPUT L jack if you are supplying a monaural signal.
t Display
The display shows a wide range of information including current status and available parameters.
w REC VOL (Recording Volume)

Adjusts the input level from the front panels INPUT L and INPUT R jacks. Use the knob to adjust the level when recording a sample, or when passing an input signal directly through the A5000/A4000 outputs for realtime output (A/D In feature). This knob does not affect the input level to the DIGITAL IN and OPTICAL IN connectors on the optional I/O expansion board (AIEB1 board).
y LCD Contrast Control

LCD Contrast Control Adjusts the contrast of the LCD display panel.
u Knobs
You use the knobs to set the various parameter values, to switch display pages, and execute operations. In most cases you turn the knob to set a value, and push the knob to execute an operation for example, to start or stop recording. Knobs are numbered 1 to 5.
e PHONES jack
Connects to a set of stereo headphones. The PHONES jack always produces the same signal as the STEREO OUT jacks. Note that headphone impedance should be between 16 and 150 ohms.
i Mode buttons
The A5000/A4000 provides ve operating modes. You select the mode by pressing the corresponding mode button. The button lamp comes on to indicate that the mode is selected. Each mode is further divided into six functions. After selecting the mode, you can switch among its functions by pressing the appropriate function keys.
10
!4
A5000
!0
!1
!2
!3
(The A5000/A4000 also uses the button lamps to let you know that it is receiving MIDI data. Each lamp corresponds to a different MIDI data type, and will continue to blink while the A5000/ A4000 is receiving MIDI data of that type. (page 85))
!3 Floppy-disk drive
Accepts a 3.5-inch oppy disk. You can use oppy disks to save and reload your data (programs, samples, sequences, and system settings). Note that there is an access lamp at the lower left of the drive. The lamp lights up while the disk is being accessed. Please do not eject the oppy-disk while this lamp is on. To eject a disk, press the EJECT button at the lower right of the drive. (page 15)
o [F1] [F6] Function buttons

Use these buttons to switch among the six functions within the currently selected mode.
!0 [COMMAND/EXIT] button
This button calls the command menu from which you can access a range of commands not included in the modes. Press a second time to revert to the mode display. (page 177, 206)
!4 POWER switch
Press once to switch the power on. Press again to turn the power off. (page 27)
The A5000/A4000 stores all new data into main memory only, and will lose all of this data when you switch off the power. You must therefore be sure to save all important data to disk before turning the A5000/A4000 off.
!1 [ASSIGNABLE] button
This button can be used to turn off all notes, reset all controllers, switch Knobs 2 through 5 for control change operation, switch the function buttons for tone generator playback, and more. (page 86)
!2 [AUDITION] button
Press the button to play out the currently selected sample. You use this feature to check the sound of the sample while editing.
A5000/A4000
11
s Rear Panel
r
A5000
q AC inlet
Connects to the AC power cord supplied with the A5000/A4000. (Please do not use any other power cord with this unit.)
r STEREO OUT jacks

These are the main analog output jacks.
t SCSI connector
This is a half-pitch 50-pin connector. You use it to connect up a SCSI hard drive, CD-ROM drive, or other SCSI device.
w MIDI IN-A, IN-B, OUT, THRU-A, THRU-B (MIDI IN, OUT, THRU on the A4000)
These connectors are for connection to external MIDI devices. The MIDI IN-A and MIDI IN-B connectors (MIDI IN only on the A4000) are for reception of MIDI messages, while the MIDI OUT connector is for MIDI transmission. MIDI THRU-A and THRU-B (MIDI THRU only on the A4000) retransmits the data received at the MIDI IN connector(s).
e ASSIGNABLE OUT jacks

Analog output jacks. These jacks operate independently of the STEREO OUT jacks. You can use these jacks to output the sound of one or more selected samples, or to output the signal supplied through the front panels analog input connectors (page 97, 128). You may also set them so that they output the same signal as the STEREO OUT jacks (page 125).
12
s Rear Panel (with optional AIEB1 board installed)
A5000
q OPTICAL IN, OUT connectors

Use these connectors to input or output digital signals over optical-ber cable. You can use the OPTICAL IN to record a digital signal of frequency 48kHz, 44.1kHz, or 32kHz. The OPTICAL OUT connector outputs a digital signal of frequency 44.1kHz.
w DIGITAL IN, OUT connectors

Use these connectors to input or output digital signals over coaxial (RCA-pin) cable. The digital signal format is CD/DAT (S/P DIF). You can use the DIGITAL IN connector to record a digital signal of frequency 48kHz, 44.1kHz, or 32kHz. The DIGITAL OUT connector outputs a digital signal of frequency 44.1kHz.
e ASSIGNABLE OUT jacks (AS1 to AS6)

Additional analog output jacks. Each pair (1&2, 3&4, 5&6) operates independently of all other outputs on the A5000/A4000. You can use these jacks to output the sound of one or more selected samples, or to output the signal supplied through the front panels analog input connectors (page 97, 128). You may also set them so that they output the same signal as the STEREO OUT jacks (page 125).
A5000/A4000
13
A5000/A4000 Options
A5000/A4000 Options
You can enhance the capability of your A5000/A4000 by installing options. The A5000/A4000 supports two options: (1) additional memory, and (2) the AIEB1 board (I/O expansion board).
Expansion Memory (SIMMs)

The A5000/A4000 stores all active data in main memory. To play a sample back, you must rst load it into main memory. And whenever you record a sample, you must record it into main memory. Samples consume a great deal of memory. The A5000/A4000 comes standard with 4 megabytes (4MB) of memory but this is only sufcient to store about 48 seconds of high-quality monaural sound (at 44.1kHz sampling frequency), or approximately 24 seconds of stereo sound. You can increase this capacity by installing additional memory. The A5000/A4000 accepts expansion memory in the form of SIMMs (single in-line memory modules). Using SIMMs, you can install up to 128MB of memory onto the A5000/A4000. SIMMs can be purchased from almost any computer-supply dealer. Adding memory will allow you to record longer samples, and to work with more samples at the same time. For information about how to install SIMMs, refer to the Appendix. (page 234)
Important Information about Purchase of Expansion SIMMs for the A5000/A4000 The A5000/A4000 does not necessarily support all commercially available SIMMs. Before purchasing SIMMs, please consult your Yamaha dealer or an authorized Yamaha distributor (see list at end of the Owners Manual) for advice. Note that Yamaha cannot assume responsibility for SIMM malfunctions. SIMM Type and SIMM Conguration You need to use 72-pin SIMMs with access time of 70ns or less. The SIMM module size may be 4MB, 8MB, 16MB, or 32MB. The A5000/A4000 is designed for use with 32-bit (parity non-type) SIMMs, but can also accept installation of 36-bit (parity-type) SIMMs. When purchasing SIMMs, make sure that the SIMM design does not utilize more than 18 memory chips per module. (SIMMs comprised of more than 18 chips do not operate correctly on the A5000/ A4000.) SIMMs must be installed in pairs: you can install either two SIMMs or four SIMMs. Both modules in a pair must have the same memory capacity. The A5000/A4000 ships with 4MB of sampling memory installed, and is capable of accessing up to 128MB. If you add one pair of 32MB SIMMs, for example, you increase the available sampling memory to a total of (4 + 32 x 2 =) 68MB. If you install four 32MB SIMMs, however, the sampling memory size becomes 128MB (and the original 4MB are effectively disabled). Yamaha recommends that you purchase SIMMs that conform to the JEDEC* standard. Please be aware, however, that conformance to this standard does not constitute a guarantee that the SIMMs will operate correctly on the A5000/A4000.
* JEDEC (Joint Electron Device Engineering Council) sets standards for terminal congurations within electronic devices.
The I/O Expansion Board (AIEB1 Board)

In its standard conguration, the A5000/A4000 supports analog I/O only. Although it stores all internal data in digital form, it does not provide direct digital I/O connectors. You can add digital I/O capacity by installing an AIEB1 board. The board offers two different digital connector types: optical connectors, and coaxial connectors. As an added benet, the board also includes three stereo ASSIGNABLE OUTPUT pairs (six analog jacks), which operate independently of the standard STEREO OUT and ASSIGNABLE OUT jacks. For information about how to install this board, refer to the Appendix. (page 237)
14
Handling the Floppy Disk Drive(FDD) and Floppy Disk

Precautions
Be sure to handle oppy disks and treat the disk drive with care. Follow the important precautions below.
Disk Type
The A5000/A4000 disk drive accepts 2HD-type and 2DD-type 3.5" oppy disks.
Inserting/Ejecting Floppy Disks

To insert a oppy disk into the disk drive:
Hold the disk so that the label of the disk is facing upward and the sliding shutter is facing forward, towards the disk slot. Carefully insert the disk into the slot, slowly pushing it all the way in until it clicks into place and the eject button pops out.
To eject a oppy disk:

Before ejecting the disk, be sure to conrm that the FDD is stopped (check if the LED below the oppy disk slot is off). Press the eject button slowly as far as it will go; the disk will automatically pop out. When the disk is fully ejected, carefully remove it by hand. Never attempt to remove the disk or turn the power off during reading or writing. Doing so can damage the disk and possibly the disk drive. If the eject button is pressed too quickly, or if it is not pressed in as far as it will go, the disk may not eject properly. The eject button may become stuck in a half-pressed position with the disk extending from the drive slot by only a few millimeters. If this happens, do not attempt to pull out the partially ejected disk, since using force in this situation can damage the disk drive mechanism or the oppy disk. To remove a partially ejected disk, try pressing the eject button once again, or push the disk back into the slot and then repeat the eject procedure. Be sure to remove the oppy disk from the disk drive before turning off the power. A oppy disk left in the drive for extended periods can easily pick up dust and dirt that can cause data read and write errors.
A5000/A4000
15
Cleaning the Disk Drive Read/Write Head

Clean the read/write head regularly. This instrument employs a precision magnetic read/write head which, after an extended period of use, will pick up a layer of magnetic particles from the disks used that will eventually cause read and write errors. To maintain the disk drive in optimum working order Yamaha recommends that you use a commercially-available dry-type head cleaning disk to clean the head about once a month. Ask your Yamaha dealer about the availability of proper head-cleaning disks. Never insert anything but oppy disks into the disk drive. Other objects may cause damage to the disk drive or oppy disks.
About the Floppy Disks

To handle oppy disks with care:
Do not place heavy objects on a disk or bend or apply pressure to the disk in any way. Always keep oppy disks in their protective cases when they are not in use. Do not expose the disk to direct sunlight, extremely high or low temperatures, or excessive humidity, dust or liquids. Do not open the sliding shutter and touch the exposed surface of the oppy disk inside. Do not expose the disk to magnetic elds, such as those produced by televisions, speakers, motors, etc., since magnetic elds can partially or completely erase data on the disk, rendering it unreadable. Never use a oppy disk with a deformed shutter or housing. Do not attach anything other than the provided labels to a oppy disk. Also make sure that labels are attached in the proper location.
To protect your data (Write-protect Tab):

To prevent accidental erasure of important data, slide the disks write-protect tab to the protect position (tab open).
Data backup
For maximum data security Yamaha recommends that you keep two copies of important data on separate oppy disks. This gives you a backup if one disk is lost or damaged.
16
Chapter
Setting Up
Connecting the A5000/A4000 to external MIDI equipment, ampliers, etc., and powering up. Please read this chapter before using your A5000/A4000 for the rst time.
Setup Procedure ...........................................................................18 Power Connection ........................................................................19 Audio Output Connections ..........................................................20 Audio Input Connections .............................................................23 MIDI Connections .........................................................................25 Powering On and Off ....................................................................27 Sound Check.................................................................................28
q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q A5000/A4000
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Setup Procedure
Setup Procedure
his chapter explains how to set up your equipment and run a simple sound check.
Setup Sequence
This chapter takes you through each of the steps necessary to connect up your system.
Connecting the Power

Explains how to connect up the A5000/A4000s power cord. (page 19)
Connecting the A5000/A4000 Outputs

Shows how to connect the A5000/A4000s stereo and assignable outputs to external audio devices. (page 20)
Connecting the Audio Inputs

Shows how to connect microphones and other input devices to the A5000/A4000. (page 23)
MIDI Connections
Introduces basic MIDI concepts, and shows how to connect up MIDI devices. (page 25)
Power ON/OFF
Explains the proper sequence for turning connected devices on and off. (page 27)
Sound Check
Takes you through a simple sound check, to conrm that your equipment is connected correctly. (page 28)
If you have already acquired and intend to install options such as addition SIMM memory, the optional AIEB1 I/O Expansion Board, internal hard disk or ZIP disk drives, or external SCSI devices, please install the options before carrying out the setup procedures described in this chapter. SIMM (expansion memory) installation.....page 234 AIEB1 I/O Expansion Board installation....page 237 Internal SCSI hard disk installation ...........page 240 Internal IDE hard disk installation .............page 244 ATAPI ZIP drive installation .......................page 247 External SCSI device connection..............page 251
18
Chapter 1 Setting Up A5000/A4000 q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q
Power Connection
Power Connection
This page shows you how to connect up the power cord that comes with the A5000/A4000.
Be sure that the A5000/A4000s power switch is OFF before you attach the cord. (The switch is OFF when it is all the way out.) The A5000/A4000 is designed for use with a grounded line (three-prong outlet).
Connecting the Cord

Connect the supplied power cord to the AC inlet on the rear panel. Then plug the other end of the cord into a 3-prong wall outlet.
Wall Outlet
Rear Panel
AC INLET
Power Cord
WARNING
Make sure your A5000/A4000 is rated for the AC voltage supplied in the area in which it is to be used (as listed on the rear panel). Connecting the unit to the wrong AC supply can cause serious damage to the internal circuitry and may even pose a shock hazard! Use only the AC power cord supplied with the A5000/A4000. If the supplied cord is lost or damaged and needs to be replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a re and shock hazard! The type of AC power cord provided with the A5000/A4000 may be different depending on the country in which it is purchased (a third prong may be provided for grounding purposes). Improper connection of the grounding conductor can create the risk of electrical shock. Do NOT modify the plug provided with the A5000/A4000. If the plug will not t the outlet, have a proper outlet installed by a qualied electrician. Do not use a plug adaptor which defeats the grounding conductor.
19
Audio Output Connections

This section explains how to connect the A5000/A4000 audio outputs to external devices.
Be sure that power to the A5000/A4000 and to peripheral devices is OFF before making these connections. Connecting devices while power is ON may result in damage to amps or speakers. Digital I/O connections are available only if the optional AIEB1 board is installed.
Connecting the Analog Outputs

The A5000/A4000 comes standard with the following stereo output jacks.
STEREO OUT ...............Main analog output. ASSIGNABLE OUT.......You can set the jacks to operate independently of the STEREO OUT jacks, so that they output selected samples or programs only. The feature is useful, for example, when you want to send the main signal to one audio device while sending a specic sample to a different device. But it is also possible to set these jacks so that they output the same signal as the STEREO OUT jacks. (page 195)
If you have installed the optional I/O expansion board (AIEB1 board), your A5000/A4000 will include three additional ASSIGNABLE OUT pairs (ASSIGNABLE OUT jacks 1 to 6).
For monaural output:

A5000/A4000 Rear Panel Amp, mixer, etc.
ASSIGNABLE OUT R L
STEREO OUT R L/MONO
INPUT
For stereo output:
A5000/A4000 Rear Panel
Amp, mixer, etc.
ASSIGNABLE OUT R L
STEREO OUT R L/MONO
INPUT L R
20
For assignable output:
Amp, mixer, etc.
ASSIGNABLE OUT R L
STEREO OUT R L/MONO
INPUT 1 L R
INPUT 2 L R
Assignable output using AIEB1 expansion board:

6 5 4 3 2 ASSIGNABLE OUT 1 L R INPUT 3 INPUT 1 L R L R INPUT 4 INPUT 2 L R L R INPUT 5
Amp, mixer, etc.
ASSIGNABLE OUT R L
STEREO OUT R L/MONO
(It is not necessary, of course, to connect up all of the outputs on the expansion board. Connect only the outputs you need to use.)
21
Connecting the Digital Outputs

You can add digital I/O capacity to the A5000/A4000 by installing the optional I/O expansion board (AIEB1 board). The board enables direct digital output of A5000/A4000 playback and digital through-put. For purposes of compatibility, the AIEB1 board includes two different output types: OPTICAL OUT (optical ber) and DIGITAL OUT (coaxial cable). Note that both of these outputs always produce identical signals. The digital outputs function as assignable outputs. You can set them to output selected samples or programs, or you can set them to produce the same output as the STEREO OUT jacks (by setting the Stereo Out to Assignable Out parameter to DIG&OPT (UTILITY-MASTER-Out put) : page 195).
The OPTICAL connectors are protected by plastic covers. You must remove the cover before connecting the cable. Please remember to replace the cover when you disconnect the cable.
OPTICAL output connection
IN OUT OPTICAL
IN OUT DIGITAL
OPTICAL INPUT
Digital device
Coaxial output connection
IN OUT OPTICAL
IN OUT DIGITAL
DIGITAL INPUT
Digital device
22
Audio Input Connections

This section explains how to connect the A5000/A4000 to a microphone, cassette recorder, or other sound source.
Be sure that power to the A5000/A4000 and to peripheral devices is OFF before making these connections. Connecting devices while power is ON may result in damage to amps or speakers. Digital I/O connections are available only if the optional AIEB1 board is installed. To select the input to be used for recording, use the Input parameter on the RecData page (page 155).
Connecting to Analog Input

The following illustrations show how to connect to an analog input source, such as a microphone, analog tape recorder, or analog synthesizer.
For monaural input

Microphone, etc. A5000/A4000 Front Panel
INPUT L R
Connect to INPUT L
Tape, recorder, synth, etc.
A5000/A4000 Front Panel
OUTPUT
INPUT L R
Connect to INPUT L
For stereo input

Microphone, etc. A5000/A4000 Front Panel
INPUT L R
Tape, recorder, synth, etc.
A5000/A4000 Front Panel
OUTPUT L R
INPUT L R
23
Connecting to Digital Input

Installation of the optional I/O expansion board (AIEB1 board) lets you record digital signals directly from a digital input source such as a CD player or DAT recorder. For purposes of compatibility, the AIEB1 board includes two different input types: OPTICAL (optical ber) and DIGITAL (coaxial cable).
OPTICAL input connection
OPTICAL OUTPUT
IN OUT OPTICAL
IN OUT DIGITAL
Digital device
Coaxial input connection
DIGITAL OUTPUT
IN OUT OPTICAL
IN OUT DIGITAL
Digital device
24
MIDI Connections
MIDI Connections
This section explains how to connect the A5000/A4000 to MIDI devices.
Be sure that power to the A5000/A4000 and to peripheral devices is OFF before making MIDI connections. Connecting devices while power is ON may result in MIDI processing errors or unexpected and continuous sound output.
About MIDI
The following overview introduces some basic MIDI concepts. Readers familiar with MIDI may wish to skip to MIDI Connection Congurations, on the next page.
What is MIDI?
MIDI (for Musical Instrument Digital Interface) is a standard, internationally-recognized interface for music-related digital communication among electronic instruments, computers, sequencers, and related devices.
MIDI connectors and cables

MIDI devices provide MIDI connectors marked IN, OUT, and THRU. The IN connector receives data from external devices, the OUT connector outputs locally produced data, and the THRU connector relays data received at the IN connector. MIDI connections are made by running standard MIDI cables between connectors on different devices. Each MIDI cable connects the OUT or THRU connector of one device to the IN connector of another device.
Channels
A single MIDI cable carries up to 16 channels of performance data. If you have a MIDI setup consisting of three keyboards outputting performance data to a fourth device, for example, each keyboard would be transmitting data over a different channel. Each channel is identied by its channel number (1 to 16).
Data types
Each channel can carry a variety of data types. Data types include the following.
Note data: Control change: Program change: Aftertouch: Pitchbend: Bulk data: Keys (on keyboard), and key striking force Controller movement (modulation wheel, foot controller, etc.) Change in voice or program Pressure applied to key after initial strike Movement of the pitchbend wheel Voice and device settings and related data
25
MIDI Connections
MIDI Connection Congurations

You can use MIDI connections to control the A5000/A4000 from an external keyboard, sequencer, or computer, or to transfer A5000/A4000 data to an external MIDI device.
Connecting to keyboard or MIDI controller

Keyboard (or controller)
MIDI THRU OUT IN

MIDI THRU OUT IN
Connecting to keyboard/controller and external tone generator

Keyboard (or controller)
MIDI THRU OUT IN

MIDI THRU OUT IN
Tone Generator (synthesizer, etc.)

MIDI THRU OUT IN
Connecting to computer or sequencer

MIDI Interface (or tone generator with built-in interface)
MIDI THRU OUT IN
Computer

MIDI THRU OUT IN
Sequencer
MIDI THRU OUT IN

MIDI THRU OUT IN
A wide variety of MIDI connection congurations are available. Design your setup to suit your device and performance requirements. The A5000 has MIDI THRU-A and MIDI THRU-B connectors. The MIDI THRU-A connector retransmits MIDI data received via the MIDI IN-A connector, and the MIDI THRU-B connector retransmits MIDI data received via the MIDI IN-B connector.
26
Powering On and Off
Powering On and Off

This section explains the correct procedures for powering up and powering down your equipment.
Power ON
Speakers or ampliers should be switched on last to protect against unexpected sound surges that may damage your equipment.
[Procedure]
1. Switch on power to external MIDI and SCSI devices.

When powering up MIDI devices, it is generally good practice (although not strictly necessary) to switch on the transmitting-side device rst. If you are switching on a SCSI disk or CD-ROM drive, allow the drive a few seconds to get up to speed before proceeding to Step 2.
2. Switch on the power to the A5000/A4000. (Press the POWER switch on the front panel.) 3. Switch on power to speakers and other audio devices.
Power OFF
Like other samplers, the A5000/A4000 stores all new data into main memory only, and will lose all of this data when you switch off the power. You must therefore save all important data to disk before turning the A5000/A4000 off. Speakers or ampliers should be switched off rst to protect against unexpected sound surges that may damage your equipment.
[Procedure]
1. Switch off the ampliers or speakers. 2. Switch off the power to the A5000/A4000. (Press the POWER switch on the front panel.) 3. Switch off external MIDI and SCSI devices.
27
Sound Check
Sound Check
The next procedure takes you though a simple sound check that you can use to conrm proper connection of external audio and MIDI devices. The procedure assumes that you are using a MIDI keyboard to control A5000/A4000 playback.
[Procedure]
1. Make sure that the A5000/A4000 STEREO OUT jacks are connected to an amplier or
mixer and that all components are ready for playback. (page 20)
2. Connect the MIDI OUT connector of your MIDI controller keyboard, sequencer, etc.
to the MIDI IN-A connector (MIDI IN on the A4000) of the sampler and ensure that all components are ready for MIDI control. (page 25)
3. Turn on the A5000/A40000 and all connected equipment. (page 27) 4. Set the A5000/A4000 MASTER VOL control to about the center of its range. 5. Set the amplier, mixer, or other audio reproduction devices volume to an appropriate
level.
6. Set the external MIDI controllers MIDI transmit channel to 1. 7. Make sure the samplers [PLAY] mode button is lit (press the [PLAY] button if it isnt).
8. Press the [F2] function button.
28
Sound Check
9. Rotate Knob 1 to select the Sample Select (PLAY-SAMPLE-SmpSel) display.
10. Rotate Knob 2 to highlight sine wave, and rotate Knob 4 to set the Receive Channel
Assign parameter to A01 (01 on the A4000).
When the A5000/A4000 is turned on a number of basic-waveform samples are automatically created. In this case we have selected the sine wave sample for our sound check.
11. Play the MIDI keyboard or other controller connected to the A5000/A4000.
If you hear the sine wave sample at this point, all is OK. If no sound is produced, try pressing the front-panel [AUDITION] button. If pressing the [AUDITION] button produces sound it is likely that you have not made the right MIDI connectors or properly set your MIDI controller. If pressing the [AUDITION] button produces no sound you should recheck your audio output connections and audio gear. Turn the power off and go back to the previous section to check you connections and settings. If the sound check is successful, continue with the following steps.
12. Turn down all audio volume controls. 13. Turn the A5000/A4000 MASTER VOL all the way to the left (minimum volume). 14. Turn off the power to the A5000/A4000 and all connected equipment.
This completes the sound check procedure.
That completes the initial setup and test procedures. In Chapter 2 well provide an easy introduction to sampling and some of the A5000/A4000s main feature. Follow the hands-on instructions to become familiar with recording and playing samples with your A5000/A4000.
29
Sound Check
30
Chapter
Sampler Basics & Essential Procedures

Although your individual musical needs will ultimately determine how you use your sampler, the basic operations and procedures are pretty much universal. This chapter describes the basic steps youll need to be familiar with for just about any sampling/playback project, and provides step-by-step procedures for some of the most important operations.
SAMPLER BASICS........................................................................32 ESSENTIAL PROCEDURES .........................................................37
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A5000/A4000
31
SAMPLER BASICS
SAMPLER BASICS
The process of using a sampler can be roughly divided into three phases:
1. Recording/Loading getting sound into the machine. 2. Editing Tidying up and modifying the sound as desired. 3. Playback Putting it all together and making music.
These phases and the operations each involves are described in more detail below.
Phase 1:
RECORDING
Getting Sounds Into Your Sampler
No matter how you intend to use your sampler, the rst thing youll need to do is to record or load the sounds you want to play into the samplers memory. There are basically three ways to do this:
LINE RECORDING FROM CD, DAT, TAPE, ETC.
MICROPHONE RECORDING FROM LIVE SOURCES
SAMPLE DATA FROM DISK OR OTHER EQUIPMENT
A5000/A4000
1.
Live Sources (Microphone Recording)
This is the method youll use if you will be recording acoustic musical instruments, voice, or other live sound to be edited, processed, and played via the A5000/A4000.
Step-by-Step procedure on page 37.
2.
Pre-recorded Audio Sources (Line Recording)
Line recording can be used to record samples from audio CD TOOLS, loops and breakbeats from appropriate CDs, of from tape, DAT, or MiniDisc audio recordings youve made yourself on location.
3.
Loading Sample Data
This procedure does not exactly qualify as recording since it is used to load sample data (i.e. samples already recorded and saved in digital sample format) from the internal oppy disk drive, external hard disk or other high-capacity drives, or directly from a computer or other compatible device via the SCSI interface.
Details beginning on page 165.
32
Chapter 2 Sampler Basics & Essential Procedures A5000/A4000
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SAMPLER BASICS
Phase 2:
EDITING
Making Your Samples Sound Right
Once the sample(s) you intend to use have been satisfactorily recorded and placed in the samplers memory, then you can edit the sample data to create exactly the sound you want. This can involve anything from simply trimming/looping and mapping the sample (procedures which do not actually change the sound of the sample), to applying lter, envelope generator, low-frequency modulation, and effects which might dramatically alter the basic timbre and sound of the sample. Although you probably wont need to use all of the available editing functions for every sample, the normal sequence of editing procedures would be:
1.
Trimming and/or Looping
Once youve recorded a sample you might nd that theres unnecessary space or noise preceding or following the sound you want to use. Or you might only want to use a portion of the sound you initially recorded. Trimming, as the term implies, allows you to trim away unwanted portions of the recorded sound, leaving only the sound you want to use.
TRIM ORIGINAL SAMPLE
TRIMMED SAMPLE
If you simply want your sample to play back in linear fashion from beginning to end, then looping is not necessary. But if you want the entire sample to repeat continuously, or you want a specied segment of the sample to repeat continuously to create a sustained tone, then you will need to specify the appropriate looping parameters.
STRAIGHT PLAYBACK (NO LOOP)
The sample plays from beginning to end (or until the note is released).
LOOPED PLAYBACK (ONE EXAMPLE) LOOP In this example the specied loop repeats until the note is released, then the nal decay portion of the sample plays. There are other types of loops.
A5000/A4000
33
SAMPLER BASICS
2.
Mapping
Mapping determines the range of notes on the keyboard or other controller that will play the sample, and how the sample will respond to those notes - e.g. whether it will always play at the same pitch or at different pitches corresponding to the notes played. You can, for example, have a single sample played across the entire note range, several split or overlapping samples played in different note ranges, or many samples each played by an individual key/note.
SAMPLE 1 SAMPLE 2 SAMPLE 3
MAPPING
3.
Filter, EG, and LFO
If you want to actually modify the sound of your samples to create a desired musical effect, you might want to apply: Static or dynamic velocity-controlled ltering to modify the timbre of the sound or created wahwah type effects.
Filter cutoff (or center) frequency controlled by note velocity, envelope generator or LFO. FILTER
Envelope-generator-based amplitude, lter, or pitch variations such that the controlled parameter varies over time whenever a note is played.
ENVELOPE
EG
Envelope generators can produce time-based variations in amplitude, lter frecuency or pitch.
34
SAMPLER BASICS
Cyclic LFO-based amplitude, lter, or pitch variations such as tremolo or vibrato.
LFO
LFO modulation can produce cyclic variations in amplitude, lter frecuency or pitch.
4.
Other Edit Functions
The A5000/A4000 actually offers many more editable functions than the few listed above. You can, for example, individually set the level, pan position, pitch, velocity response, level scaling, and other parameters for each sample. It may seem complex at rst, but all these options allow you to create precisely the sound your music requires.
A5000/A4000
35
SAMPLER BASICS
Phase 3:
PLAYBACK
Putting It All Together & Making Music
Your individual samples are the basic building blocks used by the A5000 and A4000 to create musical sound. After your samples have been recorded and edited there are still a few steps youll need to take before you can start making music.
1.
Programs
Since the A5000/A4000 does not directly play individual samples, your samples need to be assigned to a Program which can be played from your keyboard, computer, or other MIDI controller. A Program can consist of a single sample played over the entire range of your keyboard or controller, or a number of samples mapped to different key ranges. Another program feature offered by the A5000/A4000 is the "Multi" mode in which different programs can be assigned up to 32 "parts" on the A5000 or up to 16 parts on the A4000, which can be played simultaneously via separate MIDI channels.
2.
Effects
The extensive range of top-quality effects provided by the A5000/A4000 can be used to add the nishing touches to your sound. Both models offer multiple effect stages with versatile connection variations. The A5000 features six high-performance effect stages, and the A4000 has three. Both samplers offer a selection of 46 top-quality effects ranging from basic reverb, delay, and modulation effects to much more sophisticated, innovative effects as well as combinations.
3.
Controller Functions
Another basic but important step in setting up for playback is assigning controller functions. Your keyboards modulation wheel, for example, can be assigned to a wide range of parameters other than simple modulation. Effective use of MIDI controllers can give you extraordinary realtime expression control.
36
ESSENTIAL PROCEDURES
This section provides step-by-step procedures for some of the most important A5000/A4000 sampling, editing, and playback operations. Although complete coverage of all possible procedures and variations is not possible within the scope of this manual, the procedures provided will help you to become familiar with the A5000/A4000 interface to the point that you should be able to achieve the desired results by referring to the detailed Reference section of the manual (beginning on page 87).
Make sure that you have properly connected and set up your A5000/A4000 as described in the Setting Up section (page 17) before attempting the procedures in this section.
Step-by-Step
MICROPHONE/LINE RECORDING
This section describes recording from a microphone or line source. For details on loading sample data from a oppy disk or other storage device, refer to page 165 in the reference section of this manual.
1.
Connect a Source
If you will be recording via microphone, connect a microphone with a 1/4 phone plug connector (or use an appropriate adaptor) to the samplers L INPUT.
Just about any high-quality dynamic or condenser microphone can be used, but the A5000/A4000 does not provide phantom power for studio-type phantom-powered condenser microphones. Two microphones connected to the L and R inputs, or a stereo microphone with independent 1/ 4 phone plugs for the left and right channels, can be used with the A5000/A4000 to record stereo samples.
If you will be recording from a line source, connect it to the L, or L and R INPUT jacks.
If your source has either coaxial or optical digital output and you have installed the optional AIEB1 I/O Expansion Board in your sampler (page 13, 14), you can connect the digital output from your source directly to either the coaxial SPDIF or optical input on the expansion board.
2.
Go To the Record Setup Display
Press the [REC] mode button, and then the [SETUP] function key to go to the REC-RecSetup display.
A5000/A4000
37
3.
Select a Record Type
With the topmost function line on the display highlighted (use Knob 1 to select the top line if it is not already selected), use Knob 2 to select the New Record Type. This is the Record Type to select when you want to record a new sample to the samplers memory.
In addition to New, you can select New+ to append the recorded data to the end of the currently selected sample, Replc to replace a specied existing sample, or Save to automatically save the recorded data to disk. See page 153 for details.
4.
Select an Input
Use Knob 1 to highlight the third function line on the display, then use Knob 2 to select the input to which your source is selected. If you have connected a mono microphone to the L input, for example, use Knob 2 to select AD L. If you have a stereo microphone or line source connected to the L and R inputs, select AD L/R.
If you have installed the optional AIEB1 I/O Expansion Board (page 13, 14), you will also be able to select DIGITAL (the coaxial SPDIF digital input on the expansion board, or OPTICAL (the optical digital input on the expansion board). The A5000/A4000 also allows you to select StOut in order to directly re-sample the output signal from the samplers stereo outputs.
38
5.
Select a Sample Type
With the third function line still highlighted, use Knob 3 to select Mono if you want to record a mono sample, or Stereo to record a stereo sample. If Mono is selected, a mono sample will be recorded even if you are recording from a stereo source.
If the optional AIEB1 I/O Expansion Board is installed (page 13, 14), and the DIGITAL or OPTICAL input is selected (above), only the Stereo Sample Type is available.
6.
Select a Sampling Frequency
With the third function line highlighted, use Knob 4 to select the desired sampling frequency. The choices for the AD L and AD L/R input settings are:
44.1k 22k 22kLoFi 11k 11kLoFi 5k 5kLoFi This is the same sampling frequency used by audio CDs, and the sampling frequency that will give you the highest quality (while using up the most memory). The frequency response is limited to about 10 kHz, but the memory requirements are only about 1/2 that of the 44.1 kHz sampling frequency. A noisy Lo-Fi version of the 22k sampling frequency. Only 1/4 the maximum 44.1 kHz sampling frequency, with frequency response limited to about 5 kHz. A noisy Lo-Fi version of the 11k setting. Frequency response is limited to only about 2.5 kHz, but this setting may be sufcient for some types of samples. A noisy Lo-Fi version of the 5k setting.
If the optional AIEB1 I/O Expansion Board is installed (page 13, 14), and the DIGITAL or OPTICAL input is selected (above), the sampling frequency can be set to match the sampling frequency of the digital input signal, or it can be set to 1/2, 1/4, or 1/8 of the input signal. See page 155 for details.
7.
Select a Pre-trigger Time
With the third function line highlighted, use Knob 5 to select an appropriate pre-trigger time. Pre-trigger means that recording actually begins the specied number of milliseconds (a millisecond is 1/ 1000th of a second) before recording is started, either manually or by automatic triggering. This ensures that the beginning of samples wont be cut off, particularly when using automatic triggering. Your choices are 0, 100, 200, 300, 400, and 500 milliseconds.
A5000/A4000
39
8.
Go To the Record Trigger Display
Press the [TRIGGER] function key to go to the REC-Trigger display.
9.
Set the AD Input Gain
This is not necessary if youre using direct digital input, but if you are recording analog microphone or line signals via the L-INPUT-R jacks you will need to select the appropriate AD Input Gain setting. With the top function line highlighted, use Knob 3 to select Line if you will be recording line-level signals, or Mic if you will be recording a low-level microphone signal.
10.
Set the Trigger Options
The REC-Trigger display also offers Start and Stop trigger type and edge level parameters (function lines 3 and 4, respectively). If you want to start and stop recording manually (i.e. by pressing a panel button), select the Manual trigger mode. If you select the Edge/Manual mode, recording will be triggered automatically when the input signal level exceeds the threshold set by the corresponding EdgeLevel parameter (recording can still be triggered manually in this mode). The higher the edge level setting, the higher the signal level required to trigger recording. You can check your edge level setting visually in this page by applying the signal to be recorded to the A5000/A4000 and watching the meter and edge level marker at the top of the display. The same applies to Stop triggering. You can stop recording in the Manual mode, or select the Edge/Manual mode so that recording stops automatically when the source signal level drops below the threshold set by the EdgeLevel parameter.
Level Input Signal Stop Edge Level Start Edge Level
Time Start Recording Stop Recording
When the MONITOR function is turned off, the source signal is not routed to the sampler's outputs for monitoring. If you wish to monitor the source via the sampler's outputs while recording, press Knob 2 (MONITOR) to turn monitoring on (the "MONITOR D" icon will appear).
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11.
Go To the Record Display
Press the [RECORD] function key to go to the REC-Record display. In this display the RECORD value is the total number of seconds that can be recorded as a single sample (the corresponding memory size in kilobytes appears in parentheses following the seconds value).
12.
Go To the Record Standby Display
Press Knob 5 (GO) to go to the record standby display. The WAIT TRIG indicator in the display will be highlighted while the A5000/A4000 waits for recording to be triggered either automatically or manually.
13.
Start Recording
If you selected the Edge/Manual Start Trigger mode in step 10, recording will begin automatically as soon as the input signal level exceeds the specied Edge Level. If you selected the Manual Start Trigger mode, recording will begin as soon as you press Knob 4 (START). The RECORDING indicator in the display will be highlighted while recording is in progress.
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14.
Stop Recording
If you selected the Manual Stop Trigger mode, recording will stop as soon as you press Knob 5 (FINISH). If you selected the Edge/Manual Stop Trigger mode in step 10, recording will stop automatically as soon as the input signal level drops below the specied Edge Level. If the recording is not going as expected and you want to stop and try again, press Knob 3 (ABORT) to abort the record operation without saving the recorded data to memory.
When you record a sample as described in the above procedure, the recorded data is saved to the samplers volatile memory and will be lost if the power is turned off before the data is saved to disk. See page 208 for information on saving recorded samples to disk.
Step-by-Step
TRIMMING
Trimming allows you to trim away unwanted portions of the recorded sound, leaving only the sound you want to use.
1.
Go To the TRIM/LOOP Display
Press the [EDIT] button and then the [TRIM/LOOP] function key to go to the EDIT-Waveform display.
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2.
Select a Sample To Edit
If the sample you want to edit isnt already selected (the sample name appears at the bottom of the window in the upper left corner of the display), press Knob 1 (TREE) to see a list of the available samples, use Knob 2 to select the desired sample, then press Knob 1 (PARAM) again to return to the EDIT-Waveform display. You can play the selected sample by pressing the [AUDITION] button.
3.
Specify the Wave Start & End Addresses
With the topmost function line on the display highlighted (Wave: use Knob 1 to select it if it isnt already selected), use Knob 2 and Knob 3 to specify the start and end addresses at which the sample is to be trimmed, respectively. Solid vertical lines in the waveform display show the currently selected Start and End points. If you need coarser or ner adjustment, use Knob 4 to select the digit in the Start and End values which will be directly adjusted by Knobs 2 and 3. Your options are x1, x10, x100, x1000, and x10000. The position of the inverse block cursor in the address values shows the digit currently being adjusted. You can hear how the edited sample sounds at any point during this process by pressing the [AUDITION] button.
Be sure to check out the Handy Auto-addressing Functions described in the next section (Stepby-Step LOOPING). They can make locating optimum Start and End points a lot easier. You can change the units used for trim and loop point specication by scrolling down to the EndType parameter and using Knob 2 to select the desired unit: Address, Length, Time, or Beat. See page 124 for details on this feature. The specied Wave Start and End points are saved with the sample data.
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Step-by-Step
LOOPING
Looping lets you specify all or a portion of the sample as a loop which will repeat during playback, depending on the selected Loop Mode. Looping can be used to simply make a sound repeat, or to make it possible to play sustained tones of virtually any length using a short sample. If you have a violin sample, for example, it will have an attack, a relatively uniform middle section, and a release. If you loop a carefully selected section of the middle portion you can sustain the violin sound as long as you hold a note, then the release portion would play when the note is released.
1.
Go To the TRIM/LOOP Display
If you are not already there, press the [EDIT] button and then the [TRIM/LOOP] function key to go to the EDIT-Waveform display.
2.
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3.
Specify the Loop Mode
Use Knob 1 to highlight the third function line on the display (Auto & LpMode), and use Knob 3 to select the desired Loop Mode. The available loop modes are listed below:
O O One One No loop Continuous loop; the loop will continue to play until the note(s) is released, then the remainder of the loop will play and playback will stop. Loop to release: the loop will play until the note(s) is released, then the remaining portion of the sample will play. No loop; reverse playback. No loop one-shot. The sample plays through to the end regardless of note-off. No loop; reverse one shot. The sample plays through to the end backwards, regardless of note-off.
4.
Specify the Loop Start & End Addresses
Use Knob 1 to highlight the second function line on the display (Loop), then use Knob 2 and Knob 3 to specify the Loop Start and End addresses, respectively. Dotted vertical lines in the waveform display show the currently selected Start and End points. If you need coarser or ner adjustment, use Knob 4 to select the digit in the Start and End values which will be directly adjusted by Knobs 2 and 3. Your options are x1, x10, x100, x1000, and x10000. The position of the inverse block cursor in the address values shows the digit currently being adjusted. You can hear how the edited sample sounds at any point during this process by pressing the [AUDITION] button.
Note that the Loop values cannot be set outside the Wave Start and End points. Obviously, the Loop Start point cannot be set earlier than the Wave Start Point, and the Loop End Point cannot be set later than the Wave End Point. You can change the units used for trim and loop point specication by scrolling down to the EndType parameter and using Knob 2 to select the desired unit: Address, Length, Time, or Beat. See page 124 for details on this feature. The specied Loop Start and End points are saved with the sample data.
Handy Auto-addressing Functions
q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q
Sometimes, setting the optimum Wave and Loop points can be a tricky business. Unless your Start and End points are set precisely to the right points on the sample waveform, you can end up with annoying clicks and noise. The A5000/A4000 provides a number of auto-addressing functions that can make it easy to set precise Start and End points. Use Knob 1 to highlight the third function line (Auto and LpMode), then use Knob 2 to select the Auto mode that best suits you purpose (see list below).
off LengLock No auto-addressing. Length Lock. When this mode is selected the length of the sample or loop will be precisely maintained when either the Start or End point is changed. For example, if you adjust the Loop Start address, the Loop End address will change automatically to maintain a constant loop length. When this mode is selected only addresses which correspond to zero-crossing points on the waveform can be selected. This makes it easy to trim or loop a waveform so that no clicks are produced at the beginning or end of the sample. When Snap is selected, only addresses corresponding to points on the waveform which are at exactly the same level as the opposing point can be selected. For example, if you have set the Start point of a loop, then the End point will always be at precisely the same level as the Start point. This mode can make it easy to set smooth, noise-free loops.
Zero
Snap
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Step-by-Step
MAPPING
1.
Go To the MAP/OUT Display
If you are not already there, press the [EDIT] button and then the [MAP/OUT] function key to go to the EDIT-Mix&Key display.
2.
3.
Map the Sample
Use Knob 1 to highlight the second function line on the display (OrigKey/Low/High/KeyXfade). Knob 2 sets the samples Original Key. This is the note to which the original sample will be mapped (e.g. the note at which the sample will sound at its original pitch). Use Knob 3 and Knob 4 to set the Low and High notes of the range over which you want the sample to play. The defaults are Low = C-2 and High = G8, with which the sample will sound over the entire range of MIDI notes from any controller. If you want the sample to sound only on the octave beginning at middle C, for example, set the Low and High parameters to C3 and C4, respectively. When the KeyXfade parame-
46
ter is turned on, rather than abruptly starting and stopping at the assigned keys the sound of the sample will fade into the adjacent key ranges, in some cases providing a smooth crossover between adjacent samples.
A number of other important sample parameters can be accessed for this display page. See pages 127 through 132 in the reference section of this manual for details.
Step-by-Step
FILTER SETUP
The A5000/A4000 features an extraordinarily sophisticated lter stage which offers not only the standard low-pass, high-pass, peak, and band elimination response modes, but a number of composite modes as well: e.g. dual peaks, LPF + peak, and more.
1.
Go To the FILTER Display
If you are not already there, press the [EDIT] button and then the [FILTER] function key to go to the EDIT-Fltr&EQ display.
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2.
If the sample you want to edit isnt already selected (the sample name appears at the bottom of the window in the upper left corner of the display), press Knob 1 (TREE) to see a list of the available samples, use Knob 2 to select the desired sample, then press Knob 1 (PARAM) again to return to the EDIT-Fltr&EQ display. You can play the selected sample by pressing the [AUDITION] button.
3.
Set the Basic Filter Parameters
With the topmost function line on the display highlighted (use Knob 1 to select it if it isnt), use Knob 2 to select the type of lter response you want to use, Knob 3 to set the lters cutoff frequency, Knob 4 to set the lters bandwidth or resonance (the function of this parameter depends on the type of lter selected - see chart below), and Knob 5 to set the distance between the lter frequencies in compound lter types (also see the chart below). Your choices are as follows:
Bypass LowPass1
No lter. A low-pass lter with a relatively gentle rolloff curve (12 dB/oct). Knob 4 (Q/Width) adjusts the gain of a resonant peak at the cutoff frequency. Knob 5 (Distance) has no effect with this lter type. A low-pass lter with a steep cutoff (24 dB/oct). Knob 4 (Q/Width) adjusts the gain of a resonant peak at the cutoff frequency. Knob 5 (Distance) has no effect with this lter type. A low-pass lter with a medium 18dB/oct cutoff. Knob 4 (Q/Width) adjusts the gain of a resonant peak at the cutoff frequency. Knob 5 (Distance) has no effect with this lter type. A high-pass lter with a relatively gentle rolloff curve (12 dB/oct). Knob 4 (Q/Width) adjusts the gain of a resonant peak at the cutoff frequency. Knob 5 (Distance) has no effect with this lter type. A high-pass lter with a steep cutoff (24 dB/oct). Knob 4 (Q/Width) adjusts the gain of a resonant peak at the cutoff frequency. Knob 5 (Distance) has no effect with this lter type.
LowPass2
LowPass3
HiPass1
HiPass2
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Bandpass
This bandpass lter passes only a relatively narrow band of frequencies centered at the cutoff point. Knob 4 (Q/Width) adjusts the width of the lters pass band. Knob 5 (Distance) has no effect with this lter type. The opposite of the bandpass response, the Band Elimination lter eliminates (cuts out) a relatively narrow band of frequencies centered at the cutoff point. Knob 4 (Q/Width) adjusts the width of the lters elimination band. Knob 5 (Distance) has no effect with this lter type. A peaking lter which can be used to boost a band of frequencies centered at the cutoff point. Knob 4 (Q/Width) adjusts the gain of a resonant peak at the cutoff frequency. Knob 5 (Distance) has no effect with this lter type. The "Peak2" lter mixes the direct signal with the peak-ltered signal for a drier sound. Knob 4 (Q/Width) adjusts the gain of a resonant peak at the cutoff frequency. Knob 5 (Distance) has no effect with this lter type. This mode provides two peaks. Knob 4 (Q/Width) adjusts the gain of resonant peaks at the cutoff frequencies of both peaks. Knob 5 (Distance) adjusts the distance between the cutoff frequencies of the two peaks. This mode provides 2 dips. Knob 4 (Q/Width) simultaneously adjusts the width of both lter dips. Knob 5 (Distance) adjusts the distance between the cutoff frequencies of the two dips. Two low-pass lters having different cutoff are combined to produce a stepped low-pass response. Knob 4 (Q/Width) adjusts the gain of resonant peaks at the cutoff frequencies of both lowpass lters. Knob 5 (Distance) adjusts the distance between the cutoff frequencies of the two lowpass lters. A combined low-pass lter and peaking lter. Knob 4 (Q/Width) adjusts the gain of resonant peaks at the cutoff frequencies of both lters. Knob 5 (Distance) adjusts the distance between the cutoff frequencies of the two lters. Two high-pass lters having different cutoff are combined to produce a stepped high-pass response. Knob 4 (Q/Width) adjusts the gain of resonant peaks at the cutoff frequencies of both highpass lters. Knob 5 (Distance) adjusts the distance between the cutoff frequencies of the two highpass lters. A combined high-pass lter and peaking lter. Knob 4 (Q/Width) adjusts the gain of resonant peaks at the cutoff frequencies of both lters. Knob 5 (Distance) adjusts the distance between the cutoff frequencies of the two lters. A combined low-pass and high-pass lter. Knob 4 (Q/Width) adjusts the gain of resonant peaks at the cutoff frequencies of both lters. Knob 5 (Distance) adjusts the distance between the cutoff frequencies of the two lters.
BandElim
Peak1
Peak2
2Peaks
2Dips
DualLPFs
LPF+Peak
DualHPFs
HPF+Peak
LPF+HPF
The graphic response display in the upper right corner of the LCD panel will give you an idea of the type of response you have created. You can also use the [AUDITION] key at any time to actually hear the sound produced with the current settings.
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4.
Set the Filters Velocity Sensitivity & Gain
Use Knob 1 to highlight the second function line on the display, then use Knobs 3, 4, and 5 to set the lters velocity-to-cutoff sensitivity, velocity-to-width sensitivity, and gain.
VelocityCutoff With this parameter the lter can set so that its cutoff frequency varies according to keyboard (or other controller) velocity. In other words, the lter cutoff frequency, and therefore the timbre of the sound, will vary according to how hard each note is played. This parameter can be set to both positive and negative values: positive values produce higher cutoff frequencies in response to higher velocity, while negative values produce lower cutoff frequencies in response to higher velocity. Similarly to the VelocityCutoff parameter above, the Q/Width parameter causes the bandwidth or resonant peak of the lter (depending on the selected lter type) to vary according to keyboard (or other controller) velocity. Although it is on the same function line as the velocity sensitivity parameters, the FltrGain parameter simply adjusts the overall gain of the lter - normally to compensate for changes in loudness produced by the lters response.
Q/Width
FltrGain
In addition to the dynamic lter settings described above, the A5000/A4000 also provides a static lter section which can be set up via the parameters on the lowest function line on the display (EQ). See page 135 for details. Scroll below the bottom function line for the lter scaling parameters which allow lter response to be varied across the range of the keyboard or other controller. Details on page 135.
Step-by-Step
EG SETUP
The A5000/A4000 actually has three independent envelope generators which control different aspects of the sound: amplitude, lter, and pitch. In this section well take a quick look at the basic procedure for setting up an amplitude envelope. Full details on all envelope generators can be found in the section beginning on page 137 of this manual.
1.
Go To the EG Display
If you are not already there, press the [EDIT] button and then the [EG] function key to go to the EDIT-AmpEG display.
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2.
If the sample you want to edit isnt already selected (the sample name appears at the bottom of the window in the upper left corner of the display), press Knob 1 (TREE) to see a list of the available samples, use Knob 2 to select the desired sample, then press Knob 1 (PARAM) again to return to the EDIT-AmpEG display. You can play the selected sample by pressing the [AUDITION] button.
3.
Set the EGs Attack, Decay, Sustain Level, and Release
When the top function line of the display is highlighted, use Knobs 2, 3, 4, and 5 to adjust the amplitude envelope generators attack rate, decay rate, sustain level, and release rate parameters, respectively.
Attack Rate
This parameter produces a faster or slower attack by determining how quickly the sound will reach maximum level when a note is played. The higher the value the faster the attack. The way you set the AttackRate parameter can signicantly change the character of the sound. If you apply a slow attack to a sample that normally has a fast attack - a piano or plucked string, for example - the result might sound more like a violin or some type of synthesized electronic sound than the original instrument. The way this parameter works also depends on the AttackMode parameter setting (discussed in the next step). This parameter determines how rapidly the sound will decay to the sustain level (see below) after the maximum attack level has been reached. It will have no audible effect if the Sustain Level parameter (below) is set to its maximum value. While the other three amplitude envelope generator parameters affect rates, the SustainLevel parameter actually sets the level at which the sound will be sustained while a note is held. Setting this parameter lower than its maximum value can emphasize the initial attack/ decay portion of the envelope, producing sounds which have a pronounced attack with a more subdued sustain. The speed at which the sound drops from the sustain level to zero after a note is released is set by this parameter.
DecayRate
SustainLevel
ReleaseRate
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The graphic envelope display in the upper right corner of the LCD panel will give you a general idea of the current amplitude envelope shape.
4.
Set the Rate Scaling, Velocity Sensitivity, and Attack Mode
Use Knob 1 to highlight the 2nd function line on the display, and set the RateScaling, Velocity Rate, and AttackMode, parameters as required.
RateScaling
This parameter can be adjusted so that the evelopes rates increase or decrease toward the higher notes in your keyboard or other controllers range. This simulates the envelope characteristics of many acoustic instruments in which the overall envelope is shorter on higher notes (piano is one example). Positive values produce a shorter envelope on higher notes, while negative values produce a longer envelope on higher notes. With this parameter the envelope can be set so that its rates varies according to keyboard (or other controller) velocity. In other words, the overall envelope rates, and therefore the length of the notes, will vary according to how hard each note is played. This parameter can be set to both positive and negative values: positive values produce faster rates in response to higher velocity, while negative values produce slower rates in response to higher velocity. The normal attack mode is rate in which the attack of the envelope starts at zero and then increases toward maximum at a rate determined by the setting of the AttackRate parameter (above). If the AttackMode parameter is set to hold, however, the envelope starts immediately at maximum level, and the AttackRate parameter determines how long maximum level is maintained before the initial decay begins.
VelocityRate
AttackMode
Scroll below the EDIT-AmpEG display to go to the EDIT-FilterEG (lter envelope generator) page, and then below that page again to go to the EDIT-PitchEG (pitch envelope generator) page. See the section beginning on page 137 for full details on all EG parameters.
Step-by-Step
LFO SETUP
The A5000/A4000 LFO (Low Frequency Oscillator) can be used to apply low-frequency modulation to amplitude (for tremolo type effects), pitch (for vibrato type effects), or lter cutoff (for wah-wah type effects).
1.
Go To the LFO Display
If you are not already there, press the [EDIT] button and then the [LFO] function key to go to the EDIT-LFO display.
52
2.
If the sample you want to edit isnt already selected (the sample name appears at the bottom of the window in the upper left corner of the display), press Knob 1 (TREE) to see a list of the available samples, use Knob 2 to select the desired sample, then press Knob 1 (PARAM) again to return to the EDIT-LFO display. You can play the selected sample by pressing the [AUDITION] button.
3.
Set the LFO Wave, Speed, Delay, & KeyOnSync Parameters
With the topmost function line of the display highlighted (use Knob 1 to select it if necessary), use Knobs 2, 3, 4, and 5 to set the LFO waveform, speed, initial delay, and key synchronization as required.
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Wave
This parameter selects the waveform used for LFO modulation, Your choices are Saw (sawtooth), Triangl (triangular: the usual substitute for a sine wave), Square, and S/H (sample-and-hold: essentially a series of random levels switched in square-wave fashion). The function of this parameter is fairly obvious - it sets the speed of LFO modulation. When set to 0 LFO modulation will begin instantaneously when a note is played. But as you increase this value a delay will occur between the instant the note is played and the start of LFO modulation. Higher values produce longer delays. The KeyOnSync parameter determines whether the start of LFO modulation is synchronized to the beginning of each note. If on modulation will always begin at the same point in the LFO waveform whenever a note is played. When off modulation will begin at a random point in the LFO waveform.
Speed Delay
KeyOnSync
4.
Set the Appropriate Modulation Depth Parameters
Use Knob 1 to highlight the second function line on the display (Depth), and use Knobs 3, 4, and 5 to set the lter cutoff, pitch modulation, and/or amplitude modulation depth as required. Modulation can be applied to a single destination, or any two or three simultaneously.
CutoffMod
Sets the amount of LFO modulation applied to lter cutoff. The nal sound will be determined somewhat by the way the lter is set up (page 133), but lter cutoff modulation will generally produce a wah-wah type effect. Higher values produce deeper modulation. Sets the amount of LFO modulation applied to pitch. The result will be a vibrato type effect. Higher values produce deeper modulation. Sets the amount of LFO modulation applied to amplitude. The result will be a tremolo type effect. Higher values produce deeper modulation.
PitchMod AmpMod
The PhaseInvert parameters on the bottom function line can be used to invert the phase of the LFO waveform for the corresponding modulation destinations. See page 144 for details.
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Step-by-Step
PROGRAM ASSIGNMENT
Assigning single sample or multiple samples to a program is the nal step youll need to take before playing your samples via the A5000/A4000.
1.
Go To the Program Select Display
Press the [PLAY] button and then the [PROGRAM] function key to go to the PLAY-PgmSel (program select) display.
2.
Select a Program
Use Knob 2 or 3 to select the program to which you want to assign your sample(s). The number and name of the selected program will appear in the window in the upper right corner of the display.
Use the Rename function to give the program an original name, if required. See page 89 for details. In the PLAY-PgmSel display Knob 4 is used to select the Single or Multi play mode (page 89 for details), and Knob 5 is used to set the samplers basic receive channel (page 89 for details).
3.
Go To the Sample Select Display
Press the [SAMPLE] function key to go to the PLAY-SmpSel (sample select) display.
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4.
Assign Your Samples
Use Knob 2 to highlight a sample, then use Knob 4 to assign the selected sample to the currently selected program as required and specify its receive channel. When off the sample is not assigned. When set to =Smp the sample is assigned to the Sample Bank receive channel (a Sample Bank is a group of samples which can be handled as a unit in many ways - see page 60 for details). On the A4000 you can also select MIDI channels 01 through 16, while on the A5000 (which has MIDI A and B inputs) you can select MIDI A input channels A01 through A16 and MIDI B input channels B01 through B16. On both models you can also select Bch, which is the basic receive channel set by Knob 5 in the PLAY-PgmSel display.
From the PLAY-SmpSel display you can also use Knob 5 to rename, save, duplicate, delete, and create a new sample bank. See page 94 for details.
5.
Play!
Once your samples have been assigned to a program, you can go ahead and play the program from your keyboard, sequencer, or other controller.
IN CONCLUSION
Well thats the end of our basic tutorial section. If youve read the basics and gone through at least some of the procedures described you should be well on your way to becoming familiar withthewaytheA5000/A4000works.Pleaseunderstand,however,thatsofarwevereallyonly scratched the surface, and that there are LOTS of other important features and functions which are described in detail in the reference section of this manual. Please take the time to look over the tabe of contents (page 8), and perhaps even the index (page 287) so youll have an idea about how and where to look for any further information you might need. Happy sampling!
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Chapter
The A5000/A4000 System & Features

A5000/A4000 system structure and basic operating procedures.
1. System Overview.....................................................................58
Internal Structure.................................................................................. 58 Sampling Tone Generator..................................................................... 59 The Effect Stage................................................................................... 63 Total EQ................................................................................................ 64 Controllers ............................................................................................ 64 Sequencer ............................................................................................ 64 I/O Interface.......................................................................................... 65 Data Organization & Management ....................................................... 65
2. The A5000/A4000 Functions...................................................68

A5000/A4000 Mode Organization ........................................................ 68 Function Tree ........................................................................................ 73
3. Basic Operation .......................................................................77

Common Mode Display Features ......................................................... 77 Selecting Modes & Functions ............................................................... 77 Selecting Display Pages ....................................................................... 78 Editing Parameters ............................................................................... 79 Executing Functions ............................................................................. 80 Command Selection ............................................................................. 80 Character Entry .................................................................................... 81 MIDI Input ............................................................................................. 82 QUICK Entry......................................................................................... 83 Tree View Display ................................................................................. 83 A/D Input............................................................................................... 85 MIDI Indicator ....................................................................................... 85 Shortcut Operation ............................................................................... 86 Special Button Functions...................................................................... 86 Factory Reset ....................................................................................... 86
q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q A5000/A4000
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1. System Overview
1. System Overview
The A5000/A4000 is capable of recording, processing, and playing back musical instrument sounds, sound effects, segments of complete tunes, or just about any type of sound. The basic A5000/A4000 system conguration is described below.
Internal Structure
The A5000/A4000 consists of a tone generator, effect stage, total EQ stage, controllers, sequencer, and I/O interface.
External MIDI device Sampling source
MIDI IN
MIDI data
DIGITAL IN/OPTICAL IN
INPUT
Sequencer Sequence
Sampling Tone Generator Sample Bank Sample Sample

Effect1 Effect4
Effect Stage
Effect2 Effect5 Effect3 Effect6
(A4000 : Effect1 ... 3)
Total EQ Program
001...128
Controllers
[F1] ... [F6], Knob 1 ,,, Knob 5
STEREO OUT/ ASSIGNABLE OUT/ DIGITAL OUT/ OPTICAL OUT
I/O Interface
Floppy Disk SCSI Devices (Hard Disk) MO Drive, CD-ROM IDE Devices (Hard Disk, ZIP Drive)
Output
Sampling Tone Generator (page 59)

This section records audio signals received via the analog input jacks (or the digital coaxial or optical inputs, if the optional I/O board is installed), and allows the recorded samples to be played from an external MIDI controller. This is the heart of the A5000/A4000 system.
Effect Stage (page 63)

The effect section adds ambience effects such as reverb or more dramatic effects to the output signal from the tone generator section. Effects can also be added to input signals as they are recorded. A comprehensive range of 96 effects is provided in 6 individual effect blocks (3 in the A4000).
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Chapter 3 The A5000/A4000 System & Features A5000/A4000
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
1. System Overview
Total EQ (page 107)

A versatile four-band equalizer which can be used to shape the sound of the tone generators output.
Controllers (page 107)

Knobs 2 through 5, the [F1] through [F6] function buttons, [AUDITION] button, [ASSIGNABLE] button, etc., can be used for efcient control of the tone generator and sequencer sections.
Sequencer (page 107)

The sequencer can be used to record performance data from a MIDI controller or other device, and play the recorded data back using the samplers tone generator. This is a no-frills sequencer that can be used as a convenient notepad to jot down ideas for break beats or musical phrases.
I/O Interface (page 108)

The A5000/A4000 has a built-in oppy disk drive which can be used to save and load samples, programs, and other data. Additional storage devices such as hard disks, ZIP drives, CD-ROM drives, etc., can be connected externally via the samplers built-in SCSI interface, or internally via the SCSI and IDE connectors provided. An optional I/O expansion board is also available which provides digital coaxial and optical inputs and outputs for direct sample and playback of digital signals, as well as a number of individual analog outputs. The A5000/A4000 wave memory can be expanded up to a maximum of 128 megabytes.
Sampling Tone Generator

The tone generator section records audio signals received via the analog input jacks (or the digital coaxial or optical inputs, if the optional I/O board is installed), and allows the recorded samples to be edited and played from an external MIDI controller. The recorded signals can be organized as samples, grouped in sample banks, and assigned to programs for easy handling and operation.
Samples
A sample is the smallest unit of data handled by the A5000/A4000, consisting of the sampled waveform plus the most basic playback parameters. The act of recording signals received via the analog INPUT jacks (or the DIGITAL IN or OPTICAL IN connectors if the optional I/O expansion board is installed) is known as sampling, and the recorded wave data is kept in the samples internal wave memory. In addition to the raw wave data, samples include start and end addresses that specify where playback of the wave data is to start and end, loop addresses, an original key parameter, EG (Envelope Generator) parameters, LFO (Low Frequency Oscillator) parameters, and other data that determines how the sample is to be played back.
Sample
Wave Data Sample Parameters Start/end address, loop, original key. EG, LFO ...
59
1. System Overview
In conventional samplers the term sample normally refers to the wave data only. It is important to remember that A5000/A4000 samples also include a number of sample parameters. Samples can be either mono or stereo. Stereo samples have independent wave data for the left and right channels. The total number and size of samples that can be recorded or loaded into memory at a time will depend on the amount of internal wave memory available. Sampling is carried out using the RECORD mode (page 150), while sample editing is carried out in the EDIT mode (page 118).
Sample Banks
A sample bank is a group of samples which can be handled as a single sample. Multi-sampled instruments, drum kits, etc., are collections of many samples that function together to create the desired sound. By grouping all the related samples together as a sample bank, they can be copied, saved, and otherwise managed all at once, making it unnecessary to go through the tedious process of individually processing each sample.
Sample Bank
Sample A Sample B Sample C Sample D
Multi-sampling is often used to achieve realistic reproduction of instruments that have a wide pitch range. Small groups of notes or even single note are individually sampled, then the resultant samples are mapped to the playback key range, thus accurately reproducing the instruments natural tonal variation across its entire range.
Drum kits consist of individual samples of the various drum and percussion instruments required bass drum, snare, toms, cymbals, etc., mapped to individual notes of the keyboard or other controller. When multi-sampled data which was not created using the A5000/A4000 or A3000 is imported, an appropriate sample bank will usually be automatically created. This may not occur, however, with data imported from certain devices. Sample banks are created using the PLAY mode Sample Select function (PLAY SAMPLESmpSel, page 93).
60
1. System Overview
Programs
When you play a sound on your sampler, you are actually playing a program to which the necessary samples and/or sample banks are assigned. There are always 128 programs in memory even when the power is rst turned on the sampler contains 128 initialized programs (program numbers 001 128).
s Program Data
The data included in programs can be broadly divided into three types: 1. Sample Select This parameter species which samples and/or sample banks residing in the samplers memory are to be used by the program.
In programs, multiple samples can be layered and played simultaneously, played on separate keys, in specied velocity ranges, and more. Samples and sample banks can only be played via MIDI control when they are assigned to a program. Sample and sample bank assignment is carried out by using the Sample Select parameter in the PLAY mode (PLAY SAMPLE SmpSel, page 93).
2. Easy Edit This type of data allows the sample parameters to be temporarily adjusted as necessary (these adjustments only apply to the program to which the samples/sample banks are assigned).
Easy Edit can be applied individually to all samples and sample banks assigned to the program. Easy Edit allows samples to be adjusted only for the corresponding program, without actually changing the samples parameters. A single sample can therefore be used in multiple programs with different Easy Edit adjustments for each program. Easy Edit is accessible via the Play Mode Easy Edit function (page 96).
3. Program Parameters This data species the programs volume (loudness), how it will be affected by MIDI controllers, and other important parameters that affect playback. This also includes individual effect settings for each program.
The program parameters are accessed via the PLAY mode Program (page 89), Effect (page 102), Setup (page 107), and Control (page 110) displays.
Memory
Sample A Wave data Sample parameters
Sample B Wave data Sample parameters
Sample C Wave data Sample parameters
Program 001 Program parameters
Sample select Easy Edit
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1. System Overview
About the Program Mode

In the program mode the A5000/A4000 tone generator can be set to function in the Single or Multi mode. When the Single mode is selected only one program can be played at a time.
Even when the Single mode is selected it is possible to achieve Multi-mode type performance by assigning multiple samples or sample banks to the same key range, and assigning each a different MIDI receive channel via the Receive Channel Assign parameter (page 93). In the example below, sample A will be played via MIDI channel 1, and sample B will be played via MIDI channel 2.
Program
Sample A Sample B
Receive Channel Assign = 1ch
Receive Channel Assign = 2ch
When the Multi mode is selected, different programs can be assigned to as many as 32 parts on the A5000 (part A01 B16) or 16 parts on the A4000 (part 01 16), and each part played via a different MIDI channel. In the example below, MIDI data received on MIDI channel 1 via the MIDI IN-A connector controls program 001, data received on MIDI channel 2 controls program 002, and data received on MIDI channel 3 controls program 003. In this case the Receive Channel Assign settings for samples A and B assigned to program 001 are ignored.
When the Multi mode is selected, the program assigned to the part for which the Basic Receive Channel (page 89) is selected becomes the master program. All PLAY mode effect, setup, and control parameters set for the master program will affect all parts in the same way. In the example below, if the Basic Receive Channel is A02 (02 in the A4000), program 002 becomes the master program.
Part A01(01) A02(02) A03(03) : A16(16)
Program Program001 Program002 Program003 : Program032
Program 001
Sample A Sample B
Receive Channel Assign = A02 (02)
Receive Channel Assign = A03 (03)
The A4000 part numbers are shown in parentheses
Ignored
Maximum Polyphony
The maximum polyphony of the A5000 is 126 notes, and that of the A4000 is 64 notes. This is the per sample polyphony, thus when stereo samples (each actually using two samples) are played, or when multiple samples are layered, the total polyphony is reduced accordingly.
62
1. System Overview
The Effect Stage

The effect stage adds ambience effects such as reverb or more dramatic effects to the output signal from the tone generator section. The effect settings are all saved as program parameters, so completely different effect setups can be applied to each program
Effects and the Sampling Tone Generator

The routing of the output signal from the sampling tone generator section is determined for each sample by the sample Output 1 and Output 2 parameters (EDIT MAP/OUT Mix&Key, page 129). When an effect block is specied (E1 E6 on the A5000, or E1 E3 on the A4000) for the Output 1 or Output 2 parameter, the output of that sample will be routed to the corresponding effect block.
Sampling Tone Generator
Program Effect 1 Sample A
Output 1 = E1
Effect Stage
Effect 2
Output
Sample B
Output 1 = E2
Effect 3
The routing of sample output to the effects is carried out via the sample parameters, but the actual effect settings are accessed via the program parameters.
Effect Connections
The A5000 effect stage has 6 separate effect blocks, while the A4000 effect stage has 3. 3 effect blocks are used together as a group, thus the A5000 has two effect groups (Effect 1 3 and Effect 4 6), while the A4000 has one effect group (Effect 1 3). The connections between the effect blocks in each group can be set up in a number of ways (page 102, 103). The effects can be connected in series, in parallel, or a combination of both types. When connected in parallel, each effect block can be independently used to apply different effects to different samples, for example. When connected in series the effects can be combined to create more complex sounds. For example, after applying delay to a sound you could then apply reverb and/or equalization.
Series
Effect 1
Parallel
Effect 1
Combined
Effect 1
Effect 2
Effect 2
Effect 2
Effect 3
Effect 3
Effect 3
In the A5000 it is possible to route the output of Effects 1 3 to Effects 4 6, thus effectively connecting 6 effect blocks in series (page 102).
63
1. System Overview
Recording Effects
Effects can also be added to input signals as they are recorded, so that the samples are recorded complete with effects. The Record effect settings should be made in the RECORD mode before recording each sample.
Total EQ
A versatile four-band equalizer which can be used to shape the sound of the tone generators output. The EQ settings affect the sound delivered via the stereo outputs and headphone output, so it can be used on stage or in the studio to match the overall sound of the output to the room. The Total EQ parameters are accessed via the UTILITY mode (UTILITY TOTAL EQ TotalEQ, page 189). The Total EQ settings remain the same regardless of which program is selected. The Total EW settings do not affect the signal delivered via the L&R assignable outputs, assignable outputs 1 6, or the digital coaxial or optical outputs on the optional I/O expansion board.
Controllers
Knobs 2 through 5, the [F1] through [F6] function buttons, [AUDITION] button, [ASSIGNABLE] button, etc., can be used for efcient control of the tone generator and sequencer sections. Knobs 2 through 5 can be used to transmit MIDI control change messages to the samplers tone generator section (Knob Controller page 191, Knob Controller Setup page 191), and to control sequence recording and playback (Sequence page 194). Function buttons [F1] through [F6] can be used as a mini keyboard to play the tone generator when the [ASSIGNABLE] button is engaged (Function Key Play Setup page 192). A range of playback functions can therefore be controlled even when an external MIDI controller is not available. The [AUDITION] button can be used to play the selected sample from memory or directly from disk.
Sequencer
The sequencer can be used to record performance data from a MIDI controller or other device, and play the recorded data back using the samplers tone generator. This is a no-frills sequencer that can be used as a convenient notepad to jot down ideas for break beats or musical phrases. The sequencer allows real-time recording only, and advanced sequencer features such as MIDI clock synchronization and sequence editing are not implemented. The recorded data is stored in memory as a Sequence, and the number and length of recordable sequences is limited only by the amount of memory available.
64
1. System Overview
I/O Interface
The A5000/A4000 has a built-in oppy disk drive which can be used to save and load samples, programs, and other data. Additional storage devices such as hard disks, ZIP drives, CD-ROM drives, etc., can be connected externally via the samplers built-in SCSI interface, or internally via the SCSI and IDE connectors provided. An optional I/O expansion board is also available which provides digital coaxial and optical inputs and outputs for direct sample and playback of digital signals, as well as a number of individual analog outputs. The A5000/A4000 wave memory can be expanded up to a maximum of 128 megabytes.
Data Organization & Management

All data in the A5000/A4000 internal memory will be lost when the power is turned off. For this reason data save and load operations are essential for efcient operation of the A5000/A4000. In this section well take a look at how the internal memory and disk storage media are related.
Data in Memory
Samples, sample banks, and programs being used by the sampler are kept in the internal memory. Other types of data kept in internal memory are sequences and system parameters. Sequence data consists of MIDI performance data recorded from an external MIDI device via the samplers UTILITY mode. System parameters are retained in non-volatile memory which is not lost even when the power is turned off. System parameters include the UTILITY mode Total EQ parameters, Panel Play, Master, System, and MIDI parameters, as well as setup data for the RECORD mode. The system parameters also include the program-to-part assignments for the tone generator when the Multi mode is selected.
Wave Memory
Sample
Wave data
Sample
Wave data
Sample
Wave data
Parameter Memory
Sample parameters
Sample parameters
Sample parameters
Sequence data
Assign
Sample Bank
Program 001
Sample Select Program Parameter Easy Edit
Program 002
Sample Select Program Parameter Easy Edit
Program 128
Sample Select
...
Program Parameter Easy Edit
System Memory
System parameters
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1. System Overview
Drives
The A5000/A4000 has a built-in oppy disk drive, and additional internal hard disk, ZIP, or similar drives can be installed and connected via the SCSI and IDE connectors provided. External storage devices such as hard disks, ZIP drives, CD-ROM drives, MO drives, etc., can be connected via the samplers built-in SCSI interface. Such drives are referred to as SCSI or IDE devices.
Disks
The term disk refers to the actual storage disk/medium used: oppy disk, ZIP disk, MO disk, etc. New disks must be formatted by the A5000/A4000 before they can be used for data storage and retrieval (page 177). Furthermore, hard disks, ZIP disks, and similar media can be partitioned to function as up to 8 individual disks.
Volumes
The A5000/A4000 stores all main-memory data into a volume on the target disk (or disk partition). The volume stores an entire set of main-memory data. A oppy disk can store a single volume only. The A5000/A4000 automatically creates this volume (named FD VOLUME) when you format the disk. If you are using a SCSI disk, then you are free to create multiple volumes, so that you can store a different set of data onto each. The following illustration shows the relationship between disks and volumes.
Floppy Disk
Volume ("FD VOLUME")
Hard Disk
Volume
Partitioned Hard Disk Disk 1 (Partition 1)

Volume
Disk 2 (Partition 2)
Volume
Disk 3 (Partition 3)
Volume
Volume
Volume
Volume
Volume
Volume
Volume
Volume
Volume
Volume
Volume
Volume
Volume
Volume
The point to remember here is that each disk volume corresponds exactly to a full set of main-memory data. As the next illustration shows, the A5000/A4000 saves all main-memory data into a single volume. When you reload the volume, you restore the main memory to its exact state at the time of the data save.
66
1. System Overview
Saving and Loading

For the sake of convenience, you will generally want to save and reload an entire volume. The use of a volume save makes it easy to save the entire main-memory content before switching the A5000/ A4000 off, so that you can then restore the identical environment the next time you switch the power back on. You can resume work exactly where you left off, with all of your samples and programs intact. The use of multiple volumes allows you to prepare multiple environments, so that you can then switch from one to the other during live performance or when working on different projects. If you are using oppy disks only, then you can store only one volume per disk (so that you will need to change disks in order to load a different environment). If you are using a SCSI drive, however, then you can save multiple volumes to the same physical disk. It is also possible, of course, to save and reload one or more selected objects (samples, programs, or sequences). This approach is useful when you want to bring objects from one environment into another environment for example, when you want to load all objects from one volume and then add selected objects from some other volume.
Saving and Loading Procedures

For instructions about how to execute various types of saves and loads, please refer to the pages indicated below.
Save Type All main-memory content .....SAVE (COMMAND-SAVE) (page 208) Newly edited data only.........SAVE (COMMAND-SAVE) (page 208) All programs only .................SAVE (COMMAND-SAVE) (page 208) Single program only .............SAVE (COMMAND-SAVE) (page 208) All samples only ...................SAVE (COMMAND-SAVE) (page 208) Single sample only...............SAVE (COMMAND-SAVE) (page 208) Single sequence ..................SAVE (COMMAND-SAVE) (page 208) Load Type Entire volume .......................Volume Selest (DISK-VOLUME-Volume) (page 172) All programs.........................Plogram Load (DISK-PROGRAM-PgmLoad) (page 167) Single program ....................Plogram Load (DISK-PROGRAM-PgmLoad) (page 167) All samples ..........................Sample Load (DISK-SAMPLE-SmpLoad) (page 169) Single sample ......................Sample Load (DISK-SAMPLE-SmpLoad) (page 169) All sequences ......................Sequence Load (DISK-SEQUENCE-SeqLoad) (page 171) Single sequence ..................Sequence Load (DISK-SEQUENCE-SeqLoad) (page 171)
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2. The A5000/A4000 Functions

A5000/A4000 Mode Organization
For easy, efcient operation all of the A5000/A4000 functions are grouped into modes. A number or commands are also provided, covering a range of functions not included in the modes. All of the A5000/A4000 functions are grouped into 5 modes and one command group.
PLAY MODE ..................The PLAY mode is used to play and edit programs. EDIT MODE ...................Allows direct editing of the actual sample or sample bank parameters. RECORD MODE............This mode is used to record new samples. UTILITY MODE..............The UTILITY mode includes a range of functions that affect overall operation of the A5000/A4000 as well as sequence recording/playback, etc. COMMANDS .................The COMMANDS include program and sample copy, edit, and a range of operations not included in the function displays.
The various modes are selected by pressing the corresponding mode button, the function groups within each mode are selected by pressing the corresponding function button ([F1] [F6]), and the commands are accessed by pressing the [COMMAND/EXIT] button. Try switching between the various modes and functions to get a feel for how the A5000/A4000 interface works.
Function Buttons
Mode Buttons
PLAY MODE [PLAY] (page 87)

The PLAY mode is used to play and edit programs. When you play a sound on your sampler, you are actually playing a program to which the necessary samples and/or sample banks are assigned. Press the [PLAY] button to enter the PLAY mode. The PLAY mode consists of the following 6 functions:
s [F1] PROGRAM Button (page 89)

Selects the program(s) to be played. Also allows selection on the Single or Multi program mode, as well as setting individual level, pan, transpose, and portamento parameters for each program.
s [F2] SAMPLE Button (page 93)

Species the samples and/or sample banks to be used with the program.
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s [F3] EASY EDIT Button (page 96)

Allows the sample parameters to be temporarily adjusted as necessary (these adjustments only apply to the program to which the samples/sample banks are assigned).
s [F4] EFFECT Button (page 102)

Sets up the effects to be used with the program.
s [F5] SETUP Button (page 107)

Sets up the LFO S/H (Sample & Hold) speed, the A/D input functions, etc.
s [F6] CONTROL Button (page 110)

Species the MIDI controllers (or the Program LFO) which will control the program.
EDIT MODE [EDIT] (page 117)

Allows direct editing of the actual sample or sample bank parameters. A sample is the smallest unit of data handled by the A5000/A4000, consisting of the sampled waveform plus the most basic playback parameters. A sample bank is a group of samples which can be handled as a single sample. Multi-sampled instruments, drum kits, etc., are collections of many samples that function together to create the desired sound. Press the [EDIT] button to go to the EDIT mode. The following 6 functions are provided:
s [F1] TRIM/LOOP Button (page 120)

Allows setting the sample start and end addresses (the points in the waveform at which playback will start and end), loop start and end addresses, loop mode, etc.
s [F2] MAP/OUT Button (page 127)

Sets the samples original key, key range, output destination, output level, tuning, etc.
s [F3] FILTER Button (page 133)

Sets up the lter and EQ parameters that will alter the samples sound.
s [F4] EG Button (page 137)

Sets up individual envelope generators provided for amplitude, lter, and pitch.
s [F5] LFO Button (page 143)

Sets up the LFO for cyclic amplitude, lter, and pitch modulation.
s [F6] MIDI/CTRL Button (page 145)

Sets the MIDI receive channels via which the samples will be controlled, and the functions of MIDI controller to be used.
RECORD MODE [REC] (page 149)

This mode is used to record new samples. Press the [REC] button to enter the RECORD mode. The RECORD mode consists of the following 6 functions:
s [F1] RECORD Button (page 151)

This function is used to actually record new samples.
s [F2] SETUP Button (page 153)

The SETUP function includes parameters which specify the recording source, key range, start/ stop method, normalization, and more.
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s [F3] TRIGGER Button (page 158)

Species how recording will be started and stopped.
s [F4] EFFECT Button (page 160)

Species record effects which will be applied to the recorded signal.
s [F5] EXT CTRL Button (External Control Button) (page 161)

Controls playback of an external audio CD.
s [F6] MONITOR Button (page 163)

Sets up monitoring of the source signal. Also allows generation of a reference click signal at the specied tempo.
DISK MODE [DISK] (page 165)

The DISK mode provides access to functions for loading data from or saving data to oppy disk, hard disk, CD-ROM, and other storage media. A range of functions for managing disks, volumes, and SCSI devices are also provided. The DISK MODE consists of the following 6 functions and 1 command selected via the [F1] through [F6] buttons and [COMMAND/EXIT] button.
s [F1] PROGRAM Button (page 167)

Loads programs from oppy disk, hard disk, or other media.
s [F2] SAMPLE Button (page 169)

Loads samples and sample banks from oppy disk, hard disk, or other media.
s [F3] SEQUENCE Button (page 171)

Loads sequences from oppy disk, hard disk, or other media.
s [F4] VOLUME Button (page 172)

Selects and creates volumes on oppy or hard disk, and allows loading all data in a volume at once.
s [F5] DISK Button (page 173)

Functions for selecting disks, renaming disks, mounting and unmounting hard disks and CDROM drives, and specifying the A5000/A4000s own SCSI ID number.
s [F6] IMPORT Button (page 177)

Allows importing computer-format wave les as well as sample data originally created for other equipment.
UTILITY MODE [UTILITY] (page 187)

The UTILITY mode includes a range of functions that affect overall operation of the A5000/A4000 as well as sequence recording/playback, etc. Press the [UTILITY] button to go to the UTILITY mode. The following 6 functions are provided.
s [F1] TOTAL EQ Button (page 189)

Sets up the 4-band equalizer that applies to the stereo and headphone output signals.
s [F2] PANEL PLAY Button (page 191)

Sets up the panel Knobs and function buttons to control the samplers tone generator.
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s [F3] SEQUENCE Button (page 194)

Allows recording and playback of performance data from an external MIDI controller.
s [F4] MASTER Button (page 195)

Includes functions affecting overall operation of the A5000/A4000.
s [F5] SYSTEM Button (page 197)

Overall system operation and display settings.
s [F6] MIDI Button (page 200)

A wide range of functions affecting MIDI reception and transmission.
THE COMMANDS [COMMAND/EXIT] (page 203)

The COMMANDS include program and sample copy, edit, and a range of operations not included in the function displays. The rst 16 commands COPY through REVERT are accessed when the [COMMAND/EXIT] button is pressed from the PLAY, EDIT, or UTILITY mode. The remaining 6 commands FORMAT through LOAD OS and the SAVE command are accessed when the [COMMAND/EXIT] button is pressed from the DISK mode.
s COPY (page 206)

Copies all or specied programs or samples (sample banks) in memory to different programs or samples (sample banks).
s DELETE (page 208)

Deletes the specied sample (sample bank) or sequence from memory.
s SAVE (page 208)

Saves data from memory to disk.
s ARRANGE (page 211)

Automatically remaps the samples assigned to a specied program or sample bank.
s FREEZE (page 212)

Causes the easy edit settings to be actually applied to the samples or sample banks, or the sample banks settings to the samples it contains.
s REGISTER (page 214)

Registers the settings of the selected program or sample as the initial values.
s BULK DUMP (page 216)

Allows bulk transmission of program or sample data in memory via the MIDI OUT connector.
s INITIALIZE (page 217)

Initializes a single specied program or all programs in memory.
s PROCESS (page 218)

Applies normalization, reverse, fade, loop crossfade, etc., to samples.
s LOOP DIVIDE (page 221)

Divides the wave data between the sample loop start and loop end points into equal segments which become independent samples.
s RESAMPLE (page 222)

Applies time stretch and pitch conversion to samples. Time stretch changes the length of samples without changing their pitch, while pitch convert changes the pitch of samples without changing their length.
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s STEREOMONO (page 225)

Converts stereo samples to mono.
s MOVE (page 226)

Moves the samples assigned to a program to a sample bank, or the samples in a sample bank to another sample bank or program.
s CREATE OSC (page 227)

Creates 7 different basic oscillator waveforms: sine wave, saw up, triangle, square, pulse 1, pulse 2, pulse 3.
s EXPORT (page 228)

Export the selected sample to oppy disk or hard disk as a computer wave le in WAV or AIFF format.
s REVERT (page 230)

Restores the selected sample or sample bank to the previously saved version.
s FORMAT (page 177)

This command formats oppy disks, hard disks, ZIP drives, etc. When a hard disk or ZIP drive is formatted you can specify the creation of 2 to 8 partitions.
s COPY VOLUME (page 181)

Copies all data in a selected volume to a separate volume. Floppy disk volumes cannot be selected as the copy source or destination. Also, volumes on disks which were not formatted by the A5000/A4000 cannot be copied.
s SYSTEM FILE (page 182)

Allows saving all system parameters to disk, or loading them from disk (for information on system parameters see page 274 MIDI Data Format).
s BACKUP (page 182)

Allows the entire contents of a hard disk, ZIP disk, or other disk to be backed up to CD-R or CDRW. Up to 8 disks can be backed up to a single CD-R or CD-RW disk.
s CD-DA (page 184)

Writes samples stored on disk to CD-R or CD-RW disk to produce an audio CD.
s LOAD OS (page 185)

Allows an OS le to be loaded in order to update the samplers operating system.
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Function Tree
[PLAY] PLAY Mode
Page [F1] PROGRAM ............................................................................89 PgmSel.................................................................................89 PgmMix ................................................................................90 PgmPorta .............................................................................91
[F2] SAMPLE ................................................................................93

SmpSel.................................................................................93 SmpBank..............................................................................95
[F3] EASY EDIT............................................................................96

Mix........................................................................................96 Output...................................................................................97 Out & Gain............................................................................97 Filter .....................................................................................98 Pitch .....................................................................................98 AmpEG.................................................................................99 Key .......................................................................................99 Volocity .................................................................................100 Xfade ....................................................................................100 Control..................................................................................101
[F4] EFFECT .................................................................................102

EfSetupA ..............................................................................102 EfSetupB * Not available on the A4000.......................................104 EfEdit....................................................................................104
[F5] SETUP ...................................................................................107

S/HSpeed .............................................................................107 ADInput ................................................................................107
[F6] CONTROL .............................................................................110

PgmCtrlA/B...........................................................................110 ChSetup ...............................................................................112 PgmLFO ...............................................................................113
[COMMAND/EXIT] COMMAND ..................................................203

See page 76 for information on the COMMANDs.
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[EDIT] EDIT Mode

Page
[F1] TRIM/LOOP ...........................................................................120

Waveform .............................................................................120 SmpInfo ................................................................................124 LoopRmx ..............................................................................125
[F2] MAP/OUT ..............................................................................127

Mix&key ................................................................................127 Pitch .....................................................................................129 Exp&Vel................................................................................131 LvlScal..................................................................................132
[F3] FILTER...................................................................................133
Fltr&EQ.................................................................................133 FltrScal .................................................................................135
[F4] EG ..........................................................................................137
AmpEG.................................................................................137 FilterEG ................................................................................138 PitchEG ................................................................................140
[F5] LFO ........................................................................................143

LFO ......................................................................................143
[F6] MIDI/CTRL ............................................................................145

MIDISet ................................................................................145 SmpCtrlA/B...........................................................................146

[REC] RECORD Mode

Page
[F1] RECORD ...............................................................................151

Record..................................................................................151
[F2] SETUP ...................................................................................153

RecSetup..............................................................................153 Process ................................................................................157
[F3] TRIGGER ...............................................................................158

Trigger ..................................................................................158
[F4] EFFECT .................................................................................160

EfSetup.................................................................................160 EfEdit....................................................................................160
[F5] EXT CTRL .............................................................................161

CDDACtrl..............................................................................161
[F6] MONITOR ..............................................................................163

Mon&Click ............................................................................163
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[DISK] DISK Mode

Page
[F1] PROGRAM ............................................................................167

PgmLoad ..............................................................................167
[F2] SAMPLE ................................................................................169

SmpLoad ..............................................................................169
[F3] SEQUENCE ..........................................................................171

SeqLoad ...............................................................................171
[F4] VOLUME ................................................................................172

Volume .................................................................................172
[F5] DISK ......................................................................................173

Disk ......................................................................................173 Setup ....................................................................................173
[F6] IMPORT .................................................................................175

Import ...................................................................................175

SAVE ....................................................................................177 FORMAT...............................................................................177 COPY VOLUME ...................................................................181 SYSTEM FILE ......................................................................182 BACKUP...............................................................................182 CD-DA ..................................................................................184 LOAD_OS ............................................................................185
[UTILITY] UTILITY Mode

Page
[F1] TOTAL EQ .............................................................................189

TotalEQ.................................................................................189
[F2] PANEL PLAY ........................................................................191

KnobCtrl ...............................................................................191 KnobSet................................................................................191 FKeySet................................................................................192
[F3] SEQUENCE ..........................................................................194

Sequence .............................................................................194
[F4] MASTER................................................................................195
Tuning...................................................................................195 Output...................................................................................195
[F5] SYSTEM ................................................................................197

KeysSet ................................................................................197 Custom .................................................................................198
[F6] MIDI........................................................................................200
Channel ................................................................................200 SysEx ...................................................................................201

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[COMMAND/EXIT] COMMAND
Page
COPY .............................................................................................206 DELETE.........................................................................................208 SAVE..............................................................................................208 ARRANGE ....................................................................................211 FREEZE.........................................................................................212 REGISTER ....................................................................................214 BALKDUMP ..................................................................................216 INIT ................................................................................................217 PROCESS .....................................................................................218 LOOPDIV ......................................................................................221 RESAMPLE ..................................................................................222 STEREOMONO ........................................................................225 MOVE.............................................................................................226 CREATE_OSC ..............................................................................227 EXPORT ........................................................................................228 REVERT ........................................................................................230 FORMAT ........................................................................................177 COPY VOLUME ............................................................................181 SYSTEM FILE ...............................................................................182 BACKUP........................................................................................182 CD-DA ...........................................................................................184 LOAD_OS .....................................................................................185
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3. Basic Operation
3. Basic Operation
Common Mode Display Features
The following display features are provided in all A5000/A4000 mode displays (but not in the COMMAND displays).
w e q t y u
q The currently selected mode and display page. w Indicates that Knob 1 can be used to position the cursor and switch display pages. e The number and name of the currently selected program. This only difference is in the PLAY mode PROGRAM function page, in which the selected program is highlighted in the PROGRAM list. r The currently selected sample or sample bank name. This is not shown in the PLAY mode.
The following icons may appear to the left of the sample name: ............ Sample bank. ........... Stereo sample. ............ The sample has been edited but not saved to disk.
The following icon may appear to the right of the sample name:
t will appear when the sample solo function (page 93) is turned on. y When the tree view display MIDISample function (page 84) is set to either Upper or Lower, the or icon will appear, respectively. u The currently selected part number is displayed here when the Multi program mode is selected. will also appear when the currently selected part is set to receive on the Basic Receive Channel (i.e. it is the Master program).
Selecting Modes & Functions

When selecting a function on the A5000/A4000, rst press the mode button containing the function you want to access (PLAY, EDIT, REC, DISK, or UTILITY), and then press the appropriate function button ([F1] [F6]). To access the EDIT mode FILTER functions, for example, rst press the [EDIT] mode button and then the [F3] function button (FILTER).
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3. Basic Operation
Function Buttons
Mode Buttons
One of the FILTER display pages will appear.
Selecting Display Pages

Once you have selected a function group as described in the preceding section, you will have access to one or more display pages containing the related function parameters. When more than one display page is available, you can select pages by rotating Knob 1 until the desired page appears, or by pressing the corresponding mode or function button as many times as necessary to select the desired page.
Using Knob 1
Rotate Knob 1 clockwise to select the next display page, or counter-clockwise to select the previous display page. Some display pages include several display lines, and in such cases rotating Knob 1 clockwise will move the cursor down line-by-line until the bottom of the page is reached, and then the next display page will be selected. The opposite occurs if Knob 1 is rotated counter-clockwise: i.e. the cursor will move upward line-by-line until the top line is reached, then the previous display page will be selected.
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3. Basic Operation
For example, when the EDIT mode FILTER function Filter & EQ page is selected, as shown in the example above, rotating Knob 1 clockwise will move the cursor down line-by-line until the bottom line is reached, then if the Knob is rotated more the next page Filter Scaling will be selected.
This method can be used when the Tree View page Knob Type parameter (page 84) is set to Page. If this parameter is set to Sample, however, Knob 1 selects samples or sample banks to be edited instead of moving the cursor and selecting display pages.
Using the Mode and Function Buttons

Press the currently selected function button to select the next display page, or the currently selected mode button to select the previous display page. Some display pages include several display lines, and in such cases pressing the current function button will move the cursor down line-by-line each time the button is pressed until the bottom of the page is reached, and then the next display page will be selected. The opposite occurs if the current mode button is used: i.e. the cursor will move upward lineby-line each time the button is pressed until the top line is reached, then the previous display page will be selected.
Editing Parameters
Knobs 2 through 5 are used to edit the various parameters that appear on each display page. In almost all pages four parameters are displayed directly above Knobs 2 through 5, and those parameters can be edited simply by rotating the corresponding knob. In some pages more than one display line is provided, and it is necessary to use Knob 1 to select the line containing the desired parameter before using the corresponding knob (2 5) to edit it. For example, when the cursor is located at the top line in the EDIT mode FILTER function Filter & EQ page (i.e. the top line is highlighted) . . .
Knob 2 selects the Filter Type. Knob 3 sets the cutoff value (0 127). Knob 4 sets the Q/Width value (0 30). Knob 5 sets the Distance value (-63 +63).
In some pages certain knobs may have no assigned function, or more than one knob may edit the same parameter.
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3. Basic Operation
Executing Functions
In most display pages youll see labels such as 1>TREE, 2>LIST, or 3>QUICK immediately above certain knobs. These indicate functions which can be engaged by pressing the corresponding knob. In some display pages with multiple lines, however, these functions may change according to the selected display line. When the top line is selected in the EDIT mode FILTER function Filter & EQ page, for example, pressing Knob 2 engages the 2>LIST function, displaying a list of the available lter types.
Command Selection
The A5000/A4000 features a selection of commands covering a range of functions not included in the modes. The commands are accessed by pressing the [COMMAND/EXIT] button: a command menu will appear when the button is pressed. The command menu which appears when the [COMMAND/EXIT] button is pressed from the DISK mode differs from that which appears when the [COMMAND/EXIT] button is pressed from any other mode (except the RECORD mode no commands are accessible from the RECORD mode).
Commands which can only be accessed via the DISK mode are described in Chapter 7: DISK Mode (page 177). All other commands are described in Chapter 9: COMMAND (page 204).
q DISK Command menu (from DISK mode)
q Command menu (from SONG, EDIT, UTILITY mode)
To select a command from the menu, rst use Knob 1 to select the line containing the command to be selected, then press the knob (2 5) below the command. To select the INIT (Initialize) command, for example, use Knob 1 to highlight line 2, then press Knob 5.
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3. Basic Operation
Character Entry
A display like the one shown below will appear when you choose to enter a sample name, program, name, etc.
Turn action Press action
Knob 1 Function menu EXEC
Knob 2 Cursor SPACE & ENTER
Knob 3 Character select ENTER
Knob 4 Character type CANCEL
Knob 5 OK
Characters are entered via this display as follows:
Cursor Position
The name being entered appears on the upper line. An underline cursor will appear below one of the characters in the name (in the example display above, the cursor is below m), and a new character can be entered at the cursor position. Rotate Knob 2 to move the cursor left or right to the desired character location.
Character Selection
After positioning the cursor at the desired character location, use Knob 3 to select a character in the lower display line. When a character is selected, the character at the cursor position in the name will change accordingly. The type of available characters can be changed by rotating Knob 4: you can select upper-case alphabet, lower-case alphabet, numbers, or symbols.
Enter & Move To the Next Character

When youve selected the desired character for the current cursor location as described above, press Knob 3 to actually enter that character and move the cursor to the next character location.
Enter a Space & Move To the Next Character (Erase a Character)

Position the cursor at the desired character location and press Knob 2 (SPACE&ENTER) to enter a space at that location and move to the next character.
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3. Basic Operation
Paste the Previously Entered Name

Press Knob 1 to paste in the previously entered name. For example, if you previously entered the name SAMPLE ABC and pressed Knob 5 to nish character entry, pressing Knob 1 will paste in SAMPLE ABC.
Insert a Space
Rotate Knob 1 to display SPACE-IN and then press Knob 1 to insert a space at the current cursor location. All characters to the right of the new space will be moved to the right one character, accordingly.
Delete a Character
Rotate Knob 1 to display DELETE and then press Knob 1 to delete the character at the current cursor location. All characters to the right of the deleted character will be moved to the left one character, accordingly.
Delete All Characters

Rotate Knob 1 to display DELALL and then press Knob 1 to delete all characters in the current name.
Cancel Character Entry

To exit from the character entry display without entering a name press Knob 4.
Conrm and Finish Character Entry

To conrm and enter the new name and exit from the character entry display press Knob 5.
MIDI Input
Parameters such as MIDI channels, note numbers, velocities, etc. can be set either in the normal way or by receiving an appropriate MIDI message from an external MIDI controller. In the display shown below, for example, Knob 5 can be pressed to allow MIDI input. The MIDI label will ash when the knob is pressed, indicating that the sampler is ready to receive MIDI input. When an appropriate MIDI message is then received, the received MIDI channel, note number, velocity, or other data is entered for the corresponding parameter. Press the knob a second time or select a different function to nish and exit from the MIDI input mode.
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3. Basic Operation
QUICK Entry
Some parameters have a QUICK entry option that allows the maximum, minimum, central (0 for example), or last-entered value to be easily selected. When QUICK appears above a knob as it does above knobs 4 and 5 in the example display, below that knob can be pressed to show a pop-up value menu. Rotate the knob to select the desired value, then press the knob to enter that value and close the QUICK pop-up window.
In some cases the previously-entered value is only temporarily retained by the QUICK entry function, and will be lost when the cursor is moved or different page is selected.
QUICK pop-up window
minimum last entered value maximum
Tree View Display

In most A5000/A4000 display pages pressing Knob 1 calls the Tree View display for convenient sample selection. In addition to allowing selection of the sample to be edited, this page includes a function which allows samples to be directly selected via MIDI input.
The same capability is also available in the following display pages (the parameters are linked). Knob 2 Sample in the PLAY-SAMPLE-SmpSel (Sample Select) page (page 93). Knob 2 OPEN/CLOSE in the PLAY-SAMPLE-SmpSel (Sample Select) page (page 93). Sample selection is a function youll need frequently when editing programs or samples. This type of function organization makes sample selection fast and easy.
w e
Knob 1 Turn action Press action PARAM
Knob 2 Sample OPEN/CLOSE
Knob 3 SORT...
Knob 4 MIDI Sample
Knob 5 KNOB1 TYPE
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3. Basic Operation
Knob 1
[ Press] Parameter View Returns to the previous display.
Knob 2
[ [ Turn] Sample Selects a sample. Press] OPEN/CLOSE Selects display or non-display of all samples in the selected sample bank.
Knob 3
[ Press] SORT... The SORT function accessed by pressing Knob 3 allows the display order of the sample names to be sorted according to the specied conditions.
[Range] off, Name, Status&Name off ... No sorting occurs. Name ... The sample bank and sample names are separately sorted and displayed in alphabetical order, with the sample banks rst and the samples second. Status&Name ... The sample banks and samples are sorted according to their receive channel settings: all samples and sample banks for which the Receive Channel parameter is not set to off are arranged in ascending order by receive channel number, and then the samples and sample banks for which the Receive Channel parameter is off are listed. Samples/sample banks with the same channel settings will be sorted according to Name.
Knob 4
[ Turn] MIDISample The sample to be edited can be selected by playing that sample from an external MIDI controller.
[Range] off, Upper, Lower off ... No MIDI sample selection occurs. Upper ... When a MIDI note-on message plays a sample contained in a sample bank, that sample bank is selected. Lower ... When a MIDI note-on message plays a sample contained in a sample bank, that sample is selected.
For example, if you have selected a program in which SAMPLE A is assigned to notes C-2 B3, SAMPLE B is assigned to C4 B4, and SAMPLE C is assigned to C5 G8, and you press a key in the C4 B4 range while editing SAMPLE A, SAMPLE B will be selected for editing without the need to switch displays. In the same way, SAMPLE C can be instantaneously selected for editing by playing a note in the C5 G8 range.
This function makes it easy to switch between multiple samples assigned to the same program for fast, efcient editing.
When a note plays multiple layered sample, the samples played by that note are selected one after the other each time the note is played. If this is inconvenient, this sequential sample selection feature can be disabled via the UTILITY-SYSTEM-Custom page (page 198).
Knob 5
[ Press] KNOB1TYPE Determines whether Knob 1 will be used for cursor positioning and page selection (Page), or for sample/sample bank selection (Sample).
[Range] Page, Sample
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3. Basic Operation
[Display Explanation]
q Symbol will appear to the left of the names of samples which are assigned to the currently selected program.
w Rch (Receive Channel) Shows the MIDI receive channel specied for each sample/sample bank assigned to the currently selected program in the PLAY-SAMPLE-SmpSel page (page 93). When Receive Channel Assign is set to Bch (the Basic Channel) the basic channel will be displayed, and when Receive Channel Assign is set to =smp the samples receive channel will be displayed. --- will be displayed if a sample banks Receive Channel Assign is =smp and the sample banks MIDI channel is set to ---. Nothing is displayed if the Receive Channel Assign is off. e ORIG (Original Key) The current pitch of the original key note resulting from program transpose and easy edit settings is displayed for each sample (the original key is set via the EDIT-MAP/OUT-Mix&Key page, page 127). --- appears for sample banks.
The program transpose value (PLAY-PROGRAM-PgmMix, page 128) is not shown for samples which are not assigned to the currently selected program.
r PLAYABLE AREA This shows the actual playable area for each sample as a result of program transpose and easy edit settings. To the right of the list the key range set up via the EDIT-MAP/OUT-Mix&Key page is indicated by thin lines and the actual playable range is indicated by thick lines. Nothing is displayed for sample banks. The playable area is not shown for samples which are not assigned to the currently selected program.
A/D Input
This special feature lets you pass an analog signal through the A5000/A4000 at the same time as you are playing out your programs. You would typically use this feature when you wish to combine a vocal performance with A5000/A4000 program play. You must supply the analog signal to the A/D input(s) on the front panel. You may select to pass this signal through any of the available effects on its way through the A5000/A4000. You can set this feature up using the AD Input function (PLAY - SETUP - ADInput) (page 107).
MIDI Indicator
The A5000/A4000 lets you know that it is currently receiving MIDI data by blinking one of the lamps on its ve mode buttons. The blinking lamp indicates the type of data that is coming in, as follows.
Received Data Type Note On/Off : Control Change : Pitchbend : Aftertouch : Program Change : Blinking Lamp PLAY lamp EDIT lamp RECORDING lamp DISK lamp UTILITY lamp
But note that these indications do not operate with respect to data types that are ltered out by the MIDI Receiving Filter (page 200).
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3. Basic Operation
Shortcut Operation
The following shortcut operations are available by pressing the [COMMAND/EXIT] button and a function button.
[COMMAND/EXIT] + [F1]: turns all currently sounding notes off. [COMMAND/EXIT] + [F2]: Alternately switches the MIDISample function (Tree View display, page 83) between off and on (Upper/Lower). [COMMAND/EXIT] + [F3]: Alternately switches the Knob 1 Type function (Tree View display, page 83) between Page and Sample. [COMMAND/EXIT] + [F4]: Resets all controller values.
Special Button Functions

[COMMAND/EXIT] Button The [COMMAND/EXIT] button can be used to open and close the command menu (page 177, 204). It can also be used in conjunction with the function buttons to perform a range of shortcut operations (see previous section). [ASSIGNABLE] Button Functions you use frequently while playing can be assigned to this button. For example, it can be set up to instantly turn all notes off, or reset all controllers. The [ASSIGNABLE] button and Knobs 2 5 can be used for real-time control, and the [ASSIGNABLE] button and function buttons can be used to play the tone generator. The type of function assigned to the [ASSIGNABLE] button is determined via the UTILITY-SYSTEMKeysSet page (page 197). [AUDITION] Button Pressing the [AUDITION] button plays the currently selected sample. The {AUDITION] button will even play samples which are not assigned to the currently selected program, so it can be used to check which sample is selected, and to monitor the sound of a sample being edited. When a sample bank is selected, the [AUDITION] button sequentially plays all samples contained in that sample bank each time it is pressed. The [AUDITION] will also play a selected sample stored on disk without loading the sample into memory.
Factory Reset
The A5000/A4000 can be restored to its factory preset status as follows:
When this operation is executed all memory contents are restored to the original factory settings.
[Operation]
Turn the power ON while holding the [F1] and [ASSIGNABLE] buttons. Release the buttons after the factory reset conrmation display appears.
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Chapter
PLAY Mode
This mode is used to edit and play programs.
About the PLAY Mode ..................................................................88 1. PROGRAM................................................................................89 2. SAMPLE....................................................................................93 3. EASY EDIT................................................................................96 4. EFFECT...................................................................................102 5. SETUP.....................................................................................107 6. CONTROL...............................................................................110
q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q A5000/A4000
Chapter 4 PLAY Mode
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About the PLAY Mode
About the PLAY Mode

This mode is used to edit and play programs. Press the [PLAY] button to enter the PLAY mode.
A "program" consists of one or more samples set up and ready to be played via your keyboard or other MIDI controller.
PLAY Mode Functions

The PLAY mode includes the 6 functions listed below (selected via the [F1] [F6] function buttons, respectively).
s [F1] PROGRAM Button

This function is used primarily to select and play programs. The PROGRAM function also allows switching between the single and multi program modes, and setting the level, transpose, and portamento of individual programs (page 89). The PgmSel (Program Select), PgmMix (Program Mix), and PgmPorta (Program Portamento) pages can be accessed via this function.
s [F2] SAMPLE Button

This function can be used to select samples and set up sample banks (page 93). Two pages are provided: SmpSel (Sample Select) and SmpBank (Sample Bank).
s [F3] EASY EDIT Button

Use this function to make program-level adjustments to each sample's playback settings. You make these settings separately for each program, and they remain effective only while the program is selected. These changes do not affect the sample's own (local) data. (page 96) The EASY EDIT function provides access to the following 10 pages: Mix, Output, Out&Gain (Output and Gain), Filter, Pitch, AmpEG (Amplitude EG), Key, Velocity, Xfade (Crossfade), and Control.
s [F4] EFFECT Button

This function selects and sets up the effects for each program. (page 102) Three pages are provided: EfSetupA (Effect Setup A), EfSetupB (Effect Setup B), and EfEdit (Effect Edit).
The A4000 does not have an EfSetupB page, only a single EfSetup page in place of the A5000's EfSetupA page.
s [F5] SETUP Button

This mode includes functions such as LFO S/H (Sample & Hold) speed and A/D input setup (page 107). Two pages are provided: S/HSpeed (Sample & Hold Speed), and ADInput (A/D Input).
s [F6] CONTROL Button

This function sets up program controllers and handles controller resets. (page 110) The CONTROL function provides access to the following four pages: PgmCtrlA (Program Control A), PgmCtrlB (Program Control B), ChSetup (Channel Setup), and PgmLFO (Program LFO).
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Chapter 4 PLAY Mode A5000/A4000
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
PLAY-PROGRAM
1. PROGRAM
This function is used primarily to select and play programs. The PROGRAM function also allows switching between the single and multi program modes, and setting the level, transpose, and portamento of individual programs. Press the [PLAY] button and then the [F1] function button to enter the PROGRAM mode. The PgmSel (Program Select), PgmMix (Program Mix page 90), and PgmPorta (Program Portamento page 91) pages can be accessed via this function.
See "Basic Operation" on page 78 for details on acessing the various display pages.
Knob 3
[ [ Turn] Program (Select Program) Same function as Knob 2. Press] RENAME... If you wish to set or change the program's name, press this knob to proceed to the name editing screen. For information about how to edit name strings, see "Character Entry" (page 81).
Knob 4
[ Turn] Program Mode Determines whether one A5000/A4000 part will function as a single tone generator receiving data over a single MIDI channel ("Single"), or as a multi-timbre tone generator ("Multi") receiving data over as many as 32 channels on the A5000 or 16 channels on the A4000.
[Range] Single, Multi
Program Select
[PLAY] Button [F1] Button Knob 1 to select "PLAY-PgmSel"
Knob 5
[ Turn] Basic Receive Channel Turn the knob to select the MIDI channel that drives the sample's playback.
[Range] A01 A16, B01 B16 (01 16 on the A4000)
The MIDI receive channel set for each sample or sample bank takes priority (page 93).
From the Program Select page you can select the program you want to play, set the program mode, and set the basic MIDI channel. The content of this display will depend on the Program Mode setting.
s Program Mode = Single

w e q
Press] MIDI You can input your controller-number selection directly from your MIDI keyboard. First press Knob 2 so that the indicator lamp (directly above the knob) begins blinking, and then operate the appropriate controller at the keyboard. The controller's controller number will then appear on the screen directly above the knob. Push the knob again (or move to another page) to terminate this MIDIentry mode and register the new setting.
When setting the MIDI channel via MIDI on the A5000, receive the appropriate MIDI messages via the MIDI IN-A connector to set channels A01 A16, and via the MIDI IN-B connector to set channels B01 B16.
Knob 1 Turn action Press action Page Tree View
Knob 2 Program
Knob 3 Program RENAME...
Knob 4 Program Mode
Knob 5 Basic Receive Channel MIDI
[DISPLAY] Knob 1
[ [ Turn] Page Selects display pages. Press] Tree View Calls the Tree View display (page 83).
q FREE MEMORY
This page displays the amount of memory currently available for use (currently unused). The screen shows separate values for waveform memory ( ) and parameter memory ( ). displays the parameter memory. Parameter memory is the memory used by program or sample parameter data as well as sequence data. displays the wave memory. Wave memory is memory containing the sample wave data.
Knob 2
[ Turn] Program (Select Program) Turn the knob to select a program for playback, editing, or save.
[Range] 001 128
w SOLO
If Sample Solo is turned "on" for any sample in the SmpSel page, the mark will appear (MIDI SAMPLE).
Chapter 4 PLAY Mode
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PLAY-PROGRAM
e MIDI SAMPLE
If MIDI SAMPLE is set to "Upper" or "Lower" in the tree view display page, the corresponding icon will appear: for Upper, and for Lower.
Program Mix
[PLAY] Button [F1] Button Knob 1 to select "PLAY-PgmMix"
s Program Mode = Multi
The Program Mix page allows the nal output levels and transpose values for each program to be set as required. The content of this display will depend on the Program Mode setting (page 89).

Knob 1 Turn action Press action Page Tree View Knob 2 Part Knob 3 Program RENAME... Knob 4 Program Mode Knob 5 Basic Receive Channel MIDI
Knob 1
Same function as Program Mode = Single (pege 89).
Knob 2 Program
Knob 4 Program Level QUICK...
Knob 5 Program Transpose QUICK...
Knob 2
[ Turn] Part Selects the program part to be edited.
Knob 1
Knob 3
[ Turn] Program Turn the knob to select a program for playback, editing, or save.
[Range] 001 128
Knob 2
[Range] 001 128
Press] RENAME... If you wish to set or change the program's name, push this knob to proceed to the name editing screen. For information about how to edit name strings, see "Character Entry" (page 81).
Knob 3
[ Turn] Program (Select Program) Same function as Knob 2. Press] RENAME... If you wish to set or change the program's name, press this knob to proceed to the name editing screen. For information about how to edit name strings, see "Character Entry" (page 81).
Knob 4, 5
When Program Mode = "Multi", the MIDI channels set for each part number take priority over the MIDI channels set for individual samples or sample banks. A program selected with a part which is assigned to the basic channel becomes the "Master Program," and all effect, setup, and control settings made for the Master Program will affect the entire Multi setup.
Knob 4
[ Turn] Program Level Turn the knob to set the program's overall output level.
[Range] 0 127
Press] QUICK... Calls the quick entry menu (page 83).
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PLAY-PROGRAM
Knob 5
[ Turn] Program Transpose Use this setting to transpose the program up or down, in semitone increments. The transposition operates by raising or lowering all samples used by the program. Note that each sample's keyboard range also transposes by an equivalent amount.
[Range] -127 +127
If a sample's keyboard range is set to C3 through B3, for example, then transposing the program by -12 will shift the range for the sample to C2 through B2, so that striking key C2 will produce the sound originally associated with key C3.
Program Portamento
[PLAY] Button [F1] Button Knob 1 to select "PLAY-PgmPorta"
Use this page to set the portamento mode and portamento rate or time for the selected program.
These settings apply only to samples for which the sample portamento mode (EDIT-MAP/OUT-Pitch) is set to =Pgm (page 130).
The content of this display will depend on the Program Mode setting (page 89).

Knob 1 Turn action Press action Knob 1 Turn action Press action Page Tree View Knob 2 Part Knob 3 Program RENAME... Knob 4 Program Level QUICK... Knob 5 Program Transpose QUICK... Page Tree View Knob 2 Program Knob 3 Program RENAME... Knob 4 Program Portamento Mode Knob 5 Program Portamento Rate/Time QUICK...
Knob 1
Knob 1
Knob 2
Knob 2
[Range] 001 128
Knob 3
[Range] 001 128
Knob 3
[ [ Turn] Program (Select Program) Same function as Knob 2. Press] RENAME... If you wish to set or change the program's name, press this knob to proceed to the name editing screen. For information about how to edit name strings, see "Character Entry" (page 81).
Knob 4, 5
Program Level (Knob 4) and Program Transpose (Knob 5) directly set the corresponding values for each program in the same way whether the Multi or Single Program Mode is selected.
Chapter 4 PLAY Mode
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PLAY-PROGRAM
Knob 4
[ Turn] Program Portamento Mode Turn either knob to select the mode. The "rate" settings select a xed-rate slide, while the "time" settings select a xed-time slide.
[Range] rate (ngered), rate (fulltime), time (ngered), time (fulltime) rate (ngered) ... Slides one note into the next only if the rst note (key) is still held when the next note is struck. Slide is at a constant rate; the time required to slide from the rst note's pitch to the next note's pitch increases as the difference between the pitches increases. rate (fulltime) ... Pitch between consecutive notes always slides, even if the rst note is released before the second note is struck. Again, pitch slide occurs at a constant rate. time (ngered) ... Slides one note into the next only if the rst note (key) is still held when the next note is struck. The slide time is always the same; the slide rate increases as the difference between the pitches increases. time (fulltime) ... Pitch between consecutive notes always slides, even if the rst note is released before the second note is struck. Again, the slide time is always the same.
Note that the "ngered" setting is effective only on samples that are set for one-note-at-a-time replay (samples whose Mono/Poly switch is set to mono (EDIT-MAP/OUT-Mix&Key) (page 127). Samples set to poly always receive "fulltime" portamento.
Knob 2 Part
Knob 4 Program Portamento Mode
Knob 5 Program Portamento Rate/Time QUICK...
Knob 1
Knob 2
Knob 3
[Range] 001 128
Knob 5
[ Turn] Program Portamento Rate/Time This value sets the pitch slide rate or slide time. The setting determines the slide rate (if the mode is set to "rate") or the slide time (if the mode is set to "time").
[Range] 1 127
Knob 4, 5
Program Portamento (Knob 4) and Program Portamento Rate/Time (Knob 5) directly set the corresponding values for each program in the same way whether the Multi or Single Program Mode is selected.
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PLAY-SAMPLE
2. SAMPLE
This function can be used to select samples to be used in a program and set up sample banks. Press the [PLAY] button and then the second function key [F2] to enter the SAMPLE mode. Two pages are provided: SmpSel (Sample Select) and SmpBank (Sample Bank page 95).
Knob 3
[ Turn] Sample Solo This setting enables or disables the "sample solo" feature. Setting this feature ON lets you use MIDI input to play the selected sample (or sample bank) by itself. You use this feature when you are editing a sample (or sample bank) and need to hear how it sounds in isolation from other samples.
[Range] off, on
If Sample Solo is turned on for any sample bank, only that sample bank will sound. As an example, assume that you are working with a program that uses two samples, Sample A and Sample B, and that both of these samples are set to play over the entire key range (C-2 to G8). If the "sample solo" feature is OFF, playing a key at the keyboard will produce sounds from both samples. Assume, further, that you are now editing Sample A, and that you want to produce the sound of this sample without intrusion from Sample B. If you set the "sample solo" feature ON, your MIDI input will produce sound from Sample A only. Note that this feature is available only with samples used by the program selected by Knob 2. If you select a sample that is not used by this program, the screen displays a "- -" to indicate that the feature is not available. Note also that this feature is not available with individual samples within a sample bank. If you select such a sample, the screen displays a "- -". But it is possible, however, to select the entire sample bank for solo play. This parameter cannot be edited when Program Mode is set to Multi.
Select Sample
[PLAY] Button [F2] Button Knob 1 to select "PLAY-SmpSel"
Use this page to assign samples to the current program, to select samples for editing, or to save the selected sample to disk.
Knob 2 Sample OPEN/CLOSE
Knob 3 Sample Solo SORT
Knob 4 Receive Channel Assign RESERVE
Knob 5 Shortcut Command EXECUTE
Knob 1
Press] SORT The SORT function accessed by pressing Knob 3 allows the display order of the sample names to be sorted according to the specied conditions.
[Range] off, Name, Rch&Name off ... No sorting occurs. Name ... The sample bank and sample names are separately sorted and displayed in alphabetical order, with the sample banks rst and the samples second. Rch&Name ... The samples are sorted according to their receive channel settings, as follows: Program Mode = Single: A01 B16 (01 16 on the A4000) Bch =smp off Program Mode = Multi: =A01 =B16 (01 16 on the A4000) off Samples with the same channel settings will be sorted according to Name.
Knob 2
[ Turn] Sample Selects a sample to be used in the program. Samples selected here will be used in the current program unless the "RchASSIGN" parameter is turned "off" via Knob 4.
The characters which appear to the left of the sample name have the following meanings: ... Sample Bank ... Stereo Sample
The characters which appear to the right of the sample name have the following meanings: ... The sample has been edited but not saved to disk.
Press] OPEN/CLOSE Pressing this knob alternately selects display or non-display of all samples in the sample bank.
Chapter 4 PLAY Mode
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PLAY-SAMPLE
Knob 4
[ Turn] RchASSIGN (Receive Channel Assign) Determines whether the selected sample will or will not be used in the current program. Set this parameter to "off" if the sample is not be used in the program, or set to the MIDI receive channel via which the sample is to be controlled.
[Range] Program Mode = Single: A01 B16 (01 16 on the A4000), Bch (Basic Receive Channel), =smp (the receive channel set for the sample), off. Program Mode = Multi: Any part number assigned to the current program (A01 B16 on the A5000; 01 16 on the A4000), off
An alert message will appear on the display if you attempt to turn a sample which has easy-edit settings "off," and you will be asked whether it is OK to delete the easy-edit settings. If you then press Knob 5 (>YES) the easy-edit settings will be deleted and the Rch ASSIGN parameter will be turned off. If Knob 2 selects a sample that belongs to a bank, therefore, the RchASSIGN setting is blanked out (a "- -" appears in the setting area). Selecting too many overlapped samples (samples with identical or overlapping key ranges) may cause a delay in playback. In general, you should set your program up such that no key (on the keyboard) produces sound from more than four monaural samples (or 2 stereo samples).
The Shortcut Commands
s DUPLICATE
Creates a copy of the sample selected via Knob 2. If you specify a sample contained in a sample bank to be duplicated, a conrmation display asking whether you want the duplicate to be made inside or outside the sample bank will appear. Press Knob 4 (>InBank) to create a duplicate in the sample bank, or Knob 5 (>Out Of Bank) to create a duplicate outside the sample bank. If you duplicate a sample bank, the A5000/A4000 duplicates both the bank and all of the samples within the bank. (The name for each new sample becomes: original name + "*".)
Immediately following the copy, the new version will have the same sound as the original version: it will have the same parameter settings, and will make use of the same waveform data. You can then edit the parameter data to customize the sound of the new sample.
s DELETE...
Deletes the sample or sample bank selected by Knob 2. Push the knob to delete the sample(s). The A5000/A4000 returns a conrmation screen. Press Knob 5 (>YES) to complete the deletion, or Knob 4 (>NO) to cancel. If you select a sample bank for deletion, the A5000/ A4000 screen will ask whether you want to also delete all of the samples within that bank. Push Knob 5 (>YES) to delete all samples together with the bank, or push Knob 4 (>NO) to delete the sample bank only, while leaving the samples in memory.
Press] RESERVE Pressing this knob has the same effect as temporarily turning the receive channel assignment for the sample used in the program "off." When pressed the receive channel assignment for the selected channel will appear in brackets, and that sample will not sound. Press the knob a second time to restore normal playback.
This function will not work when a sample bank is selected or with samples for which the receive channel assignment is turned "off."
s NEW BANK
Use this page to create a new, empty sample bank in main memory.
s SAVE...
Saves data currently residing in memory to a disk. See page 208 for details.
s RENAME...
If you wish to set or change the program's name, press this knob to proceed to the name editing screen. For information about how to edit name strings, see "Character Entry" (page 81).
Knob 5
[ Turn] Shortcut Command This knob positions the cursor within the sub-mode window to select one of the available shortcut commands.
[Range] DUPLICATE, DELETE..., NEW BANK, SAVE..., RENAME...
(See "The Shortcut Commands" below for details on each command) [ Press] EXECUTE Executes the shortcut command at the current cursor position.
94
PLAY-SAMPLE
Select Sample from Sample Bank

[PLAY] Button [F2] Button Knob 1 to select "PLAY-SmpBank"
Samples are sorted so that those assigned to the currently selected sample bank are listed rst, unassigned samples are listed second, and samples assigned to programs or other sample banks are listed last. When multiple samples or sample banks meet the same conditions, they will be sorted by name.
This display page lets you edit sample banks, adding or removing samples to or from a sample bank. Knob 4
[
Turn] Sample Positions the cursor at the sample to be edited.

An " " will appear to the right of the names of samples which have been edited but not saved to disk. " " will appear to the left of the names of samples contained in the sample bank currently selected via Knob 2. " " will appear to the left of the names of samples which are used by the currently selected program.
Knob 2 Sample Bank FOCUS
Knob 3 SORT
Knob 4 Sample FOCUS
Knob 5 REMOVE/ ADD
Knob 1
[ [ Turn] Page Selects display pages. Press] Tree View Calls the Tree View display (page 83). [ [
" " will appear to the right of names of samples which are already being used in a sample bank or program.
Press] FOCUS Selects the the highlighted sample for editing.
Knob 5 Knob 2
[ Turn] Sample Bank Positions the cursor at the sample bank to be edited.
" " will appear to the right of the names of sample banks which have been edited but not saved to disk. " " will appear to the left of the names of samples which are used by the currently selected program.
Press] REMOVE or ADD When a sample contained in the sample bank selected by Knob 2 is selected by Knob 4, the press function of Knob 5 becomes REMOVE. When any other sample is selected by Knob 4 the press function of this knob becomes ADD.
Press] FOCUS Selects the the highlighted sample for editing.

After using knob 2 to select a sample bank and Knob 4 to select a sample, if you use Knob 5 to execute the REMOVE command the sample will be removed from the sample bank and will become an independent sample. In the same way, if you use Knob 5 to execute the ADD command the selected sample will be added to the sample bank.
s REMOVE
The sample selected via Knob 4 will be removed from the sample bank, and will become an independent sample.
The REMOVE function will only work if the sample selected via Knob 4 is actually assigned to the sample bank selected via Knob 2.
s ADD
The sample selected via Knob 4 will be added to the sample bank selected via Knob 2.
The ADD function will have no effect if the sample selected via Knob 4 is already assigned to the sample bank selected via Knob 2.
Knob 3
[ Press] SORT The SORT function accessed by pressing Knob 3 allows the display order of the sample names to be sorted according to the specied conditions.
[Range] off, Name, Status&Name off ... No sorting occurs. Name ... The sample banks and samples are separately sorted by name in alphabetical order. Status&Name ... Sample banks are sorted according to their relationship with programs, and samples according to their relationship with sample banks, as follows: Sample banks are sorted so that sample banks assigned to programs are listed rst and those which are not assigned are listed second.
If a "USED" sample is selected the "MOVE&ADD" and "DUPLICATE&ADD" optionas become available. The "MOVE&ADD" option the sample will be moved from the program or sample bank to which it was previously assigned, and added to the specied sample bank. The "DUPLICATE&ADD" option duplicates the sample and adds it to the specied sample bank. (The name for each new sample becomes: original name + "*".)
Note that the A5000/A4000 does not create another copy of the waveform data when "duplicating" the sample. Instead, both samples access the same waveform memory area. This means that the duplication does not consume any additional waveform memory.
Chapter 4 PLAY Mode
95
PLAY-EASY EDIT
3. EASY EDIT
Use this function to make program-level adjustments to each sample's playback settings. You make these settings separately for each program, and they remain effective only while the program is selected. These changes do not affect the sample's own (local) data. Press the [PLAY] button and then the third function button [F3] to enter the EASY EDIT mode.
In EASY EDIT, only the samples used by the current program are listed. If EASY EDIT is entered when a sample which is not used by the current program is selected, the EASY EDIT display will open with none of the listed samples selected. Knob 2 can be used at this point to select one of the listed samples. EASY EDIT settings will be cancelled when the "RchASSIGN" parameter for the edited sample is set to "off" (the EASY EDIT settings will not be restored when the sample is re-assigned). If you apply easy editing to a sample bank, the settings apply to the entire bank. You can apply edit settings to individual samples within the bank. This feature lets you adjust the way a sample operates and sounds within a program while leaving the sample's original settings unchanged. This is particularly useful when you wish to use the same sample in different ways with different programs.
Mix
[PLAY] Button [F3] Button Knob 1 to select "PLAY-Mix"
Knob 2 Sample
Knob 3 Level QUICK...
Knob 4 Pan QUICK...
Knob 5 Poly/Mono
Knob 1
Knob 2
[ Turn] Sample Selects the sample to be edited.
The EASY EDIT mode has the following 10 display pages: Mix, Output (page 97), Out&Gain (page 97), Filter (page 98), Pitch (page 98), AmpEG (Ampitude EG page 99), Key (page 99), Velocity (page 100), Xfade (Crossfade page 100), and Control (page 101).
Knob 3
[ Turn] Level (page 127)
[Range] -127 +127 (offset)
EASY EDIT Parameters The EASY EDIT mode is used to apply temporary offset or replacement values for the sample's own editable parameters, and thus the easy edit parameters are essentially the same as those provided in the EDIT mode. In this section we'll simply list the ESY EDIT parameters available and their settings. For details refer to the corresponding EDIT mode parameters on the page numbers provided.
Whether each parameter is an "offset" or "replacement" type is indicated in parentheses after the values. Press "QUICK..." entry knobs for the quick-entry menu refer to page 83 for details. Press "MIDI" input knobs to set the input value from a MIDI controller refer to page 82 for details.
Knob 4
[ Turn] Pan (page 127)
Knob 5
[ Turn] Poly/Mono (page 127)
[Range] Poly, Mono, =Smp (replace) When "=Smp" is selected the receive channel for each sample (page 127) is used as is.
96
PLAY-EASY EDIT
Output
[PLAY] Button [F3] Button Knob 1 to select "PLAY-Output"
Out & Gain

[PLAY] Button [F3] Button Knob 1 to select "PLAY-Out&Gain"
Knob 2 Sample
Knob 3 Output1
Knob 4 Output Level1 QUICK...
Knob 5
Knob 2 Sample
Knob 3 Output2
Knob 4 Output Level2 QUICK...
Knob 5 Filter Gain QUICK...
Knob 1
Knob 1
Knob 2
Knob 2
Knob 3
[ Turn] Output1 (page 129)
[Range] =Smp, off, StereoOut, AsgnOutL&R AsgnOut5&6, DIG&OPT, Ef1 Ef6 (Ef1 Ef3 on the A4000) (replace) When =Smp is selected the output settings programmed for each individual sample are used.
Knob 3
[ Turn] Output2 (page 129)
[Range] =Smp, off, StereoOut, AsgnOutL&R AsgnOut5&6, DIG&OPT, Ef1 Ef6 (Ef1 Ef3 on the A4000) (replace) When =Smp is selected the output settings programmed for each individual sample are used.
Knob 4
[ Turn] Output Level1 (page 129)
Knob 4
[ Turn] Output Level2 (page 129)

When both the sample and Easy Edit Output1 and Output 2 parameters are set to the same output destination, the higher of the two output level settings (Output Level 1 and Output Level2) will take priority. If reducing the Output Level 1 or Output Level 2 setting has no effect, check the sample and Easy Edit Output1 and Output2 destination settings.

Knob 5
[ Turn] Filter Gain (page 134)
Chapter 4 PLAY Mode
97
PLAY-EASY EDIT
Filter
[PLAY] Button [F3] Button Knob 1 to select "PLAY-Filter"
Pitch
[PLAY] Button [F3] Button Knob 1 to select "PLAY-Pitch"
Knob 2 Sample
Knob 3 Cutoff QUICK...
Knob 4 Cutoff Distance QUICK...
Knob 5 Q/WIDTH QUICK... Turn action Press action
Knob 1 Page Tree View
Knob 2 Sample
Knob 3 Pitch Coarse QUICK...
Knob 4 Pitch Fine QUICK...
Knob 5 Portamento
Knob 1
Knob 1
Knob 2
Knob 2
Knob 3
[ Turn] Cutoff (page 134)
Knob 3
[ Turn] Pitch Coarse (page 129)
Knob 4
[ Turn] Cutoff Distance (page 134)
Knob 4
[ Turn] Pitch Fine (page 130)
Knob 5
[ Turn] Q/Width (page 134)
Knob 5
[ Turn] Portamento (page 130)
[Range] =Smp, off, =Pgm (replace) =Smp ... the portamento set for the sample is used. off ... no portamento =Pgm ... the portamento set for the program is used.
98
PLAY-EASY EDIT
Amplitude EG
[PLAY] Button [F3] Button Knob 1 to select "PLAY-AmpEG"
Key
[PLAY] Button [F3] Button Knob 1 to select "PLAY-Key"
Knob 1 Knob 1 Turn action Press action Page Tree View Knob 2 Sample Knob 3 AEG Attack Rate QUICK... Knob 4 AEG Decay Rate QUICK... Knob 5 AEG Release Rate QUICK... Turn action Press action Page Tree View
Knob 2 Sample
Knob 3 Key Range Shift QUICK...
Knob 4 Key Low Limit MIDI
Knob 5 Key High Limit MIDI
Knob 1 Knob 1
[ [ Turn] Page Selects display pages. Press] Tree View Calls the Tree View display (page 83). [ [ Turn] Page Selects display pages. Press] Tree View Calls the Tree View display (page 83).
Knob 2 Knob 2
[ Turn] Sample Selects the sample to be edited. [ Turn] Sample Selects the sample to be edited.
Knob 3 Knob 3
[ Turn] AEG Attack Rate (page 137)
Turn] Key Range Shift

This parameter simultaneously applies offset to the sample's Original Key (page 128), Low Key (page 128), and High Key (page 128) parameters. In short, it produces a lateral shift in the sample's key range.
Press] QUICK... Calls the quick entry menu (page 83). [
Knob 4
[ Turn] AEG Decay Rate (page 137)
Knob 4
[ Turn] Key Low Limit
[Range] C-2 Key High Limit
Notes within the sample's key range set by the Key Range Shift parameter which are below the specied Key Low Limit will not sound.
Knob 5
[ Turn] AEG Release Rate (page 137)
Press] MIDI Allows the note number to be set by MIDI note-on input via the MIDI IN connector (page 82).
Knob 5
[ Turn] Key High Limit
[Range] Key Low Limit G8
Notes within the sample's key range set by the Key Range Shift parameter which are above the specied Key High Limit will not sound.
Press] MIDI Allows the note number to be set by MIDI note-on input via the MIDI IN connector (page 82).
Chapter 4 PLAY Mode
99
PLAY-EASY EDIT
Velocity
[PLAY] Button [F3] Button Knob 1 to select "PLAY-Velocity"
Crossfade
[PLAY] Button [F3] Button Knob 1 to select "PLAY-Xfade"
Knob 2 Sample
Knob 3 Velocity Sensitivity QUICK...
Knob 4 Velocity Low Limit MIDI
Knob 5 Velocity High Limit MIDI
Knob 2 Sample
Knob 3 Knob 4 Key Crossfade Velocity Low Crossfade QUICK...
Knob 5 Velocity High Crossfade QUICK...
Knob 1
Knob 1
Knob 2
Knob 2
Knob 3
[ Turn] Velocity Sensitivity (page 127)
Knob 3
[ Turn] Key Crossfade (page 128)
[Range] =Smp, off, on (replace) =Smp ... The sample's Key Crossfade setting takes priority. off ... Key Crossfade is off.
Knob 4
[ Turn] Velocity Low Limit
[Range] 0 Velocity High Limit
Notes with velocity values between the sample's Velocity Low Range (page 131) and Velocity High Range (page 132) settings which have velocity values lower than the specied Velocity Low Limit will not sound.
on ... Key Crossfade is on.
Knob 4
[ Turn] Velocity Low Crossfade (page 131)
Press] MIDI Allows the velocity value to be set by MIDI note-on input via the MIDI IN connector (page 83).
Knob 5
[ Turn] Velocity High Crossfade (page 132)
Knob 5
[ Turn] Velocity High Limit
[Range] Velocity Low Limit 127
Notes with velocity values between the sample's Velocity Low Range and Velocity High Range settings which have velocity values higher than the specied Velocity High Limit will not sound.
Press] MIDI Allows the velocity value to be set by MIDI note-on input via the MIDI IN connector (page 83).
100
PLAY-EASY EDIT
Control
[PLAY] Button [F3] Button Knob 1 to select "PLAY-Control"
Knob 2 Sample
Knob 3 Alternate Group QUICK...
Knob 4 MIDI Control
Knob 5
Knob 1
Knob 2
Knob 3
[ Turn] Alternate Group (page 145)
[Range] =Smp, off, 1 16 (replace) =Smp ... The sample's Alternate Group setting takes priority. off ... No alternate group is selected. 1 16 ... The corresponding alternate group is specied.
Knob 4
[ Turn] MIDI Control Determines whether the sample (sample bank) controller settings will or will not be effective.
[Range] off, on off ... the sample (sample bank) controller settings are ignored. on ... the sample (sample bank) controller settings are used.
Chapter 4 PLAY Mode
101
PLAY-EFFECT
4. EFFECT
Selects and sets up the effects to be used with the current program. Press the [PLAY] button and then then [F4] function button to enter the effect mode. 3 display pages are provided: EfSetupA (Effect Setup A), EfSetupB (Effect Setup B), and EfEdit (Effect Edit). The A4000 does not have an EfSetupB page, only a single EfSetup page in place of the A5000's EfSetupA page.
See "Basic Operation" on page 78 for details on accessing the various display pages. When "off", "StereoOut, "AsgnOutL&R" "AsgnOut5&6" or "DIG&OPT" is selected as the sample output destination, no effect will be applied to the sound. In order to use the effects be sure to select "Ef1 6" ("Ef1 3" on the A4000). See page 129. The sample's output destination can also be set via the EASY EDIT function (page 97). When the program mode is set to "Multi" (page 89), the master program effect settings take priority (the master program is the program selected for the part assigned to the basic channel). If an effect function is accessed when any other part is selected "Not a Master Part" will appear on the display. If this happens select an appropriate part via the PLAY-PROGRAM-PgmSel page (page 89), and then use the effect functions.
Knob 2
[ Turn] Effect Type Select the effect type to be applied as Effect 1 3. For information about available selections, refer to the "Effect type list" in the appendix. (page 256) Press] LIST... (Effect Type List) Shows a list of the effect types.
Knob 3
[ Turn] Effect Output Selects the output destination for Effect 1 3.
[Range] StereoOut, AsgnOutL&R, AsgnOut1&2, AsgnOut3&4, AsgnOut5&6, DIG&OPT, Ef4, Ef5, Ef6 StereoOut ... Output is sent to the rear-panel STEREO OUT jacks as well as the front-panel PHONES jack. AsgnOutL&R ... The rear-panel assignable output jacks. AsgnOut1&2, AsgnOut3&4, AsgnOut5&6 ... The corresponding assignable outputs on the optional AIEB1 I/O expansion board. DIG&OPT ... The coaxial and optical digital outputs on the optional AIEB1 I/O expansion board.
Effect Setup A
[PLAY] button [F4] button Knob 1 to select "PLAY-EfSetupA" ("EfSetup" on the A4000).
Ef4, Ef5, Ef6 ... Output is routed to the specied effect (not available on the A4000).
When the output is connected to another effect "----------" will appear on the display and the effect output can not be selected. The AsgnOut1&2, AsgnOut2&4, and AsgnOut5&6 output destinations cannot be selected unless the optional AIEB1 I/O expansion board is installed.
EFFECT SETUP A provides access to the Effect 1 3 effect types and three different effect connection types.
[
Press] Effect1 BYPASS The Effect1 effect type display will appear as " (Bypass)" and Effect1 will be temporarily bypassed (no effect). Press a second time to to re-engage the effect.
Knob 1 Turn action Press action Cursor/Page Tree View
Knob 2 Effect Type LIST...
Knob 3 Effect Output Effect1 BYPASS
Knob 4 Effect1...3 Connect Effect2 BYPASS
Knob 5 Effect4...6 Connect Effect3 BYPASS
Knob 1
[ Turn] Cursor/Page Positions the cursor to select effect 1 3, and selects display pages. Press] Tree View Calls the Tree View display (page 83).
102
PLAY-EFFECT
Knob 4
[ Turn] Effect1 3 Connect Select the interconnection between the three effects blocks.
[Range] 1/2/3, 12/3, 123, 1/23, 123
Knob 5
[ Turn] Effect4 6 Connect Select the interconnection between the three effects blocks. This function is not available on the A4000.
[Range] 4/5/6, 45/6, 456, 4/56, 456
1/2/3..............No interconnection all effects blocks operate independently.
4/5/6............. No interconnection all effects blocks operate independently.
1 2/3 .........Feeds the Effect-1 block through the Effect-2 block. Specically, output from the Effect-1 block passes through the Effect-2 block and then to the stereo outputs.
4 5/6 ........ Feeds the Effect-4 block through the Effect-5 block. Specically, output from the Effect-1 block passes through the Effect-5 block and then to the stereo outputs.
1 2 3 ....Feeds the Effect-1 block to the Effect-2 block, and the Effect-2 block to the Effect-3 block.
4 5 6 ... Feeds the Effect-4 block to the Effect-5 block, and the Effect-5 block to the Effect-6 block.
1/2 3 .........Effect 1 functions independently, while the output of Effect 2 is connected to Effect 3.
4/5 6 ........ Effect 4 functions independently, while the output of Effect 5 is connected to Effect 6.
1 2 3 ....Feeds the Effect-1 block to the Effect-2 block, and the Effect-3 block to the Effect-2 block.
4 5 6 ... Feeds the Effect-4 block to the Effect-5 block, and the Effect-6 block to the Effect-5 block.
Press] Effect2 BYPASS The Effect2 effect type display will appear as "(Bypass)" and Effect2 will be temporarily bypassed (no effect). Press a second time to to re-engage the effect.
Press] Effect3 BYPASS The Effect3 effect type display will appear as "(Bypass)" and Effect3 will be temporarily bypassed (no effect). Press a second time to to re-engage the effect.
Chapter 4 PLAY Mode
103
PLAY-EFFECT
Effect Setup B
[PLAY] button [F4] button Knob 1 to select "PLAY-EfSetupB" (This function is not available on the A4000.)
Press] Effect4 BYPASS The Effect4 effect type display will appear as " (Bypass)" and Effect4 will be temporarily bypassed (no effect). Press a second time to to re-engage the effect.
Knob 4
[ [ Turn] Effect1 3 Connect Same function as EFFECT SETUP A Knob 4 (page 103). Press] Effect5 BYPASS The Effect5 effect type display will appear as "(Bypass)" and Effect5 will be temporarily bypassed (no effect). Press a second time to to re-engage the effect.
EFFECT SETUP B provides access to the Effect 4 6 effect types and three different effect connection types.
Knob 5
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Effect Type LIST... Knob 3 Effect Output Effect4 BYPASS Knob 4 Effect1...3 Connect Effect2 BYPASS Knob 5 Effect4...6 Connect Effect3 BYPASS
[ [
Turn] Effect4 6 Connect Same function as EFFECT SETUP A Knob 5 (page 103). Press] Effect6 BYPASS The Effect6 effect type display will appear as " (Bypass)" and Effect6 will be temporarily bypassed (no effect). Press a second time to to re-engage the effect.
Knob 1
[ Turn] Cursor/Page Positions the cursor to select effect 4 6, and selects display pages. Press] Tree View Calls the Tree View display (page 83).
Effect Edit
Knob 2
[ Turn] Effect Type Select the effect type to be applied as Effect 4 6. For information about available selections, refer to the "Effect type list" in the appendix. (page 256) Press] LIST... (Effect Type List) Shows a list of the effect types. [PLAY] button [F4] button Knob 1 to select "PLAY-EfEdit"
EfEdit (Effect Edit) provides access to set parameter values for the selected effect (Effect 1 6)(1 3 on the A4000). You can access and set all of the effect's parameters.
Use this page to edit the effects selected for the current program. The page's appearance and operation varies according to whether "EffectEditType" value is set to "full" or "favorite".
Knob 3
[ Turn] Effect Output Selects the output destination for Effect 4 6.
[Range] StereoOut, AsgnOutL&R, AsgnOut1&2, AsgnOut3&4, AsgnOut5&6, DIG&OPT StereoOut ... Output is sent to the rear-panel STEREO OUT jacks as well as the front-panel PHONES jack. AsgnOutL&R ... The rear-panel assignable output jacks. AsgnOut1&2, AsgnOut3&4, AsgnOut5&6 ... The corresponding assignable outputs on the optional AIEB1 I/O expansion board. DIG&OPT ... The coaxial and optical digital outputs on the optional AIEB1 I/O expansion board.
When the output is connected to another effect " ----------" will appear on the display and the effect output can not be selected. The AsgnOut1&2, AsgnOut3&4, AsgnOut5&6, and DIG&OPT output destinations cannot be selected unless the optional AIEB1 I/O expansion board is installed.
Cursor
Cursor q (The same when Effect Edit Type is =full or Favorite) q
Knob 1 Cursor/Page Tree View
Knob 2
Knob 3
Knob 4
Knob 5 Effect Edit Type
Knob 1
[ [ Turn] Cursor/Page Positions the cursor and selects display pages. Press] Tree View Calls the Tree View display (page 83).
104
PLAY-EFFECT
Knob 5
[ Turn] Effect Edit Type Species the the selection method to be used for selecting effect parameters.
[Range] full, favorite full ... This setting allows you to select and set any parameter from the full range of parameters available for the selected effect. Although you have access to all parameters, it can take a little more time to locate the desired parameters using this method. favorite ... You have immediate access to four of your "favorite" parameters.
[Range] 01/Effect Parameters 1 16/Effect Parameter 16, --/Input Level, --/Output Level, --/Pan, --/Width 01/Effect Parameters 1 16/Effect Parameter 16 ... Depends on the selected effect type. --/Input Level ... Sets the level of the signal sent to the input of the effect. --/Output Level ... Sets the effect output level. --/Pan ... Turn the knob to set the pan (stereo positioning) for the effect block's output. Positive values set pan to the right; negative values set pan to the left. If the effect output is stereo, higher absolute pan settings will narrow the stereo feeling while noticeably shifting the sound position. --/Width ... Sets the stereo width of the effect. Negative values reverse the stereo image.
When a selected effect type has less than 16 parameters, unavailable parameters will appear as "No./-----" on the display. If the selected Effect Type is "Through," effect paramerts 1 16 will appear as "------" on the display.
[DISPLAY]
q The PLAY-EFFECT-EfSetupA/B (EfrSetup on the A4000) page
shows the specied Effect Output (page 102) and Effect Connect type (page 103).
s Effect Edit Type = full

Cursor w
Knob 5
[ Turn] Value Turn the knob to set the value for the parameter selected by Knob 4.
Cursor
w
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Effect # Knob 3 Knob 4 Parameter # Knob 5 Value
s Effect Edit Type = favorite

Cursor w
Knob 1
Same function as cursor q (page 104).
Cursor
w
Knob 1 Knob 2 Effect # Knob 3 Knob 4 Knob 5
Knob 2
[ Turn] Effect # (Effect Number) Selects the effect to be edited.
[Range] Ef1 Ef6 (Ef1 Ef3 on the A4000)
The effect type assigned to the selected effect will be shown on the display (page 102).
Turn action Press action Cursor/Page Tree View
Knob 1
Knob 4
[ Turn] Parameter # (Parameter Number) Turn either knob to select the parameter whose value you want to view or set. You can then set the value using Knob 5. You can repeat the sequence to set each of the available parameters: rst select the parameter with Knob 4, and then set the value with Knob 5. Note that the available parameters differ for each effect type. For a listing of parameters and their meanings, refer to the "Effect parameter list" in the Appendix. (page 256).
Knob 2
[ Turn] Effect # (Effect Number) Selects the effect to be edited.
[Range] Ef1 Ef6 (Ef1 Ef3 on the A4000)
The effect type assigned to the selected effect will be shown on the display (page 102).
Chapter 4 PLAY Mode
105
PLAY-EFFECT
Cursor e
Cursor
e
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Parameter1 Value PARAM1 Knob 3 Parameter2 Value PARAM2 Knob 4 Parameter3 Value PARAM3 Knob 5 Parameter4 Value PARAM4
Knob 1
Same function as cursor w (page 105).
Knob 2 5
[ Turn] Parameter1 Value Parameter4 Value Adjust the corresponding parameters on the top line of the display. Press] Parameter1 List Parameter4 List Displays a list of the corresponding parameters. Knobs 2 5 can be used to change the parameters to be edited.
[Range] 01/Effect Parameters 1 16/Effect Parameter 16 01/Effect Parameters 1 16/Effect Parameter 16 ... Depends on the selected effect type.
106
PLAY-SETUP
5. SETUP
This mode includes functions such as LFP S/H (Sample & Hold) speed and A/D input setup. Press the [PLAY] button and then the [F5] button to enter the SETUP mode. 2 display pages are provided: S/Hspeed and ADInput.
See "Basic Operation" on page 78 for details on acessing the various display pages. When the program mode is set to "Multi" (page 89), the master program setup settings take priority (the master program is the program selected for the part assigned to the basic channel). If a setup function is accessed when any other part is selected "Not a Master Part" will appear on the display. If this happens select an appropriate part via the PLAY-PROGRAM-PgmSel page (page 89), and then use the setup functions.
AD Input
[PLAY] Button [F5] Button Knob 1 to select "PLAY-ADInput"
The ADInput page includes AD input ON/Off, source, pan, and other functions relating to operation of the A/D input.
Depending on the AD Input Source setting the L and R A/D inputs can be used as independent mono inputs.
Cursor q
Cursor
S/H Speed
[PLAY] Button [F5] Button Knob 1 to select "PLAY-S/Hspeed"
Knob 2 AD Input on/off
Knob 3 AD Input Source
Knob 4 AD Input-L Pan QUICK...
Knob 5 AD Input-R Pan QUICK...
Set the sample & hold speed for the LFO (low-frequency oscillator).
Knob 1
Knob 2
Knob 1 Turn action Press action Page Tree View Knob 2 Knob 3 S/HSpeed QUICK... Knob 4 Knob 5
Turn] AD Input on/off Switch the A/D-input feature on or off.

[Range] off, on
Knob 1
Knob 3
[ Turn] AD Input Source Selects the input for the acoustic signal.
[Range] L/R, L+R, 2Mono L/R ... Use input stereo signal; handle the signal as stereo. L+R ... Use input stereo signal, but handle as monaural (mix the incoming L-channel and Rchannel signals). 2Mono ... The received stereo input signal is processed as two independent mono signals.
Knob 3
[ Turn] S/HSpeed (Sample & Hold Speed) Turn the knob to set the sample & hold speed for the LFO (low-frequency oscillator). This setting determines how the LFO operates on samples whose LFO Wave parameter is set to S/H. Specically, the setting determines the "sample and hold" rate used for random LFO modulation (page 143).
Note that the term "sample" in "sample & hold" refers to sampling rate, and is unrelated to A5000/A4000 sound samples.
Knob 4
[ Turn] AD Input-L Pan (A/D Input Left Pan) Species the output pan position of the signal received via the "L" A/D input jack.
[Range] -63 +63 Positive values set pan to the right; negative values set pan to the left.
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PLAY-SETUP
Knob 5
[ Turn] AD Input-R Pan (A/D Input Right Pan) Species the output pan position of the signal received via the "R" A/D input jack.
[Range] -63 +63 Positive values set pan to the right; negative values set pan to the left.
When "L/R" or "L+R" is selected as the AD Input Source, the ADInput-Lpan setting applies to both channels and thus the ADInput-Rpan parameter cannot be edited.
Knob 3
[ Turn] ADInput-L Output Level1 (A/D Input Left Output Level 1) Sets the level of the signal sent to the output destination specied by the ADInput-LOutput1 parameter.
[Range] 0 127

When both the Output1 and Output 2 parameters are set to the same output destination, the higher of the two output level settings (Output Level 1 and Output Level2) will take priority.
Knob 4
[
Cursor w
Turn] ADInput-L Output2 (A/D Input Left Output 2) Sets the output destination of the signal received at the "L" A/D input jack.
[Range] off, StereoOut, AsgnOutL&R, AsgnOut1&2, AsgnOut3&4, AsgnOut5&6, DIG&OPT, Ef1 Ef6 (Ef1 Ef3 on the A4000)
Cursor
w
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 ADInput-L Output1 Knob 3 ADInput-L Output Level1 QUICK... Knob 4 ADInput-L Output2 Knob 5 ADInput-L Output Level2 QUICK...
The settings are the same as for the ADInput-L Output1 parameter (page 108).
Knob 5
[ Turn] ADInput-L Output Level2 (A/D Input Left Output Level 2) Sets the level of the signal sent to the output destination specied by the ADInput-L Output2 parameter.
[Range] 0 127
Knob 1
Same function as Cursor q (page 107). [
Knob 2
[ Turn] ADInput-L Output1 (A/D Input Left Output 1) Sets the output destination of the signal received at the "L" A/D input jack.
[Range] off, StereoOut, AsgnOutL&R, AsgnOut1&2, AsgnOut3&4, AsgnOut5&6, DIG&OPT, Ef1 Ef6 (Ef1 Ef3 on the A4000) StereoOut ... Output is sent to the rear-panel STEREO OUT jacks as well as the front-panel PHONES jack. AsgnOutL&R ... The rear-panel assignable output jacks. AsgnOut1&2, AsgnOut3&4, AsgnOut5&6 ... The corresponding assignable outputs on the optional AIEB1 I/O expansion board. DIG&OPT ... The coaxial and optical digital outputs on the optional AIEB1 I/O expansion board. Ef1 Ef6 ... Output is routed to the specied effect.

Cursor e
Cursor
e
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 ADInput-R Output1 Knob 3 ADInput-R Output Level1 QUICK... Knob 4 ADInput-R Output2 Knob 5 ADInput-R Output Level2 QUICK...
Knob 1
Same function as Cursor q (page 107).
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PLAY-SETUP
Knob 2
[ Turn] ADInput-R Output1 (A/D Input Right Output 1) Sets the output destination of the signal received at the "R" A/D input jack.
[Range] off, StereoOut, AsgnOutL&R, AsgnOut1&2, AsgnOut3&4, AsgnOut5&6, DIG&OPT, Ef1 Ef6 (Ef1 Ef3 on the A4000) The settings are the same as for the Cursor w ADInput-L Output1 parameter (page 108).
Knob 3
[ Turn] ADInput-R Output Level1 (A/D Input Right Output Level 1) Sets the level of the signal sent to the output destination specied by the ADInput-R Output1 parameter.
[Range] 0 127

Knob 4
[ Turn] ADInput-R Output2 (A/D Input Right Output 2) Sets the output destination of the signal received at the "R" A/D input jack.
[Range] off, StereoOut, AsgnOutL&R, AsgnOut1&2, AsgnOut3&4, AsgnOut5&6, DIG&OPT, Ef1 Ef6 (Ef1 Ef3 on the A4000) The settings are the same as for the Cursor w ADInput-L Output1 parameter (page 108).
Knob 5
[ Turn] ADInput-R Output Level2 (A/D Input Right Output Level 2) Sets the level of the signal sent to the output destination specied by the ADInput-R Output2 parameter.
[Range] 0 127

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PLAY-CONTROL
6. CONTROL
This function sets up the program's controller handling. Press the PLAY button and then the [F6] button to enter the CONTROL mode. 4 display pages are provided: PgmCtrlA (Program Control A), PgmCtrlB (Program Control B), ChSetup (Channel Setup, and PgmLFO (Program LFO).
See "Basic Operation" on page 78 for details on acessing the various display pages. When the program mode is set to "Multi" (page 89), the master program control settings take priority (the master program is the program selected for the part assigned to the basic channel). If a control function is accessed when any other part is selected "Not a Master Part" will appear on the display. If this happens select an appropriate part via the PLAY-PROGRAM-PgmSel page (page 89), and then use the control functions.
Knob 1
[ Turn] Cursor/Page Positions the cursor to select a controller, and selects display pages. Press] Tree View Calls the Tree View display (page 83).
Knob 2
[ Turn] Device Use this setting to select the external physical controller that you want to set for operation with the A5000/A4000.
[Range] 000 120, AfterTouch, PitchBend, NoteNumber, Velocity, ProgramLFO, KeyOnRandom 000 120 ... Species one of the standard MIDI controllers. AfterTouch ... Program control via keyboard (or controller) aftertouch.
Program Controller A/B

[PLAY] Button [F6] Button Knob 1 to select "PLAY-PgmCtrlA"/"PLAY-PgmCtrlB"
PitchBend ... Program control via pitch bend data. NoteNumber ... Program control via note-on message note number data. Velocity ... Program control via note-on message velocity data. ProgramLFO ... Control change data created by the internal Program LFO is used for program control. KeyOnRandom ... A random control value is generated each time a note-on message is received.
If a controller with a standard control assignment "001/Modwhel", for example - is selected, the controller name will also be displayed. You should generally avoid controller numbers 000 and 032, however, as many MIDI devices use these numbers for bank selection purposes.
Program Controller A/B lets you specify and set up the controllers to be used to play programs.
The controller settings that you make here operate in response to control-change messages received over the Basic Receive Channel.
CONTROLLER A
Press] MIDI Allows setting the Device parameter directly from an external MIDI controller (page 82).
CONTROLLER B
Knob 3
[ Turn] Program Control Function Species the program function to be controlled from an external MIDI controller or the Program LFO.
Knob 2 Device MIDI
Knob 3 Program Control Function LIST...
Knob 4 Range QUICK...
Knob 5 Type
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Chapter 4 PLAY Mode A5000/A4000 q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q Chapter 4 PLAY Mode
PLAY-CONTROL
[Range] Function ----EF1-1 16 EF1:Output Level EF1:Pan EF1:Width EF2-1 16 EF2:Output Level EF2:Pan EF2:Width EF3-1 16 EF3:Output Level EF3:Pan EF3:Width Program Level S/H Speed Portament Rate/Time AD Pan L&R AD Pan L AD Pan R AD Level L&R AD Level L AD Level R Control1 Range Control2 Range Control3 Range Control4 Range Program LFO Depth EF4-1 16 EF4:Output Level EF4:Pan EF4:Width EF5-1 16 EF5:Output Level EF5:Pan EF5:Width EF6-1 16 EF6:Output Level EF6:Pan EF6:Width
Knob 5
Control Target Page Effect 1 parameters 1 16 105 Effect 1 output level 105 Effect 1 pan 105 Effect 1 width 105 Effect 2 parameters 1 16 105 Effect 2 output level 105 Effect 2 pan 105 Effect 2 width 105 Effect 3 parameters 1 16 105 Effect 3 output level 105 Effect 3 pan 105 Effect 3 width 105 Program volume 90 Sample-and-hold speed 107 Portamento rate/time 92 A/D input L&R pan 107 A/D input L pan 107 A/D input R pan 107 A/D input L&R output level A/D input L output level A/D input R output level Controller 1 range 111 Controller 2 range 111 Controller 3 range 111 Controller 4 range 111 Program LFO depth Effect 4 parameters 1 16 105 Effect 4 output level 105 Effect 4 pan 105 Effect 4 width 105 Effect 5 parameters 1 16 105 Effect 5 output level 105 Effect 5 pan 105 Effect 5 width 105 Effect 6 parameters 1 16 105 Effect 6 output level 105 Effect 6 pan 105 Effect 6 width 105
Turn] Type The setting determines how the A5000/A4000 converts and applies the control-change value received from the controller. When you move a controller at a MIDI device, the controller transmits a control-change value indicating the magnitude of the movement. The transmitted values always range from 0 to 127.
[Range] +offset, -/+offset, +offset(-exp), +offset(+exp) +offset ... The A5000/A4000 converts the received value (0 to 127) to a corresponding value in the range {0 to range}, and adds the result to the target parameter. Notice that the resulting offset is therefore always positive (or always negative, depending on the Range sign; see below). In other words, the controller can offset the target parameter in one direction only. -/+offset ... The A5000/A4000 converts the received value (0 to 127) to a corresponding value in the range {-range to 0 to +range}, and adds the result to the target parameter. Notice that in this case the controller applies 0 offset when at its center position; displacement in one direction generates a negative offset, while displacement in the other generates a positive offset. +offset(-exp) ... The received value (0 127) is converted to an appropriate value within the available range. The conversion is not linear, however, with greater variation produced at lower values and less variation produced at higher values. +offset(+exp) ... The received value (0 127) is converted to an appropriate value within the available range. The conversion is not linear, however, with smaller variation produced at lower values and greater variation produced at higher values.
(Functions relating to Ef4 Ef6 cannot be selected on the A4000)

Depending on the effect parameter, non-controllable functions will appear as "---." Some parameters may produce noise when controlled.
Press] LIST... Shows a list of the available functions.
Knob 4
[ Turn] Range Sets the maximum offset that the controller can apply to the target parameter. This also determines how sensitive the parameter is to changes in the controller position.
[Range] -63 +63 When set to "0" the controller will have no effect. The higher the value the greater the control range. Negative values revers the control "direction."

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PLAY-CONTROL
Channel Setup
[PLAY] Button [F6] Button Knob 1 to select "PLAY-ChSetup"
As an example, consider the following programs: PROGRAM 001 and PROGRAM 002. PROGRAM 001 ... This program uses a sample to which the modulation wheel is assigned for pitch modulation depth control (via MIDI receive channel 1). PROGRAM 002 ... This program uses a sample to which the modulation wheel is assigned for lter modulation depth control (via MIDI receive channel 1). Now, if you're playing PROGRAM 001 and the modulation wheel has been used to apply heavy pitch modulation, then you switch to PROGRAM 002, the following will occur: If the MIDI channel 1 Control Reset = off for PROGRAM 002 ... PROGRAM 002 will beging playing with correspondingly heavy lter modulation. If the MIDI channel 1 Control Reset = on for PROGRAM 002 ... PROGRAM 002 will begin playing with no lter modulation. Filter modulation will then be applied the instant the modulation wheel is moved.
This page selects how controllers are set when you switch into this program from another program. You can choose to retain the previous control-change values, or else to temporarily reset these values to 0. You can set the operation separately for each MIDI channel. You can also specify how note playback is affected by MIDI note-on and note-off messages.
Knob 2 MIDI Ch MIDI
Knob 3 Controller Reset
Knob 4
Knob 5 Note On Type
Knob 5
[ Turn] Note On Type Determines how notes are played when note-on and note-off messages are received.
[Range] Normal, Toggle Normal ... The note begins playing when a note-on message is received, and stops when a noteoff message is received. Toggle ... Note-off messages are ignored. Any note which was previously sounding on the same MIDI channel will be stopped and the new note will begin playing when a note-on message is received (only one note can sound at a time on any one MIDI channel).
Knob 1
Knob 2
[ Turn] MIDI Ch (MIDI Channel) Selects the MIDI receive channel to which the Controller Reset and Note On Type settings will apply.
Once the MIDI channel has been specied you can set the Controller Reset and Note On Type parameters via Knobs 3 and 5, respectively.
Press] MIDI Allows setting the MIDI Ch parameter from an external MIDI controller (page 82).
Knob 3
[ Turn] Controller Reset Determines whether the last received controller data will be retained or reset when a different program is selected.
[Range] off, on off ... The last controller data is retained. on ... The controller data is reset.
112
PLAY-CONTROL
Saw
Program LFO
[PLAY] Button [F6] Button Knob 1 to select "PLAY-PgmLFO"
Modulation
Sets up the Program LFO. The Program LFO can be synchronized to a MIDI clock signal from an external MIDI device to control programs and samples. Use MIDI clock synchronization and the StepWave LFO waveform, perfectly synchronized note-length control becomes possible.
In order to use the Program LFO to control programs and /or samples, the program and/or sample controller parameter must be set to "Program LFO." The Program LFO will not function while the internal sequencer is running.
Time
Triangle
Modulation
Time
Cursor q
Square
Modulation
Cursor
q
Time
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Knob 3 Knob 4 Knob 5 Program LFO Program LFO Program LFO Program LFO Wave Sync Tempo Cycle QUICK...
S/H (Sample and Hold) ... Random variation is produced.
Knob 1
[ Turn] Cursor/Page Positions the cursor to select a controller, and selects display pages. Press] Tree View Calls the Tree View display (page 83).
Modulation
Time
Knob 2
[ Turn] Program LFO Wave Species the waveform of the program LFO.
[Range] off, Sine, Saw, Triangle, Square, S/H, StepWave StepWave ... The wave created by using the Cursor e parameter on this page is used.
Knob 3
[ Turn] Program LFO Sync Determines whether or not the LFO speed will be synchronized to an external MIDI controller.
[Range] Manual, MIDI-A, MIDI-B (Manual, MIDI on the A4000) Manual ... The speed specied by the Progral LFO Tempo parameter is used.
off ... The Program LFO will not function. Sine

Modulation
Time
MIDI-A ... The LFO speed is synchronized to a MIDI clock signal received via the MIDI IN-A connector. MIDI-B ... The LFO speed is synchronized to a MIDI clock signal received via the MIDI IN-B connector.
When Program LFO Sync is set to MIDI-A or MIDI-B (MIDI on the A4000), the Program LFO Tempo, Program LFO Phase Reset Channel, and Program LFO Phase Reset Note parameters will appear as "---" on the display and cannot be edited.
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PLAY-CONTROL
Knob 4
[ Turn] Program LFO Tempo Species the tempo on which the program LFO speed will be based. The actual LFO speed is determined by the setting of this parameter and the Program LFO Cycle parameter (when the Program LFO Sync parameter is set to "Manual").
[Range] 25 250
This parameter cannot be edited when the Program LFO Sync parameter is set to MIDI-A or MIDI-B (MIDI on the A4000).
180
270
The Program LFO Initial Phase setting becomes effective when a Program LFO Reset Channel command is received, or if the Program LFO Sync parameter is set to MIDI-A or MIDI-B (MIDI on the A4000).
Knob 3
[ Turn] Program LFO Phase Reset Ch Species the MIDI channel on which phase reset note data (Program LFO Phase Reset Note) will be received.
[Range] off, AUD, A01 B16 (01 16 on the A4000), Bch off ... No phase reset occurs even if note-on data is received. AUD ... The LFO phase is reset when the panel [AUDITION] bnutton is pressed. A01 B16, Bch (basic receive channel) ... The phase will be reset when a Program LFO Reset Note is received on the specied channel.
Knob 5
[ Turn] Program LFO Cycle Determines the LFO cycle in relation to the tempo set by the Program LFO Tempo parameter.
[Range] e, q, e x 3, q x 2, q x 4, q x 8, q x 16 "e" produces the fastest LFO cycle (twice the Program LFO Tempo setting), while "q x 16" produces the slowest LFO cycle (1/16th the Program LFO Tempo setting).
Cursor w
Press] MIDI Allows the Program LFO Phase Reset Channel to be set directly from an external MIDI device (page 82).
Cursor
Knob 2 Knob 3 Program LFO Program LFO Initial Phase Phase Reset Ch MIDI
Knob 4
Knob 5 Program LFO Phase Reset Note MIDI
Knob 5
[ Turn] Program LFO Phase Reset Note Species the note(s) which will be used to reset the phase of the Program LFO.
[Range] all, C-2 G8
Knob 1
Knob 2
[ Turn] Program LFO Initial Phase Species the phase angle at which the progam LFO cycle begins.
[Range] 0, 90, 180, 270
all ... The Program LFO phase will be set by any note received via the Program LFO Phase Reset channel. C-2 G8 ... The Program LFO phase will be set by notes in the specied range received via the Program LFO Phase Reset channel.
This parameter cannot be edited when Program LFO Sync is set to MIDI-A or MIDI-B (MIDI on the A4000). This parameter cannot be edited when Program LFO Sync is set to Manual, or the Program Phase Rest Channel is set to off or AUD.
90
Press] MIDI Allows the parameter to be set directly by receiving an appropriate MIDI message from an external MIDI device (page 82).
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PLAY-CONTROL
Cursor e
Knob 4
[ Turn] Step # Step Number) Species the step number to be edited via the Value parameter (Knob 5).
[Range] 1 the highest step number (Total Step)
Cursor
e
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Step Wave Total Step Knob 3 Step Wave Slope RANDOM Knob 4 Step Wave Step # WAVE LIST... Knob 5 Value QUICK...
Press] WAVE LIST... Allows the StepWave waveform to be automatically selected from a list.
The vales for each step in any waveform selected from the list can be varied as required by using Knobs 4 and 5.
Knob 1
Knob 5
[ Turn] Value Sets the value for currently selected step number.
[Range] 0 127
Knob 2
[ Turn] Step Wave Total Step Species the total number of steps to occur in one StepWave cycle. The more steps, the more complex the StepWave waveform will be.
[Range] 2, 3, 4, 6, 8, 12, 16
Knob 3
[ Turn] Step Wave Slope Species the type of slope to occur between each StepWave step.
[Range] off, Up, Down, Up&Down off ... No slope is used between steps, thus producing a waveform that is more rectangular or sample-and-hold like. Up ... Higher "Value" settings (Knob 5) produce a longer slope only at the corresponding step, creatuing a rising sawtooth type waveform. Down ... Lower "Value" settings (Knob 5) produce a longer slope only at the corresponding step, creatuing a downward sawtooth type waveform. Up&Down ... All steps are connected by slopes, producing a triangular type waveform.
Press] RANDOM When this knob is pressed the "Value" settings (Knob 5) for all steps are randomly generated. The results are conrmed and entered when the knob is pressed a second time or you switch to a different display.
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Chapter 4 PLAY Mode
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PLAY-CONTROL
116
Chapter
EDIT Mode
This mode is used to directly edit samples and sample banks.
About the EDIT Mode .................................................................118 1. TRIM/LOOP.............................................................................120 2. MAP/OUT ................................................................................127 3. FILTER ....................................................................................133 4. EG ...........................................................................................137 5. LFO .........................................................................................143 6. MIDI/CTRL ..............................................................................145
Chapter 5 EDIT Mode
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About the EDIT Mode
About the EDIT Mode

The EDIT mode is used to directly edit samples and sample banks. Press the [EDIT] button to enter the EDIT mode.
A "sample" is the smallest sound unit handled by the A5000 or A4000, consisting of a digitally-recorded waveform and related playback parameters. A "sample bank" is a group of samples which can be handled as a single sample. Sample banks make it easy to manage samples for multi-sampled instruments or drum kits, for example.
EDIT Mode Functions

The EDIT mode includes the 6 functions listed below (selected via the [F1] [F6] function buttons, respectively).
s [F1] TRIM/LOOP Button

Use this function to select the playback area on the waveform (the playback "start" and "end" points), to trim off extraneous waveform data, and to set up the playback direction (forward or backward) and loop characteristics (loop range and type) (page 120). 3 display pages are provided: Waveform, SmpInfo (Sample Information), and LoopRmx (Loop Remix).
s [F2] MAP/OUT Button

Use this function to edit the sample's key range, original-key value, output level, tuning, and various other playback settings (page 127). 4 display pages are provided: Mix&Key (Mix & Key Range), Pitch, Exp&Vel (Expand & Velocity Range), and LvlScal (Level Scaling).
s [F3] FILTER Button

This function sets the sample's lter type, lter characteristics, and equalization (page 133). 2 display pages are provided: Fltr&EQ (Filter & EQ), and FltrScal (Filter Scaling).
s [F4] EG Button
Use this function to set up the sample's three envelope generators: amplitude EG, lter EG, and pitch EG. The EG settings determine how the sound of each note develops over time (page 137). 3 display pages are provided: AmpEG (Amplitude EG), FilterEG, and PitchEG.
s [F5] LFO Button

This function sets up the sample's low-frequency oscillator (LFO). You use the LFO to apply an audible modulation to the output level, ltering, and pitch (page 143). This function has only one page: LFO (Low Frequency Oscillator).
s [F6] MIDI/CTRL Button

This function selects the MIDI channel that drives the sample, and determines how the sample responds to controller action. You can also use this function to select the sample's "alternate group" (page 145). 3 display pages are provided: MIDISet (MIDI Setup), SmpCtrlA (Sample Controller A), and SmpCtrlB (Sample Controller B).
You can listen to the sound of the sample you are editing by pressing the [AUDITION] button. This makes it easy to monitor the results of your changes as you make them. When editing a sample which is used by the currently selected program, an arrow mark will not appear to the left of the sample name in upper left corner of the display. Further, when editing a sample contained in a sample bank, "B" will appear to the left of the arrow.
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Chapter 5 EDIT Mode A5000/A4000
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About the EDIT Mode
Samples and Sample Banks

You use EDIT mode to edit both samples and sample banks. Operation varies slightly according to whether you are editing q a freestanding sample, w a sample bank, or e a sample within a sample bank.
q Freestanding sample
In most cases you will probably be editing freestanding samples - individual samples that are not assigned to sample banks. You can access and edit all available sample parameters directly.
w Sample banks
A sample bank is a group of related samples that you handle as a single unit for purposes of program assignment, disk saves, and disk loads. When editing a sample bank, you should be aware of the difference between (a) parameter values set by each sample within the bank, and (b) parameter values set by the sample bank itself. For example, you need to understand the meaning of two special sample-bank settings: "----", and "(----)". A "----" parameter setting means that each sample in the bank uses its own locally-set value for this parameter. When you begin editing the sample bank, many parameters will show this setting. If you like, you can select a specic value for the parameter by rotating the corresponding knob. If you do this, the A5000/A4000 will apply the value you select to all of the samples in the bank, temporarily overriding their local settings. If you wish to cancel the bank-level setting and return the samples to their original values, turn the knob to reselect the "----". A "(----)" setting means that it is not possible to override the samples' local settings for this parameter. Turning the knob will have no effect. Keep in mind that sample-bank editing never changes the parameter values stored within the samples themselves. To change these values, you must edit the samples individually.
e Samples within a sample bank

Editing content is the same as for freestanding samples - you have direct access to each of the sample's parameters.
Selecting the Sample (or Bank)

Before you can edit a sample or sample bank, you must rst select it. A variety of selection methods are available, as described below.
If the sample (bank) is already in a program...

If the sample (bank) you want to edit already belongs to a program, you can select it as follows: (1) Select PLAY PROGRAM (PLAY mode, PROGRAM function); (2) go to the PgmSel page (page 89) and turn Knob 2 or 3 to select the program; (3) select PLAY SAMPLE; (4) go to the SmpSel page (page 93) and turn Knob 2 to select the sample (bank). Then press the [EDIT] button to enter editing mode.
To create a program at same the time...

If you want to edit a sample (bank) and assign it to a new program, you can do it this way: (1) Select PLAY PROGRAM; (2) go to the PgmSel page (page 89) and turn Knob 2 or 3 to select a new (unused) program; (3) select PLAY SAMPLE; (4) go to the SmpSel page (page 93), turn Knob 2 to select the sample (bank), and then turn Knob 4 to set the RchAssign switch to any setting other than "on." Then press the [EDIT] button to enter editing mode. If necessary, you can later switch to PLAY mode and apply further editing at the program level.
To select a sample from a sample bank, for independent editing...

If you need to edit a sample from a sample bank, proceed as follows: (1) Select PLAY SAMPLE and go to the SmpBank page (page 95), (2) turn Knob 2 to select the sample bank, and (3) turn Knob 3 or 4 to select the sample. Then press the [EDIT] button to enter editing mode.
In the PLAY-SAMPLE-SmpSel display, you can press Knob 2 (OPEN) and then rotate Knob to select any sample within the sample bank. Remember to save your edited sample and sample banks to disk (page 208). All unsaved data is lost when you switch off the A5000/A4000. It is usually possible to switch directly from one sample to another while working in EDIT mode. To switch to a different sample, push Knob 1 on the edit screen you are working at. If switching is supported, the A5000/A4000 will now display the Tree View display. Turn Knob 2 to select the next sample you want to edit. Then press Knob 1 again to return to the previous edit screen, with the new sample now selected.
Chapter 5 EDIT Mode
119
EDIT-TRIM/LOOP
1. TRIM/LOOP
This section describes the EDIT mode's TRIM/LOOP function. You use this function to change the playback area on the waveform (the playback "start" and "end" points), to trim off extraneous waveform data, to set the playback direction (forward or backward) and loop characteristics (loop range and type), and to make various other related settings.
Keep in mind that the [COMMAND/EXIT] button gives you rapid access to a number of helpful commands while you are working with this function. For example, you can use the [COMMAND/EXIT] button when you want to save your edit results to disk, or when you want to cancel your new changes and restore the previously saved data.
Knob 2
[ Turn] Wave Start Address Sets the playback "start" address on the waveform. (Note that the waveform itself always starts at address 0.) The concept is illustrated below.
[Range] 0 Wave End Address
Start Address End Address
Playback Area of Waveform
Press the [EDIT] button and then the [F1] button to go to the TRIM/LOOP function. 3 display pages are provided: Waveform, SmpInfo (Sample Information page 124), and LoopRmx (Loop Remix page 125).
See the "Basic Operation" section on page 78 for details on switching between display pages.
When " O" or "O" is selected as the Loop Mode, The Wave Start Address cannot be set later than the Loop Start Address.
Press] ZOOM IN Press this knob to expand the waveform display. This can be repeated until maximum magnication is reached.
Knob 3
Waveform
[EDIT] Button [F1] Button Knob 1 to select "EDIT-Waveform"
Turn] Wave End Address Sets the playback end address on the waveform. The actual playback endpoint also depends on the loopmode setting that you make at the Wave Mode page.
[Range] Wave Start Address End of wave data. The range of this parameter changes according to the setting of the End Type parameter (page 124). End Type = Address ... Sets the wave end address (this is the normal function). End Type = Length ... Species the actual playback length (Wave End Address - Wave Start Address). End Type = Time ... Species the actual playback time in seconds (From the Wave Start Address to the Wave End Address at the original pitch of the sample). End Type = Beat ... Species the playback time (Wave Start Address to Wave End Address at the original pitch of the sample) in beats based on the Loop Tempo setting.
Use this page to change the playback area on the waveform (the playback "start" and "end" points), to trim off extraneous waveform data, to set the playback direction (forward or backward) and loop characteristics (loop range and type), and to make various other related settings.
When editing a sample bank, all parameters will appear as "(----)" and cannot be edited.
Cursor q qw
Cursor
Knob 2 Wave Start Address ZOOM IN
Knob 3 Wave End Address ZOOM OUT
Knob 4 Step S-CATCH
Knob 5 Shortcut Command EXECUTE
When " O" or "O" is selected as the Loop Mode, The Wave End Address cannot be set earlier than the Loop End Address.
Knob 1
Press] ZOOM OUT Reduces the waveform display. This can be repeated until the minimum magnication level is reached.
120
EDIT-TRIM/LOOP
Knob 4
[ Turn] Step This knob selects the increment used for address adjustments made with Knobs 2 and 3. Specically, the value that you set here determines the amount that the address value changes when you turn Knob 2 or Knob 3 by a single click.
[Range] x1, x10, x100, x1000, x10000
The step setting does not appear on the display as actual numbers, but rather as an underline below the appropriate digits of the Wave Start Address and Wave End Address values. Only digits higher than the underline will be edited. Normalize
Push Knob 5 (>YES) to proceed. VIEW Alternately switches the waveform display address between the Wave Start Address and Wave End Address.
The waveform display will automatically move to the start address area when Knob 2 is used to adjust the start address, and to the end address area when Knob 3 is used to adjust the end address.
Press] S-CATCH If you push this knob while playing the sample with the [AUDITION] button or an external keyboard, the wave start address (Loop Start Address for Cursor w) automatically resets to the current playback location.
E-CATCH If this knob is pressed during playback triggered either from an external MIDI device or the [AUDITION] button, the wave address at that precise point (Loop End Address for Cursor w) will be entered as the Wave End Address.
Knob 5
[ Turn] Shortcut Command Positions the cursor within the pop-up window to select one of the available shortcut commands.
[Range] EXTRACT..., NORM..., VIEW, E-CATCH (See "Cursor q Shortcut Commands" for details on the commands)
[DISPLAY]
q Waveform Display
Press] EXECUTE Executes the shortcut command at the current cursor position. Cursor q Shortcut Commands
w VIEWED..... Displays the number of words shown in the expanded

waveform display. TOTAL........ Shows the total number of words in the sample.
EXTRACT... Push this knob to "trim" the waveform, deleting all waveform data ahead of the start address and all waveform data located after the end address. This operation reduces the size of the sample and frees up additional waveform memory.
Start Address End Address Start Address Extract End Address
Cursor w
Cursor
w
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Loop Start Address ZOOM IN Knob 3 Loop End Address ZOOM OUT Knob 4 Step S-CATCH Knob 5 Shortcut Command EXECUTE
When you push the knob, the A5000/A4000 returns a conrmation screen. Push Knob 5 (>YES) to proceed. Note that the deleted waveform area cannot be recovered (unless you have already saved the data to disk.) NORM... This command adjusts the waveform to its optimal level. Adjustment is made by proportionately raising all levels such that the highest level comes to just below the clip point, as illustrated below. (The "clip point" is the maximum level appropriate for digital processing.)
Knob 1 / Knob 4
Knob 2
[ Turn] Loop Start Address Sets the start point of the loop on the waveform. The concept is illustrated below. Note that actual loop handling depends on the loop-mode setting
[Range] Wave Start Address Loop End Address
Chapter 5 EDIT Mode
121
EDIT-TRIM/LOOP
Wave Start Address Playback Area of Waveform
Wave End Address
addresses. The NORM..., VIEW, and E-CATCH commands are the same as those described for Cursor q (page 121).
Cursor e
Loop Area Loop Start Address Loop End Address
Cursor
e
Knob 1 Knob 2 Auto ZOOM IN Knob 3 Loop Mode ZOOM OUT Knob 4 Turn action Press action Cursor/Page Tree View Knob 5 Shortcut Command EXECUTE
Press] ZOOM IN Press this knob to expand the waveform display. This can be repeated until maximum magnication is reached.
Knob 1 Knob 3
[ Turn] Loop End Address Sets the end point (loop-back point) of the loop. Note that actual loop handling depends on the loop-mode setting.
[Range] Loop Start Address End of wave data. The range of this parameter changes according to the setting of the End Type parameter (page 124). End Type = Address ... Sets the loop end address (this is the normal function). End Type = Length ... Species the actual loop length (Loop End Address - Loop Start Address). End Type = Time ... Species the actual loop time in seconds (From the Loop Start Address to the Loop End Address at the original pitch of the sample). End Type = Beat ... Species the playback time (Loop Start Address to Loop End Address at the original pitch of the sample) in beats based on the Loop Tempo setting.
Knob 2
[ Turn] Auto Species the auto-addressing function to be used for wave editing (Length Lock, Auto Zero, or Auto Snap).
[Range] LengLock, Zero, Snap
LengLock (Length Lock) This option lets you lock in the waveforms play length (the distance between the wave start and wave end addresses) and loop length (the distance between the loop-start and loop-end addresses). You enable this option by setting it to lock. If you do this, any change you make to any of these addresses will generate an equal change in the corresponding address so that you can shift the playback or loop position along the waveform while maintaining constant playback length and loop length.
Wave Start Address Wave End Address Playback Area of Waveform
(This length is locked. Changing either address causes an equal change in the opposing address.
Knob 5
[ Turn] Shortcut Command Positions the cursor within the pop-up window to select one of the available shortcut commands.
[Range] LOOP MONITOR, NORM..., VIEW, E-CATCH (See "Cursor w Shortcut Commands" for details on the commands)
Loop Start Address
Loop Length (This length is also locked.) Loop End Address
You will want to use this feature, for example, when you need to keep the playback or loop length at some xed value for timing purposes. Zero (Automatic Zeroing) This option is another convenient feature for address editing. If you enable this option, any address change you make will be forced to the nearest zero-point the address will jump from zero point to zero point as you turn the editing knob. If you disable this option, then you can change addresses continuously over the entire waveform.
Press] EXECUTE Executes the shortcut command at the current cursor position. Cursor w Shortcut Commands
LOOP MONITOR Push this knob to monitor the sound of the loop. This feature lets you hear how the sound of the loop changes as you edit the loop
122
EDIT-TRIM/LOOP
If Zero = off:
If Zero = on:
Address Settings
Wave Start Address
Loop Start Address
Loop End Address
Wave End Address
Do~
Re~
Mi~
Fa~
So
You can move the address to any location on the waveform.
Address always jumps to nearest zero-point on the waveform.
Setting an address on a non-zero point may cause the sample to click during playback. Forcing the address to a zero-point will ensure that you avoid this unwanted click. Snap (Automatic Snap) This option is useful when you are editing loop start and loop end addresses. If you enable this option, then you will only be able to change a loop address to those points on the waveform that have the same level as the opposing loop address; the address you are editing will jump from one such point to the next as you turn the knob. If you disable this option, then you can change either address continuously over the waveform.
If Snap = off:
Loop Start Address
denotes Note On. denotes Note Off. Small letters indicate release tone as note dies out following Note-Off. The length of the release depends on the samples release-rate setting.
Loop Mode = (Forward, No Loop):
If key is held: Key hit and release:
Re~ Mi~ Fa~ Re~ Mi~ Fa~
Loop Mode = O (Forward Loop, No Exit):
If Snap = on:
Loop Start Address
Re~ Mi~ Mi~ Mi~ Mi~... Re~ Mi~ Mi~ Mi~ Mi~...
Loop Mode = O (Forward Loop, Exit at Note-Off)
You can move the loop end address to any location on the waveform.
The loop end address always jumps to the nearest point having the same level as the loop start address.
Re~ Mi~ Mi~ Mi~ Mi~... Re~ Mi~ Mi~ Mi~ Mi~ Fa~...
Loop Mode = (Reverse, No Loop):
Setting the two loop addresses to different levels on the waveform may cause a click sound at the loop point during playback. Forcing the loop start and loop end addresses to the same level will ensure that you avoid this problem. The following illustration shows how this feature operates during editing of the loop end address. [ Press] ZOOM IN Press this knob to expand the waveform display. This can be repeated until maximum magnication is reached.

(Sound is reversed.)
~aF ~iM ~eR ~aF~iM ~eR
Loop Mode = One (One-Shot)
Re~ Mi~ Fa~ Re~ Mi~ Fa~ (Sound is same regardless of key release.)
Knob 3
[ Turn] Loop Mode Sets the loop mode. (Note the you can also use this setting to cause the sample to play back in reverse.) The six loop modes are illustrated and described on the next page.
[Range] , O, O, , One, One
Loop Mode = One (Reverse One-Shot)
~aF ~iM ~eR ~aF ~iM ~eR
(Sound is reversed.) (Sound is same regardless of key release.)
Chapter 5 EDIT Mode
123
EDIT-TRIM/LOOP
Knob 5
Same function as Cursor w (page 121), except that ECATCH cannot be executed.
Knob 3
[ Turn] Loop Monitor Species the the number of milliseconds before the Loop Start Address that loop monitor playback will begin.
[Range] -500ms 0ms
If you set the value to -500ms and then press the knob, for example, the A5000/A4000 begins replay from a point 1/2 second before the loop start. (This lead-in is played only once, and does not recur after the loop is entered.) When editing a sample bank "(---)" will appear and this parameter cannot be edited.
Sample Information
[EDIT] Button [F1] Button Knob 1 to select "EDIT-SmpInfo"
Sample Information provides access to a number of parameters related to Trim/Loop editing. Also, the sample frequency of the wave data is shown in Hertz on the left side of the display.
Knob 4
[ Turn] Wave Start Address Velocity Sensitivity This value sets the start-address velocity sensitivity: the degree by which the start point varies in response to the velocity (force) of the played note. This feature gives you added control over the attack part of the playback.
[Range] -63 +63
A value of 0 leaves the start address constant for all velocities. Positive values cause the start-point to move forward (the address to get higher) at higher velocities, and to move backward at lower velocities. Negative settings have the opposite effect.
Knob 2 End Type
Knob 3 Loop Monitor
Knob 4 Wave Start Address Velocity Sensitivity QUICK...
Knob 5 Loop Tempo CALCULATE
Knob 1
Knob 5
[ Turn] Loop Tempo This knob sets the tempo used to calculate the number of beats between the start address and end address.
[Range] 80.0 159.9
Knob 2
[ Turn] End Type Selects the type of indication used to show the end address and the loop end address on the edit screen. (Note that the start address and loop start address are always shown by their absolute address values.)
[Range] address, length, time, beat address ... End and loop end addresses are indicated by their absolute address values on the waveform. (This is the standard setting.) length ... Each end address is shown by its distance from the corresponding start address, in address increments. time ... Playback or loop time from the start address or loop start address. beat ... Each end address is shown by its distance in beats from the corresponding start address.
When editing a sample bank "(---)" will appear and this parameter cannot be edited.
Press] CALCULATE If you push the knob, the A5000/A4000 automatically calculates and displays the tempo value for you, based on the assumption that the number of beats between the current start and end addresses is 4 beats (or an even multiple or dividend of 4 beats).
124
EDIT-TRIM/LOOP
Loop Remix
[EDIT] Button [F1] Button Knob 1 to select "EDIT-LoopRmx"
This function divides and randomly re-orders a specied range of "Remix Zones" between the Loop Start Address and Loop End Address, in some cases changing the sound of certain portions, thus creating new "remixed" versions of your samples.
* Make sure the loop is properly setup before using the Loop Remix function.
This function can be used on a 1 or 2-measure drumm loop, for example, to create a different drum pattern. The Loop Remix function cannot be used when editing a sample bank.
Press] REMIX The Loop Remix function is executed when this knob is pressed, and the results are temporarily stored in memory as a "working sample." If the REMIX button is pressed again the Loop Remix function will be executed again and the previous results erased. You can execute the REMIX function as many times as necessary until satisfactory results are achieved. When Remix Type 1 5 is selected, different results will be achieved each time REMIX is executed even if the same Remix Type Variation is selected. When satisfactory results have been achieved and the CREATE function is executed (Knob 5), the Working Sample is stored as a normal sample. If the AUTO AUDITION function is on (Knob 3) the result of each remix operation will be automatically played back after REMIX is executed. Further, the Working Sample can be monitored by pressing the [AUDITION] button.
This parameter cannot be edited when editing a sample bank.
Cursor q
Remix Zone Remix Pattern
Knob 3
[ Turn] Remix Type Variation Determines the degree to which the original waveform will be changed by the Loop Remix function.
[Range] Normal1, Normal2, Reverse1, Reverse2, Break, LoFi, Pitch, Gate Normal1 ... The wave is divided and re-ordered.
Knob 1 Knob 2 Remix Type REMIX
Cursor
q
Knob 3 Remix Type Variation ZONE MONITOR Knob 4 Remix Zone Start REGISTER... Knob 5 Remix Zone End CREATE
Normal2 ... A variation of Normal1. Reverse1 ... In addition to division and re-ordering, parts of the wave a reversed. Reverse2 ... A variation of Reverse1.
Cursor/Page Tree View
Knob 1
Break ... Silent "breaks" are created in addition to division and re-ordering. LoFi ... In addition to division and re-ordering, portions of the wave are converted to Lo-Fi sound. Pitch ... In addition to division and re-ordering, portions of the wave are lowered in pitch and converted to Lo-Fi sound. Gate ... In addition to division and re-ordering, portions of the wave are shortened.
"---" will appear on the display and this parameter cannot be edited when one of the User Remix Types - User1 User5 - is selected.
Knob 2
[ Turn] Remix Type Determines which area of the loop will be affected by the Loop Remix function, and how the remix zones will be reordered.
[Range] 1 5, User1 User5 1 5 ... The effect changes randomly each time the Loop Remix function is executed. User1 User5 ... These choices use results of a remix operation which have been registered via Knob 4. The registered pattern will appear on the remix pattern display.
Press] ZONE MONITOR Plays back only the remix zone (from the specied Remix Zone Start to Remix Zone End) without playing the rest of the loop.
Chapter 5 EDIT Mode
125
EDIT-TRIM/LOOP
Knob 4
[ Turn] Remix Zone Start The Remix Zone to be affected by the Loop Remix function is determined by the settings of the Remix Zone Start parameter (Knob 4) and the Remix Zone End parameter (Knob 5). This allows the Loop Remix function to be applied to only a specied section of the loop within the selected sample.
[Range] The specied loop of the selected sample is divided into 8 "areas," and the Remix Zone Start parameter can be set from the rst area up one before the last area.
The selected area can be played back by pressing the ZONE MONITOR knob (Knob 3).
The CREATE function cannot be used if the REMIX knob (Knob 2) has not been pressed since the CREATE function was previously executed or the A5000/ A4000 power was turned on.
Cursor w
Cursor
w
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 REMIX Knob 3 Auto Audition ZONE MONITOR Knob 4 Remix Zone Start REGISTER Knob 5 Remix Zone End CREATE
Press] REGISTER... Allows the currently displayed remix pattern to be registered as a user Remix Type (User1 User5). When the REGISTER... knob is pressed the following pop-up window will appear:
Knob 1
Knob 2
[ Press] REMIX The Loop Remix function is executed when this knob is pressed, and the results are temporarily stored in memory as a "working sample." If the REMIX button is pressed again the Loop Remix function will be executed again and the previous results erased. You can execute the REMIX function as many times as necessary until satisfactory results are achieved. When Remix Type 1 5 is selected, different results will be achieved each time REMIX is executed even if the same Remix Type Variation is selected. When satisfactory results have been achieved and the CREATE function is executed (Knob 5), the Working Sample is stored as a normal sample. If the AUTO AUDITION function is on (Knob 3) the result of each remix operation will be automatcially played back after REMIX is executed. Further, the Working Sample can be monitored by pressing the [AUDITION] button.
This parameter cannot be edited when a sample bank is being edited.
Rotate the knob to select User1 User5, then press the knob to register the remix pattern to that Remix Type. Move the cursor to CANCEL and press the knob to close the pop-up window without registering the remix pattern.
If only a portion of a loop has been specied as the remix zone and REMIX executed, the REGISTER function cannot be executed. The REGISTER... function cannot be used if the REMIX knob (Knob 2) has not been pressed since the CREATE function was executed or the A5000/ A4000 power was turned on.
Knob 5
[ Turn] Remix Zone End The Remix Zone to be affected by the Loop Remix function is determined by the settings of the Remix Zone Start parameter (Knob 4) and the Remix Zone End parameter. This allows the Loop Remix function to be applied to only a specied section of the loop within the selected sample.
[Range] The selected sample loop is divided into 8 "areas," and any of these from the 2nd to last area can be specied as the Remix Zone End.
The selected area can be played back by pressing the ZONE MONITOR knob (Knob 3).
Knob 3
[ Turn] Auto Audition Determines whether the results of the Loop Remix function will automatically be played back or not.
[Range] off, on off ... No playback. on ... Automatic playback.
Press] CREATE When a satisfactory remix has been achieved by pressing the REMIX knob (Knob 2), press the CREATE knob to actually save temporary "working sample" produced by the remix operation as an normal sample. "Working:" will appear to the left of the name of the new sample created by the CREATE function.
Press] ZONE MONITOR Plays back only the remix zone (from the specied Remix Zone Start to Remix Zone End) without playing the rest of the loop.
Knob 4, 5
126
EDIT-MAP/OUT
2. MAP/OUT
You use the MAP/OUT function to set the samples original key, key range, output destinations, output level, tuning, and related settings.
Keep in mind that the [COMMAND/EXIT] button gives you rapid access to a number of helpful commands while you are working with this function. For example, you can use the [COMMAND/EXIT] button when you want to save your edit results to disk, or when you want to cancel your new changes and restore the previously saved data.
Knob 3
[ Turn] Sample Pan Turn the knob to set the samples pan (stereo position).
[Range] Rnd, -63 +63 Rnd ... The pan position changes randomly with each note played. -63 +63 ... Positive values set the pan to the right; negative values move the pan to the left.
Press the [EDIT] button and then the [F2] button to go to the MAP/OUT function. 4 display pages are provided: Mix&Key (Mix & Key Range), Pitch (page 129), Exp&Vel (Expand & Velocity Range page 131), and LvlScal (Level Scaling page 132).
Knob 4
[ Turn] Velocity Sensitivity This value sets the samples velocity sensitivity. The velocity sensitivity determines how the samples output level varies in response to changes in velocity.
[Range] -127 +127 A value of 0 produces constant output level for all velocities within the velocity range. Positive values causes output level to increase with increasing velocity, while negative settings have the opposite effect.
You can use the UTILITY MIDI Channel page to set the adjustment that the A5000/A4000 applies to received velocity values before transmitting them to the internal tone generator. (page 200)
Mix & Key Range

[EDIT] Button [F2] Button Knob 1 to select "EDIT-Mix&key
Provides settings for sample level, key range, and output.

[
Cursor q (Level)
Knob 5
Cursor
Turn] Poly/Mono Select Mono if you want to limit playback of this sample to one note at a time. Select Poly to enable simultaneous playback of multiple notes.
[Range] Poly, Mono Poly ... The sample can be played polyphonically (several notes can be played at once). Mono ... Only one note can be played at a time.
Knob 2 Sample Level QUICK...
Knob 3 Sample Pan QUICK...
Knob 4 Velocity Sensitivity QUICK..
Knob 5 Poly/Mono
Knob 1
Knob 2
[ Turn] Sample Level Turn the knob to set the samples output level.
[Range] 0 127
Chapter 5 EDIT Mode
127
EDIT-MAP/OUT
Cursor w (Key Range)

[
Cursor
If a sample bank is being edited "(---)" will appear on the display and this parameter cannot be changed.
Press] MIDI When this knob is pressed the parameter can be directly set by a MIDI note-on message received from an external MIDI device.
Knob 2 Original Key MIDI
Knob 3 Low Key MIDI
Knob 4 High Key MIDI
Knob 5 Key Crossfade
Knob 5
[ Turn] Key Crossfade Set this parameter on to enable key crossfade, or off to disable.
[Range] on, off
Knob 1
Knob 2
[ Turn] Original Key Turn the knob to set the samples original key the key that best represents the samples inherent pitch.
[Range] C-2 G8
If the Note Display Type utility (UTILITY-SYSTEMCustom) (page 198) is set to "name" the parameter will be displayed as note names such as "C3." If set to "number" the parameter will be displayed as MIDI note numbers such as "60." If a sample bank is being edited "(---)" will appear on the display and this parameter cannot be changed.
on ... Keys adjacent to the key range also play the sample, with the samples output level decreasing gradually with increasing distance from the range border. The drawing below illustrates the concept. off ... The sample plays out over the selected key range only. Keys that are adjacent to but outside of the key range do not produce any sound from this sample. If Key Crossfade = OFF:
Sound Level Pitch
Sound Level
Low
High
If Key Crossfade = ON:
Knob 3
[ Turn] Low Key Turn the knob to set the low end for the samples key range.
[Range] =Orig, C-2 High Key =Orig (Original) ... the Low Key will always be the same value as the original key of the sample. C-2 High Key ... Sets the Low Key to any note up to the High Key.
If a sample bank is being edited "(---)" will appear on the display and this parameter cannot be changed.
Pitch
Low
High
The use of key crossfade allows you to blend adjacent samples into one another, so as to avoid dramatic voice changes at the range borders. This is particularly useful when working with samples that map the same type of sound to different ranges on the keyboard (multisampling).
Knob 4
[ Turn] High Key Turn the knob to set the high end for the samples key range.
[Range] Low Key G8, =Orig Low Key G8 ... Sets the High Key to any note higher than the Low Key. =Orig ... the Low Key will always be the same value as the original key of the sample.
128
EDIT-MAP/OUT
Cursor e (Output)
Knob 4
[ Turn] Output2 Sets the samples output destination. Samples have two independent output destinations (Output 1 and 2); this parameter sets the Output 2 destination.
[Range] off, StereoOut, AsgnOutL&R, AsgnOut1&2 AsgnOut5&6, DIG&OPT, Ef1 Ef6 (Ef1 Ef3 on the A4000) The settings are the same as for the Output1 parameter, above
Cursor
e
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Output1 Knob 3 Output Level1 QUICK... Knob 4 Output2 Knob 5 Output Level2 QUICK...
Knob 1
Knob 5
[ Turn] Output Level2 Species the output level of Output2
[Range] 0 127
Knob 2
[ Turn] Output1 Sets the sample's output destination. Samples have two independent output destinations (Output 1 and 2); this parameter sets the Output 1 destination.
[Range] off, StereoOut, AsgnOutL&R, AsgnOut1&2 AsgnOut5&6, DIG&OPT, Ef1 Ef6 (Ef1 Ef3 on the A4000) StereoOut ... Output is sent to the rear-panel STEREO OUT jacks as well as the front-panel PHONES jack. AsgnOutL&R ... The rear-panel assignable output jacks. AsgnOut1&2, AsgnOut3&4, AsgnOut5&6 ... The corresponding assignable outputs on the optional AIEB1 I/O expansion board. DIG&OPT ... The coaxial and optical digital outputs on the optional AIEB1 I/O expansion board. Ef1 Ef6 (Effect1 6) (Ef1 Ef3 on the A4000) ... Output is routed to the specied effect.
The AsgnOut1&2, AsgnOut3&4, AsgnOut5&6, and DIG&OPT output destinations cannot be selected unless the optional AIEB1 I/O expansion board is installed.

Pitch
[EDIT] Button [F2] Button Knob 1 to select "EDIT-Pitch"
Use this page to set the samples tuning and pitch characteristics.
Cursor q (Pitch)
Cursor
Knob 3
[ Turn] Output Level1 Species the output level of Output1
[Range] 0 127
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Pitch Coarse QUICK... Knob 3 Pitch Fine QUICK... Knob 4 Fixed Pitch Knob 5 Random Pitch QUICK...

Knob 1
Chapter 5 EDIT Mode
129
EDIT-MAP/OUT
Knob 2
[ Turn] Pitch Coarse Turn the knob to adjust the samples pitch, in semitone increments.
[Range] -127 +127
Knob 1
Knob 3
[ Turn] Sample Portamento Mode Turn either knob to select the mode. The "rate" settings select a xed-rate slide, while the "time" settings select a xed-time slide.
[Range] off, =Pgm, rate (ngered), rate (fulltime), time (ngered), time (fulltime) off ... No sample portamento. =Pgm ... The Program Portamento setting (page 91) takes priority. rate (ngered) ... Slides one note into the next only if the rst note (key) is still held when the next note is struck. Slide is at a constant rate; the time required to slide from the rst note's pitch to the next note's pitch increases as the difference between the pitches increases. rate (fulltime) ... Pitch between consecutive notes always slides, even if the rst note is released before the second note is struck. Again, pitch slide occurs at a constant rate. time (ngered) ... Slides one note into the next only if the rst note (key) is still held when the next note is struck. The slide time is always the same; the slide rate increases as the difference between the pitches increases. time (fulltime) ... Pitch between consecutive notes always slides, even if the rst note is released before the second note is struck. Again, the slide time is always the same.
Note that the "ngered" setting is effective only on samples that are set for one-note-at-a-time replay (samples whose Mono/Poly switch is set to mono; page 127). Samples set to poly always receive "fulltime" portamento.
Knob 3
[ Turn] Pitch Fine Turn the knob to ne-tune the samples pitch. Each click adjusts the pitch by 1.171875 cent. (Note: 100 cents = 1 semitone)
[Range] -63 +63
Knob 4
[ Turn] Fixed Pitch Set this parameter on if you want the sample to play at the same pitch over its entire key range.
[Range] off, on off ... The pitch of the sample depends on the note played. on ... The sample will always play at the same pitch.
Knob 5
[ Turn] Random Pitch Use this setting to impart a slight, random pitch variation to the samples pitch.
[Range] 0 63
Set to 0 to eliminate all random variation. Increase the value to produce a greater range of variation. Note that this variation is applied to each note at the start of its playback. This setting does not affect how pitch develops once the note has started playing.
Knob 5
[ Turn] Sample Portamento Rate/Time This value sets the pitch slide rate or slide time. The setting determines the slide rate (if the mode is set to "rate") or the slide time (if the mode is set to "time").
[Range] 1 127
This parameter cannot be edited when the Sample Portamento Mode is set to "=Pgm."
Cursor w (Sample Portament)

[
Cursor
w
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Knob 3 Sample Portamento Mode Knob 4 Knob 5 Sample Portamento Rate/Time QUICK...
130
EDIT-MAP/OUT
Knob 4
Expand & Velocity Range

[EDIT] Button [F2] Button Knob 1 to select "EDIT-Exp&Vel"
Turn] Expand Width This parameter sets the sounds width.

[Range] -63 +63
Negative settings reverse the stereo image. A setting of +63 produces normal positioning for stereo samples.
Use Expand page to create a more expansive sound for the sample. This feature makes it possible to broaden the sound of monaural samples, and to generate wider acoustics for your stereo samples. Use Velocity Range page to set the samples velocity range, and velocity crossfade.
Cursor q (Expand)
Cursor w (Velocity Range)
Cursor
w
Cursor
q
Knob 1 Cursor/Page Tree View
Knob 2 Velocity Low Crossfade QUICK...
Knob 3 Velocity Low Range MIDI
Knob 4 Velocity High Range MIDI
Knob 5 Velocity High Crossfade QUICK...
Knob 2 Expand Detune QUICK...
Knob 3 Expand Dephase QUICK...
Knob 4 Expand Width QUICK...
Knob 5
Knob 1
Knob 1
Knob 2
[ Turn] Velocity Low Crossfade Determines how the sound fades at velocities below the Velocity Low Range setting. The higher the value the more abrupt the fade.
[Range] 0 127
The higher the value, the lower the velocity at which the sample will sound. The use of velocity crossfade allows you to blend samples that are set for playback at different velocity ranges, so that sound does not change drastically in response to slight velocity changes near the range limit.
Knob 2
[ Turn] Expand Detune This feature sets up a tuning differential (discord) between left and right channels.
[Range] -7 +7
Positive values apply the differential in one direction, while negative values apply it in the other. A setting of 0 switches detuning off.
Knob 3
[ Turn] Velocity Low Range Turn the knob to set the minimum velocity required to produce sound from this sample.
[Range] 0 Velocity High Range
Knob 3
[ Turn] Expand Dephase This feature sets up a differential in the playback start address for each channel resulting in a subtle phase discord.
[Range] -63 +63
Positive values apply the differential in one direction, while negative values apply it in the other. A setting of 0 switches dephasing off.
Chapter 5 EDIT Mode
131
EDIT-MAP/OUT
Knob 4
[ Turn] Velocity High Range Turn the knob to set the maximum velocity that can be used to produce sound from this sample.
[Range] Velocity Low Range 127
Knob 2
[ Turn] Level1 Sets the level at the Breakpoint1 note.
[Range] 0 127
Knob 3
[ Turn] Breakpoint1 Species the lowest note from which the level variation will begin. All notes lower than this will play at the level specied by the Level1 parameter.
[Range] C-2 G8 (Cannot be set higher than Breakpoint2)
If the Note Display Type utility (UTILITYSYSTEMCustom) (page 198) is set to "name" the parameter will be displayed as note names such as "C3." If set to "number" the parameter will be displayed as MIDI note numbers such as "60."
Knob 5
[ Turn] Velocity High Crossfade Determines how the sound fades at velocities higher than the Velocity High Range setting. The higher the value the more abrupt the fade.
[Range] 0 127
The higher the value, the higher the velocity at which the sample will sound. The use of velocity crossfade allows you to blend samples that are set for playback at different velocity ranges, so that sound does not change drastically in response to slight velocity changes near the range limit.
Knob 4
[ Turn] Breakpoint2 Species the high note at which the level variation will end. All notes higher than this will play at the level specied by the Level2 parameter.
[Range] C-2 G8 (Cannot be set lower than Breakpoint1)
Level Scaling
[EDIT] Button [F2] Button Knob 1 to select "EDIT-LvlScal" [
This page determines how the samples output level varies across the keyboard.
Certain samples seem to get louder as pitch increases, while certain others seem to become softer with rising pitch. The level-scaling feature described here lets you correct for these variations, allowing you to produce an apparently uniform playback level over the entire keyboard.
Knob 5
[ Turn] Level2 Sets the level at the Breakpoint2 note.
[Range] 0 127
Knob 2 Level1 QUICK...
Knob 3 Breakpoint1 MIDI
Knob 4 Breakpoint2 MIDI
Knob 5 Level2 QUICK...
Knob 1
132
EDIT-FILTER
3. FILTER
You use this function to set the samples lter type, lter characteristics, and equalization. You can also set the way that lter strength varies with respect to velocity and keyboard location.
You can use lter-EG settings and LFO settings to create variations in lter cutoff frequency over time. (page 138, 144) The [COMMAND/EXIT] button gives you rapid access to a number of helpful commands while you are working with this function. For example, you can use the [COMMAND/EXIT] button when you want to save your edit results to disk, or when you want to cancel your new changes and restore the previously saved data.
Bypass ........ No lter. LowPass1.... Low-pass lter #1. (A low-pass lter blocks out all frequencies above the cutoff frequency.) LowPass2.... Low-pass lter #2. Offers much higher Q (resonance) than low-pass lter #1. LowPass3.... The characteristics of this low-pass lter are somewhere between LowPass1 and LowPass2. HiPass1 ....... High-pass lter #1. (A high-pass lter blocks out all frequencies below the cutoff frequency.) HiPass2 ....... High-pass lter #2. Offers much higher Q (resonance) than high-pass lter #1. BandPass .... Band-pass lter. (Allows only frequencies near the cutoff frequency to pass; blocks out all higher and lower frequencies.) BandElim..... Band-eliminate lter. (Blocks out the frequency range around the cutoff frequency, while allowing higher and lower frequencies to pass.) Peak1 ........... A lter with an emphasis peak at the cutoff frequency. Peak2 ........... With this lter the original sound is mixed with the sound of the Peak1 lter. 2Peaks ........ A combination of two peak lters. 2Dips ........... A combination of two band elimination lters. DualLPFs..... A combination of two low-pass lters. LPF+Peak ... A combination of a low-pass lter and a peaking lter. DualHPFs .... A combination of two high-pass lters. HPF+Peak.... A combination of a high-pass lter and a peaking lter.
Press the [EDIT] button and then the [F3] button to go to the Filter function. 2 display pages are provided: Fltr&EQ (Filter & EQ), and FltrScal (Filter Scaling page 135).
Filter & EQ
[EDIT] Button [F3] Button Kjnob 1 to select "EDIT-Fltr&EQ"
This page sets the lter type, cutoff frequency, and Q/width value.
Cursor q (Filter) q
LPF+HPF ..... A combination of a low-pass lter and a highpass lter.

Low Pass
Q emphasis Level Level
Cursor
High Pass
Q emphasis
These frequencies pass.
These frequencies are cut.
Knob 2 Filter Type Filter Type List...
Knob 3 Cutoff QUICK...
Knob 4 Q/Width QUICK...
Knob 5 Cutoff Distance QUICK...

Band Pass
Level
Cutoff
Frequency
Cutoff
Frequency
Band-Eliminate
These frequencies are cut. These frequencies pass. Level
Knob 1
[ [ Turn] Cursor/Page Positions the cursor and selects display pages. Press] Tree View Calls the Tree View display (page 83). [
Cutoff
Frequency
Cutoff
Frequency
Press] Filter Type List... Calls a list of all the available lter types.
Knob 2
[ Turn] Filter Type Select any one of the following lter types.
[Range] Bypass, LowPass1 3, HiPass1 2, BandPass, BandElim, Peak1 2, 2Peaks, 2Dips, DualLPFs, LPF+Peak, DualHPFs, HPF+Peak, LPF+HPF
Chapter 5 EDIT Mode
133
EDIT-FILTER
Knob 3
[ Turn] Cutoff Use this knob to set the lters cutoff frequency. As shown in the lter response graphs on page 133, the cutoff frequency is either the point at which the lter cutoff begins, or it is the center frequency of the pass/elimination band, depending on the lter type.
[Range] 0 127
Cursor w (Filter Sensitivity)
Cursor
Knob 2
Knob 3 Cutoff Velocity Sensitivity QUICK...
Knob 4 Q/Width Velocity Sensitivity QUICK...
Knob 5 Filter Gain QUICK...
Knob 4
[ Turn] Q/Width This knob sets the Q value (resonance) or width setting, depending on the lter type.
[Range] 0 31
When any lter type other than BandPass, BandElim, or 2Dips is selected, this parameter will vary the size of the emphasis peak near the lter cutoff frequency. With the LowPass2, HiPass2, Peak1, and Peak2 lters, setting this parameter too high can cause the sound to become distorted. When the BandPass lter type is selected, higher values increase the width of the lter passband. When the BandElim or 2Dips lter is selected, smaller values increase the width of the lter's elimination band.
Knob 1
Knob 3
[ Turn] Cutoff Velocity Sensitivity Determines how the cutoff frequency changes in response to velocity. If you set the value to 0, the cutoff frequency remains the same at all velocities.
[Range] -63 +63, Rnd1 Rnd5
Positive values cause the cutoff frequency to move up as velocity increases, while negative values cause the frequency to move down as velocity increases. For the Rnd1 Rnd 5 settings, higher Rnd values produce a greater random variation in cutoff frequency for each note sounded.
Knob 5
[ Turn] Cutoff Distance For lter types which combine two lters (2Peaks ... LPF+HPF), it is necessary to set the cutoff frequencies for both lters. This parameter species the "distance" of the cutoff frequency of the second lter from that of the rst lter (specied by Knob 3: Cutoff).
[Range] -63 +63
For the LPF+Peak, HPF+Peak, and LPF+HPF lters, the cutoff frequency of the lter named to the left of the "+" is determined by Knob 3 (Cutoff). The cutoff frequency of the lter named to the right of the "+" is determined by adding the Knob 5 (Cutoff Distance) value to the Cutoff value. When Cutoff Distance is set to "0", both lters will have the same cutoff frequency. The Cutoff Distance parameter is only available when a composite lter type is selected.
Knob 4
[ Turn] Q/Width Velocity Sensitivity Determines how the Q/width value changes in response to velocity.
[Range] -63 +63, Rnd1 Rnd5
If you set the value to 0, the Q/width value remains the same at all velocities. Positive values cause the value to increase as velocity increases, while negative values cause the value to decrease as velocity increases. For the Rnd1 Rnd 5 settings, higher Rnd values produce a greater random variation in Q/Width for each note sounded.
Knob 5
[ Turn] Filter Gain Use this knob to set the lters output level. Note that high settings may produce distortion when used with certain sample sounds or when many samples are played together.
[Range] -31 +31
[DISPLAY]
q An approximate graphic representation of the selected lter's
response.
134
EDIT-FILTER
Cursor e (Equalizer)
[
This parameter can only be used when the Peak/Dip EQ type is selected.
Cursor
e
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Sample EQ Type Knob 3 Sample EQ Frequency QUICK... Knob 4 Sample EQ Gain QUICK... Knob 5 Sample EQ Width QUICK...
Filter Scaling
[EDIT] Button [F3] Button Knob 1 to select "EDIT-FltrScal"
Knob 1
Filter scaling produces lter cutoff frequency variations over a specied range of notes.
No lter cutoff variation beyond the maximum available range will be produced even if the Filter Scaling Cutoff1 (Knob 2) and Filter Scaling Cutoff2 (Knob 5) parameters in this page are set so that this range would be exceeded.
Knob 2
[ Turn] Sample EQ Type Species the EQ type.
[Range] Peak/Dip, LoShelv, HiShelv Peak/Dip ... Species a peak/dip type lter curve which allows a band of frequencies around the specied EQ frequency to be emphasized or de-emphasized. LoShelv ... Species a low-shelving lter curve which allows frequencies lower than the specied EQ frequency to be emphasized or deemphasized. HiShelv ... Species a high-shelving lter curve which allows frequencies higher than the specied EQ frequency to be emphasized or de-emphasized.
Knob 2 Filter Scaling Cutoff1 QUICK...
Knob 3 Filter Scaling Breakpoint1 MIDI
Knob 4 Filter Scaling Breakpoint2 MIDI
Knob 5 Filter Scaling Cutoff2 QUICK...
Frequency Applied cutoff frequency. Filter Scaling Cutoff2
Knob 3
[ Turn] Sample EQ Frequency Turn the knob to set the equalizers frequency point.
[Range] 32Hz 16.0kHz
The selectable range will depend on the selected EQ type.
Cutoff frequency set by Cutoff parameter on Filter page.
Filter Scaling Cutoff1
Pitch (Note)
Filter Scaling Breakpoint 1
Filter Scaling Breakpoint 2
Knob 4
[ Turn] Sample EQ Gain This value sets the gain at the equalizers frequency point.
[Range] -12dB +12dB
Knob 1
Knob 2
[ Turn] Filter Scaling Cutoff1 Sets the amount of lter cutoff variation at the Filter Scaling Breakpoint1 note.
[Range] -127 +127
Knob 5
[ Turn] Sample EQ Width This value determines the width of the emphasis or attenuation band. Note that smaller values increase the width, while larger values decrease the width.
[Range] 1.0 12.0
Chapter 5 EDIT Mode
135
EDIT-FILTER
Knob 3
[ Turn] Filter Scaling Breakpoint1 Species the lowest note from which the lter cutoff variation will begin. All notes lower than this will play at the cutoff frequency specied by the Filter Scaling Cutoff1 parameter.
[Range] C-2 G8 (Cannot be set higher than Filter Scaling Breakpoint2)
If the Note Display Type utility (UTILITYSYSTEMCustom) (page 198) is set to "name" the parameter will be displayed as note names such as "C3." If set to "number" the parameter will be displayed as MIDI note numbers such as "60."
Knob 4
[ Turn] Filter Scaling Breakpoint2 Species the high note at which the lter cutoff variation will end. All notes higher than this will play at the cutoff frequency specied by the Filter Scaling Cutoff2 parameter.
[Range] C-2 G8 (Cannot be set lower than Filter Scaling Breakpoint1)
Knob 5
[ Turn] Filter Scaling Cutoff2 Sets the amount of lter cutoff variation at the Filter Scaling Breakpoint2 note.
[Range] -127 +127
136
EDIT-EG
4. EG
The EG function sets up the samples envelope generators (EGs). The envelope generators determine how sound develops over time, both while the note is held and after it is released. The A5000/A4000 offers three different EGs: an amplitude EG, a lter EG, and a pitch EG.
The [COMMAND/EXIT] button gives you rapid access to a number of helpful commands while you are working with this function. For example, you can use the [COMMAND/EXIT] button when you want to save your edit results to disk, or when you want to cancel your new changes and restore the previously saved data.
Knob 1
[ [ Turn] Cursor Position/Page Selection Positions the cursor and selects display pages. Press] Tree View Calls the Tree View display (page 83).
Knob 2
[ Turn] AEG Attack Rate Determines the rate at which the sound reaches maximum level from the initial Level 0 (note-on). The higher the value, the faster the attack.
[Range] 0 127
If the AEG Attack Mode (Cursor w, Knob 4) is set to hold, this parameter determines the length the maximum level is held (actually the inverse of the value the higher the value the shorter the hold time, page 138).
Press the [EDIT] button and then the [F4] Button to go to the EG functions. 3 display pages are provided: AmpEG (Amplitude EG), FilterEG (page 138), and PitchEG (page 140).
Amplitude EG
[EDIT] Button [F4] Button Knob 1 to select "EDIT-AmpEG"
Knob 3
[ Turn] AEG Decay Rate This value sets the decay rate: the rate at which the sound drops from its maximum amplitude to its sustain level. Higher values produce faster decay.
[Range] 0 127
Note that this setting is meaningless (there is no decay period) if the AEG Sustain Level (Knob 4) is set to 127.
This page sets up the AEG (amplitude envelope generator). The AEG determines how the sound level (amplitude) develops over time. Development begins at Note On, and terminates when the sound dies out. The envelope is dened by four settings, as illustrated below.
Cursor q (Amplitude EG Rate/Level)
Knob 4
[ Turn] AEG Sustain Level This value sets the sustain level. The sustain level is the steady level that begins when decay is completed, and continues until Note Off occurs.
[Range] 0 127
Cursor
Knob 2 AEG Attack Rate QUICK...
Knob 3 AEG Decay Rate QUICK...
Knob 4 Knob 5 AEG Sustain AEG Release Level Rate QUICK... QUICK...
Knob 5
Level Maximum Level
AEG Sustain Level
Turn] AEG Release Rate This value sets the release rate: the rate at which the amplitude drops from the sustain level to zero following Note Off. Higher values produce faster release. A setting of 127 causes sound to stop immediately when Note Off occurs.
[Range] 0 127
Time AEG Attack Rate Note On AEG Decay Rate AEG Release Rate Note Off
Chapter 5 EDIT Mode
137
Chapter 5 EDIT Mode
EDIT-EG
Cursor w (Amplitude EG Mode)
This function can be useful in cases in which you want the natural attack envelope of the sample to be fully retained: use the hold mode to keep the level at maximum for the required time, then drop to the sustain level.
Cursor
rate2 ... A variation of "rate."

If AttackMode = rate: If AttackMode = hold:
Level Maximum Level
Knob 2 AEG Rate Scaling QUICK...
Knob 3 AEG Rate Velocity Sensitivity QUICK...
Knob 4 AEG Attack Mode
Knob 5
Level
Maximum Level
Knob 1
Time Attack Rate Attack Rate
Time
Note On
Note Off
Note On
Note Off
Knob 2
[ Turn] AEG Rate Scaling This setting determines how the AEG rates (attack, decay, and release rates) vary according to keyboard location (pitch) of the played note. Set the value to 0 to keep rates the same for all keyboard notes. Positive settings cause rates to increase as you move up the keyboard, while negative settings cause rates to decrease as you move up the keyboard.
[Range] -7 +7
Filter EG
[EDIT] Button [F4] Button Knob 1 to select "EDIT-FilterEG"
Use this page to set up the samples FEG (lter envelope generator). The FEG determines how the lters cutoff frequency shifts over time as each note plays out. Specied Cutoff Frequency is the value set by the Cutoff parameter (page 134).
Filter-EG settings are not effective if the Filter Type parameter on the Fltr&EQ page (page 133) is set to Bypass.
Frequency (+)
Knob 3
[ Turn] AEG Rate Velocity Sensitivity This value sets the AEGs velocity sensitivity: the amount by which the AEG rates (attack, decay, and release rates) vary in response to the velocity (force) of the played note. Set the value to 0 to keep rates the same for all velocities. Positive settings cause rates to increase as velocity increases, while negative settings cause rates to decrease as velocity increases.
[Range] -63 +63
FEG Initial Level FEG Sustain Level Specified Cutoff Frequency* FEG Attack Level FEG Release Level
Time
Frequency (-) FEG Attack Rate FEG Decay Rate FEG Release Rate Note Off
Knob 4
[ Turn] AEG Attack Mode This value sets the AEG attack mode the way that amplitude behaves immediately following Note On.
[Range] rate, hold, rate2 rate ... Level starts at 0 (when Note On occurs) and rises to maximum, then begins to drop. hold ... Level starts immediately at it maximum point and holds steady for a certain interval before beginning to drop (page 137). Note that the Attack Rate setting sets the timing for the attack. Higher Attack Rate settings produce a faster attack so that the level rises more quickly (if the mode is set to rate) or holds steady for a shorter time before dropping (if the mode is set to hold).
Cursor
Note On
Cursor q (Filter EG Rate)
q
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Knob 3 FEG Attack Rate QUICK... Knob 4 FEG Decay Rate QUICK... Knob 5 FEG Release Rate QUICK...
138
Chapter 5 EDIT Mode A5000/A4000 q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q
EDIT-EG
Knob 1
Knob 1
Knob 2
[ Turn] FEG Init Level This value sets the initial level (the cutoff-frequency offset applied at time of Note On).
[Range] -127 +127
Knob 3
[ Turn] FEG Attack Rate This value sets the rate at which the cutoff frequency moves from its FEG initial level (at Note On) to the attack level. Higher values produce faster rates.
[Range] 0 127
Knob 3
[ Turn] FEG Attack Level This value sets the attack level. (See illustration, page 138)
[Range] -127 +127
Knob 4
[ Turn] FEG Decay Rate This value sets the rate at which the cutoff frequency moves from the FEG attack level to the sustain level. Higher values produce faster rates.
[Range] 0 127
Knob 4
[ Turn] FEG Sustain Level This value sets the sustain level. (See illustration, page 138)
[Range] -127 +127
Knob 5
[ Turn] FEG Release Rate This value sets the rate at which the cutoff frequency moves from the FEG sustain level to the FEG release level following Note Off. Higher values produce faster rates.
[Range] 0 127
Note that the effectiveness of this setting declines at higher AEG release rates (page 137), since the sound dies out before the shift in cutoff frequency can be heard.
Knob 5
[ Turn] FEG Release Level This value sets the release level. (See illustration, page 138)
[Range] -127 +127
Cursor e (Filter EG Mode) Cursor w (Filter EG Level)
Cursor Cursor
e
Knob 1 Knob 1 Turn action Press action Knob 2 Knob 3 FEG Attack Level QUICK... Knob 4 FEG Sustain Level QUICK... Knob 5 FEG Release Level QUICK... Turn action Press action Cursor/Page Tree View Knob 2 FEG Rate Scaling QUICK... Knob 3 FEG Rate Velocity Sensitivity QUICK... Knob 4 FEG Attack Level Velocity Sensitivity QUICK... Knob 5 FEG Level Velocity Sensitivity QUICK...
Cursor/Page FEG Init Level Tree View QUICK...
Knob 1
It is not possible to set the actual cutoff frequency beyond a certain range. Regardless of settings you make at this page, the cutoff frequency will not shift beyond these limits.
Chapter 5 EDIT Mode
139
EDIT-EG
Knob 2
[ Turn] FEG Rate Scaling This setting determines how the FEG rates (FEG attack, FEG decay, and FEG release rates) vary according to keyboard location (pitch) of the played note. Set the value to 0 to keep rates the same for all keyboard notes. Positive settings cause rates to increase as you move up the keyboard, while negative settings cause rates to decrease as you move up the keyboard.
[Range] -7 +7
Pitch EG
[EDIT] Button [F4] Button Knob 1 to select "EDIT-PitchEG"
Use this page to set up the samples PEG (pitch envelope generator). The PEG determines how the pitch varies over time as each note plays out.
Pitch (high)
Initial Level Sustain Level
Knob 3
Basic Pitch
Turn] FEG Rate Velocity Sensitivity This value sets the velocity sensitivity of the FEG rates: the amount by which the FEG rates (FEG attack, FEG decay, and FEG release rates) vary in response to the velocity (force) of the played note. Set the value to 0 to keep rates the same for all velocities. Positive settings cause rates to increase as velocity increases, while negative settings cause rates to decrease as velocity increases.
[Range] -63 +63
Time Attack Level Release Level
Pitch (low) Attack Rate Decay Rate Release Rate
Note On
Note Off
Cursor q (Pitch EG Rate)
Knob 4
[ Turn] FEG Attack Level Velocity Sensitivity This parameter sets the rst velocity-sensitivity value for the FEGs initial level and attack level. The value operates together with the value set by Knob 5 to determine the amount by which these levels vary in response to the velocity of the played note. Positive settings cause levels to increase as velocity increases, while negative settings cause levels to decrease as velocity increases.
[Range] -63 +63
Cursor
Knob 2
Knob 3 PEG Attack Rate QUICK...
Knob 4 PEG Decay Rate QUICK...
Knob 5 PEG Release Rate QUICK...
Knob 1
Knob 5
[ Turn] FEG Level Velocity Sensitivity This parameter sets the general velocity sensitivity for all FEG levels (FEG initial, FEG attack, FEG sustain, and FEG release). Positive settings cause levels to increase as velocity increases, while negative settings cause levels to decrease as velocity increases.
[Range] -63 +63
Knob 3
[ Turn] PEG Attack Rate This value sets the rate at which the pitch moves from its initial level (at Note On) to the attack level. Higher values produce faster rates.
[Range] 0 127
140
EDIT-EG
Knob 4
[ Turn] PEG Decay Rate This value sets the rate at which the pitch moves from the attack level to the sustain level. Higher values produce faster rates.
[Range] 0 127
Knob 4
[ Turn] PEG Sustain Level This value sets the sustain level. (See illustration, page 140)
[Range] -127 +127
Knob 5 Knob 5
[ Turn] PEG Release Rate This value sets the rate at which the pitch moves from the sustain level to the release level following Note Off. Higher values produce faster rates.
[Range] 0 127
Note that the effectiveness of this setting declines at higher AEG release rates (page 137), since the sound dies out before the shift in pitch can be heard.
Turn] PEG Release Level This value sets the release level. (See illustration, page 140)
[Range] -127 +127
Cursor e (Pitch EG Mode)
Cursor w (Pitch EG Level)
Cursor
e
Knob 1 Knob 2 PEG Rate Scaling QUICK... Turn action Press action Knob 3 PEG Rate Velocity Sensitivity QUICK... Knob 4 PEG Level Velocity Sensitivity QUICK... Knob 5 PEG Range QUICK...
Cursor
w
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 PEG Initial Level QUICK... Knob 3 PEG Attack Level QUICK... Knob 4 Knob 5 PEG Sustain PEG Release Level Level QUICK... QUICK...
Knob 1
If all levels are set to maximum (+127 or 127), the actual amount of pitch variation range is determined by the PEG Range setting (page 142).
Knob 2
[ Turn] PEG Rate Scaling This setting determines how the PEG rates (PEG attack, PEG decay, and PEG release rates) vary according to keyboard location (pitch) of the played note. Set the value to 0 to keep rates the same for all keyboard notes. Positive settings cause rates to increase as you move up the keyboard, while negative settings cause rates to decrease as you move up the keyboard.
[Range] -7 +7
Knob 1
Knob 2
[ Turn] PEG Initial Level This value sets the initial level (the pitch offset applied at time of Note On).
[Range] -127 +127
Knob 3
[ Turn] PEG Rate Velocity Sensitivity This value sets the velocity sensitivity for the PEG rates: the amount by these PEG rates (PEG attack, PEG decay, and PEG release rates) vary in response to the velocity (force) of the played note. Set the value to 0 to keep rates the same for all velocities. Positive settings cause rates to increase as velocity increases, while negative settings cause rates to decrease as velocity increases.
[Range] -63 +63
Knob 3
[ Turn] PEG Attack Level This value sets the attack level. (See illustration, page 140)
[Range] -127 +127
Chapter 5 EDIT Mode
141
EDIT-EG
Knob 4
[ Turn] PEG Level Velocity Sensitivity This value sets the velocity sensitivity for the PEG levels: the amount by these levels (initial, attack, sustain, and release rates) vary in response to the velocity of the played note. Set the value to 0 to keep the levels the same for all velocities. Positive settings cause the levels to increase as velocity increases, while negative settings cause the levels to decrease as velocity increases.
[Range] -63 +63
Knob 5
[ Turn] PEG Range This value sets the range for PEG pitch variation, in semitones. This setting works in conjunction with the level settings at the Pitch EG Level page (page 141) to determine how far the PEG levels are from the samples basic pitch. If you set the PEG Level settings to maximum (+127 or -127), then the distance between each level and the basic pitch will be equal to the number of semitones that you set here.
[Range] -63 +63
142
EDIT-LFO
5. LFO
You use the LFO function to set up the samples LFO (lowfrequency oscillator). The LFO applies a low-frequency modulation to the output volume, lter cutoff frequency, and pitch.
Saw (Sawtooth wave)

Modulation
Time
Triangle (Triangle wave)

Modulation
Press the [EDIT] button and then the [F5] button to go to the LFO functions. 1 display page is provided: LFO.
Time
Square
Modulation
LFO
[EDIT] Button [F5] Button Knob 1 to select "EDIT-LFO"
You use the LFO function to set up the samples LFO (lowfrequency oscillator). The LFO applies a low-frequency modulation to the output volume, lter cutoff frequency, and pitch.
Cursor q
Time
S/H ("Sample & hold" : random pattern)

Modulation
Cursor
Time
Knob 2 LFO Wave
Knob 3 LFO Speed QUICK...
Knob 4 LFO Delay QUICK...
Knob 5 LFO Key On Sync
Knob 3
[ Turn] LFO Speed This value sets the modulation speed for the saw, triangle, or square waveform. Higher values produce faster modulation.
[Range] 1 128 Modulation speed for the S/H waveform must be set
at the program side (page 107). If you have selected the S/H waveform (knob2), the screen displays the current program-side setting. You cannot change the setting from this page.
Knob 1
[ [ Turn] Cursor Position/Page Selection Positions the cursor and selects display pages.
Press] Tree View Calls the Tree View display (page 83).
Knob 2
[ Turn] LFO Wave This parameter selects the LFO waveform. The waveform, in turn, determines the type of modulation (oscillation) applied to the samples lter, pitch, and amplitude. [Range] Saw, Triangle, Square, S/H
Knob 4
[ Turn] LFO Delay This parameter sets the interval between Note On and the onset of LFO modulation. Higher values produce longer delay together with a more gradual buildup of the modulation level.
[Range] 1 127
Chapter 5 EDIT Mode
143
EDIT-LFO
Knob 5
[ Turn] LFO Key On Sync This setting selects whether LFO oscillation always begins from the same phase (at the same point in the LFO waveform). If you set the value to on, LFO oscillation will restart from phase 0 (the leftmost point in the preceding illustration) with each new note that you play.
[Range] off, on
Cursor e
Cursor
e
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Knob 3 Cutoff Mod Phase Invert Knob 4 Pitch Mod Phase Invert Knob 5
Cursor w
Knob 1
Knob 3
Cursor
w
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Knob 3 Cutoff Mod Depth QUICK... Knob 4 Pitch Mod Depth QUICK... Knob 5 Amp Mod Depth QUICK...
Turn] Cutoff Mod Phase Invert (Cutoff Modulation Phase Invert) Determines whether the phase of the LFO will be inverted or not. When on the phase of the LFO is inverted so that the direction of modulation is reversed.
[Range] off, on
Knob 1
Knob 4
[ Turn] Pitch Mod Phase Invert (Pitch Modulation Phase Invert) Determines whether the phase of the LFO will be inverted or not. When on the phase of the LFO is inverted so that the direction of modulation is reversed.
[Range] off, on
Knob 3
[ Turn] Cutoff Mod Depth (Cutoff Modulation Depth) This value sets the degree by which the amplitude is modulated by the LFO waveform. Higher values produce stronger modulation.
[Range] 0 127
This parameter has no effect if the EDIT-FILTERFltr&EQ Filter Type is set to bypass (page 133).
Knob 4
[ Turn] Pitch Mod Depth (Pitch Modulation Depth) Determines the depth of pitch modulation to be applied by the LFO. Higher values produce deeper modulation.
[Range] 0 127
Knob 5
[ Turn] Amp Mod Depth (Amplitude Modulation Depth) Determines the depth of amplitude modulation to be applied by the LFO. Higher values produce deeper modulation.
[Range] 0 127
144
EDIT-MIDI/CTRL
6. MIDI/CTRL
You use the MIDI/CTRL function to set the samples MIDI Receive Channel, to designate its alternate group, and to set up its controller handling.
Knob 5
[ Turn] Alternate Groupe Turn the knob to select the alternate group for the sample. The A5000/A4000 supports 16 alternate groups. Set the value off if you do not want to place the sample into any of these groups.
[Range] off, 1 16 You use alternate groups to prevent simultaneous
play of samples that do not go well together. Only one note from the group can be in play at any given time; playing any note from any sample in the group automatically switches off any other note already playing from that group. As an example, in general you would not want to play a high-hat close sound while a high-hat open sound is still audible. To prevent accidental overlap of these two sounds, you would place your high-hatopen sample and your high-hat-close sample into the same alternate group. If you then play the close sample while the open sample is still sounding, the A5000/A4000 immediately switches off the open sample and starts playing the close sample.
Press the [EDIT] button and the the [F4] button to go to the MIDI/CTRL functions. 3 display pages are provided: MIDISet (MIDI Setup), SmpCtrlA (Sample Controller A page 146), and SmpCtrlB (Sample Controller B page 146).
MIDI Set
[EDIT] Button [F4] Button Knob 1 to select "EDIT-MIDISet"
If you set the value to anything other than off, you will
not be able to play more than one note from this sample at any given time.
Cursor w q w
MIDI Set provides access to parameters which allow setting the sample receive channel, and parameters relating to pitch bend and velocity data reception.
Cursor q
Cursor
w
Knob 1 Turn action Press action Knob 1 Knob 2 Knob 3 Receive Channel MIDI Knob 4 Knob 5 Altern ateGroupe Knob 2 Pitch Bend Type LIST... Knob 3 Pitch Bend Range QUICK... Knob 4 Knob 5 Velocity Low Velocity Offset Limit MIDI QUICK...
Cursor
Knob 1
Knob 1
Knob 2
[ Turn] Pitch Bend Type This setting determines how strongly the pitchbend wheel controls the samples pitch. More specically, it determines how upward and downward wheel movements operate on the sample.
[Range] Normal Up&Dwn12 For Up2Dwn3 Up3Dwn12 refer to the corresponding numbers A and B in the Up[A] Dwn[B] diagrams. Up&Dwn12 produces an abrupt variation over +/- one octave.
Slow&Rev and Stop&Rev produce reverse playback even with looped samples, with playback stopping when the start address is reached.
Knob 3
[ Turn] Receive Channel Turn the knob to select the MIDI channel that drives the samples playback.
[Range] A01 A16, B01 B16, Bch (01 16 on the A4000, Bch) Bch ... The specied Basic Channel (page 89) is used.
Press] LIST... Calls the pitch bend type list.
Chapter 5 EDIT Mode
145
EDIT-MIDI/CTRL
Knob 5
Normal
Pitchbend Value Playback Pitch 127 Basic Pitch + PB Range 86 64 32 0 Basic Pitch - PB Range Basic Pitch
Slow
Pitchbend Value Playback Pitch 127 Basic Pitch + PB Range 86 64 32 0 Basic Pitch
Turn] Velocity Offset Use this value to apply an offset to all received velocities so as to raise or lower all velocities by the same amount.
[Range] -127 +127 If you set the offset to -25, for example, then a NoteOn message with a velocity of 90 will be replayed at a velocity of 65.
Almost stopped (Extremely low, muddy sound, such as produced by manually slowing a record-player turntable to almost a full stop.)
Slow&Rev (Slow & Reverse)

Pitchbend Value Playback Pitch 127 Basic Pitch + PB Range 86 64 32 0 Basic Pitch Almost stopped (Extremely low, muddy sound, such as produced by manually slowing a record-player turntable to almost a full stop.) Reverse play at basic pitch. (Sample replay ends at wave-play start address.)
Stop
Pitchbend Value Playback Pitch 127 Basic Pitch + PB Range 86 64 32 0
[DISPLAY]
Almost stopped (Extremely low, muddy sound, such as produced by manually slowing a record-player turntable to almost a full stop.)
q The selected pitch bend type will be shown diagramatically on the

left side of the display. For the Normal Stop&Rev settings, the horizontal axis represents the pitch bend value and the vertical axis represents pitch. For Up[A] Dwn[B] settings the the pitch bend variation is shown in relation to a keyboard diagram.
Stop&Rev (Stop & Reverse)

Pitchbend Value Playback Pitch 127 Basic Pitch + PB Range 86 64 32 0 Reverse play at basic pitch. (Sample replay ends at wave-play start address.) Almost stopped (Extremely low, muddy sound, such as produced by manually slowing a record-player turntable to almost a full stop.)
Up[A] Dwn[B] (UpA DownB)

Pitchbend Value Playback Pitch 127 Basic Pitch + x semitones (or: Basic Pitch + z semitones) 86 64 32 0 Basic Pitch - y semitones (or: Basic Pitch + z semitones) Basic Pitch
w Received velocity (horizontal axis) versus resultant velocity (vertical axis) in accordance with the Velocity Low Limit and Velocity Offset values is show on the right side of the display.
Sample Controller A & B

Knob 3
[ Turn] Pitch Bend Range This setting works together with the Pitch Bend Type value (Knob 2) to determine the pitchbend range for the pitchbend wheel. To see how the pitch bend range will affect pitch, refer to the pitch bend type diagrams accessible via Knob 2.
[Range] 0 24
[EDIT] Button [F6] Button Knob 1 to select "EDIT-SmpCtrlA" or "EDIT-SmpCtrlB"
Sample Controller A & B provides access to parameters relating to the device(s) use to control sample playback and other functions.
Sample Controller A
Knob 4
[ Turn] Velocity Low Limit Turn the knob to select the minimum velocity for note replay. Whenever the A5000/A4000 receives a Note-On message with a lower velocity, it will automatically raise the velocity to the value given here.
[Range] 0 127 If this parameter is set to 50, for example, notes
received with a velocity lower than 50 will actually be played at a velocity of 50.
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Device MIDI Knob 3 Sample Control Function LIST... Knob 4 Range QUICK... Knob 5 Type
Sample Controller B
146
EDIT-MIDI/CTRL
Knob 1
[ Turn] Cursor Position/Page Selection Positions the cursor to select a controller and selects display pages. Press] Tree View Calls the Tree View display (page 83).
Knob 3
[ Turn] Function Species the sample function to be controlled from an external MIDI controller or the Program LFO.
[Range] Function ----Start Address Level Pan Bias Pitch Bias Portamento Rate/Time Cutoff Bias Cutoff Distance Filter Q/Width Filter Gain AEG Attack Rate AEG Decay Rate AEG Sustain Level AEG Release Rate FEG Attack Rate FEG Decay Rate FEG Release Rate FEG Init Level FEG Sustain Level FEG All Level PEG Attack Rate PEG Decay Rate PEG Release Rate PEG Init Level PEG Sustain Level LFO Speed LFO Delay Cutoff Mod Depth Pitch Mod Depth Amp Mod Depth Pitch Bend Control1 Range Control2 Range Control3 Range Control4 Range Control5 Range Control6 Range Control Target Page Start address 120 Level 132 Pan bias 127 Pitch control Portamento rate/time 130 Cutoff bias 134 Cutoff distance 134 Filter Q/width 134 Filter gain 134 AEG attack rate 137 AEG decay rate 137 AEG sustain level 137 AEG release rate 137 FEG attack rate 139 FEG decay rate 139 FEG release rate 139 FEG init level 139 FEG sustain level 139 FEG all level PEG attack rate 140 PEG decay rate 141 PEG release rate 141 PEG init level 141 PEG sustain level 141 LFO speed 143 LFO delay 143 Cutoff modulation depth 144 Pitch modulation depth 144 Amplitude modulation depth 144 Pitch bend 145 Control 1 range 148 Control 2 range 148 Control 3 range 148 Control 4 range 148 Control 5 range 148 Control 6 range 148
Knob 2
[ Turn] Device Species the external MIDI controller from which control change messages will be received, or the internal Program LFO.
[Range] 000 120, AfterTouch, PitchBend, NoteNumber, Velocity, ProgramLFO, KeyOnRandom 000 120 ... Species a MIDI control change number for sample control. AfterTouch ... Keyboard aftertouch response will be used for sample control. PitchBend ... Pitch bend data whill be used for sample control. NoteNumber ... Note-on message note-on numbers will be used for sample control. Velocity ... Note-on message velocity data wil be used for sample control. ProgramLFO ... Control/sample change data created by the internal Program LFO is used for sample control. KeyOnRandom ... A random control value is generated each time a note-on message is received.
When a standard MIDI controller, such as "001/ModWhel (modulation wheel) is selected, the standard controller assignment wil also be displayed.
It is recommended that you do not use controller

numbers 000 and 032, as many MIDI devices use these numbers for bank selection purposes.
Press] MIDI When this knob is pressed the parameter can be directly set by a MIDI note-on message received from an external MIDI device. [
Press] Function List Calls a list of the available functions.
Chapter 5 EDIT Mode
147
EDIT-MIDI/CTRL
Knob 4
[ Turn] Range Determines the range over which the specied function will be controlled by data from an external MIDI controller on the internal Program LFO.
[Range] -63 +63 When set to "0" no controler variation will be applied. The higher the value, the greater the controller range. Negative values reverse the operation of the controller.
Knob 5
[ Turn] Type The setting determines how the A5000/A4000 converts and applies the control-change value received from the controller. When you move a controller at a MIDI device, the controller transmits a control-change value indicating the magnitude of the movement. The transmitted values always range from 0 to 127. Upon receiving the value, the A5000/A4000 converts it as specied here, and then applies it to the parameter selected by the Function entry. The conversion determines how strongly (and in which direction) the parameter changes in response to the controllers movement.
[Range] +offset, -/+offset, +offset(-exp), +offset(+exp) +offset ... The A5000/A4000 converts the received value (0 to 127) to a corresponding value in the range {0 to range}, and adds the result to the target parameter. Notice that the resulting offset is therefore always positive (or always negative, depending on the Range sign). In other words, the controller can offset the target parameter in one direction only. +offset ... The A5000/A4000 converts the received value (0 to 127) to a corresponding value in the range {-range to 0 to +range}, and adds the result to the target parameter. Notice that in this case the controller applies 0 offset when at its center position; displacement in one direction generates a negative offset, while displacement in the other generates a positive offset. +offset(-exp) ... The received value (0 to 127) is converted to an appropriate value within the available range. The conversion is not linear, however, with greater variation produced at lower values and less variation produced at higher values. +offset(+exp) ... The received value (0 to 127) is converted to an appropriate value within the available range. The conversion is not linear, however, with smaller variation produced at lower values and greater variation produced at higher values.
148
Chapter
RECORD Mode
This mode is used to record new samples.
About the RECORD Mode..........................................................150 1. RECORD .................................................................................151 2. SETUP.....................................................................................153 3. TRIGGER ................................................................................158 4. EFFECT...................................................................................160 5. EXT CTRL (External Control)................................................161 6. MONITOR................................................................................163
q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q A5000/A4000
149
About the RECORD Mode
About the RECORD Mode

This mode is used to record new samples. Press the [REC] button to enter the RECORD mode.
A "sample" is the smallest unit of data handled by the A5000/A4000, consisting of the actual wave data and the most basic sample parameters.
Record Mode Functions

The RECORD mode includes the 6 functions listed below (selected via the [F1] [F6] function buttons, respectively).
s [F1] RECORD Button

This function is used to actually record new samples (page 151). This function has only one display page: Record.
s [F2] SETUP Button

The SETUP function includes parameters which specify the recording source, key range, start/stop method, normalization, and more (page 153). 2 display pages are provided: RecSetup (Record Setup), and Process.
s [F3] TRIGGER Button

Species how recording will be started and stopped (page 158). Only 1 display page is provided: Trigger.
s [F4] EFFECT Button

Species "record effects" which will be applied to the recorded signal (page 160). 2 display pages are provided: EfSetup (Record Effect Setup), and EfEdit (Record Effect Edit)
s [F5] EXT CTRL Button

Controls playback of an external audio CD (page 161). 1 display page is provided: CDDACtrl (CD-DA Control).
s [F6] MONITOR Button

Sets up monitoring of the source signal. Also allows generation of a reference click signal at the specied tempo (page 163). 1 display page is provided: Mon&Click (Monitor & Click).
150
Chapter 6 RECORD Mode A5000/A4000
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
RECORDING-RECORD
1. RECORD
This display page is used to actually record new samples.
The REC-Record page provides the controls you need to actually initiate and control recording of new samples. Source selection, key range, level, effects, and other parameters are available via the remaining 5 function buttons, and these parameters should be set up as required before actually recording.
Knob 2
[ Press] MONITOR Pressing this knob alternately turns the MONITOR function on and off. A speaker icon appears above Knob 2 when the MONITOR function is turned on.
Knob 3
[ Press] ALLDEL (All Delete) Pressing this knob deletes all sequentially-recorded samples in memory. This function will only work, however, if the Record Type (page 153) is set to "New+," and a number of samples have been recorded one after another.
Press the [REC] button and then the [F1] button to enter the RECORD page. 1 display page is provided: Record.
Record
[REC] Button [F1] Button "REC-Record"
Knob 4
[ Press] OPTIMIZE The A5000/A4000 can record onto contiguous memory space only. Loading, deleting, and trimming of samples can result in gaps between adjacent samples in memory, reducing the amount of memory available for recording. You can use the >OPTIMIZE command to realign the samples, removing all gaps and leaving a single stretch of free memory allowing for a longer recording. Push the knob to execute the optimization. The A5000/ A4000 returns a conrmation screen. Push Knob 5 (>YES) to proceed.
The following illustration gives an example. Before optimization, the maximum recording length is only 10 seconds (the length of the largest free space). By optimizing, however, you increase the available length to 20 seconds.
Before optimizing:
Records new samples. When this page is entered a display similar to the one shown below will appear. This is the "Record Ready" display.
w t r
q e
Knob 1 Turn action Press action Tree View Knob 2 MONITOR Knob 3 ALLDEL Knob 4 OPTIMIZE Knob 5 GO
[DISPLAY]
q Shows the current record status.
WAIT TRIG ... Record standby: waiting for a record-start trigger signal. RECORDING ... Recording in progress. WAIT SRC OUT ... Recording stopped; waiting for the source signal to decay completely.
Memory
Sample A
Sample B 10-sec. length
Sample C
Maximum recording length = 10 seconds.
5-sec. length
5-sec. length
After optimizing:
Memory Sample A Sample B Sample C 20-sec. length Maximum recording length = 20 seconds.
w A number of recording parameters set via the SETUP display are

shown here.
e RECORD ... The number of seconds and the corresponding

amount of wave memory available for recording. REMAIN ... The amount of wave memory and the corresponding number of seconds remaining.
Notice that the amount of contiguous memory that you can obtain by optimizing is indicated on the screen, directly above Knob 4. There is no need to optimize if this value is equivalent to the time value indicated above Knob 2.
Knob 5
[ Press] GO Engages the record standby mode in which the sampler waits for the trigger signal or command which will initiate actual recording.
r An input signal level meter with markers for the start and stop edge
levels set via the TRIGGER display.
t Shows the input level variation during recording.
Knob 1
[ Press] Tree View Calls the Tree View display (page 83).
151
RECORDING-RECORD
s When the GO Knob (Knob 5) Is Pressed From the

Record Ready Display
When the "New+" Record Type is selected.
If the "New+" Record Type has been selected via the SETUP display (page 153), the following display will appear while recording is in progress.
Knob 1 Turn action Press action
Knob 2
Knob 3 PAUSE
Knob 4 START
Knob 5 FINISH Turn action Press action Knob 1 Knob 2 STOP Knob 3 SKIP Knob 4 Knob 5 FINISH
In this state recording will begin the instant Knob 4 (START) is pressed. If "Edge/Manual" triggering has been selected via the TRIGGER page (page 158), recording will start automatically as soon as the input signal exceeds the set start edge trigger level.
If you have set up to record from an audio CD loaded into a CDROM drive connected to the A5000/A4000 via the EXT CTRL display (page 161), playback of the audio CD will start automatically as soon as Knob 4 (START) is pressed. The Knob 3 (PAUSE) function will only be available if the "New+," Record Type has been selected.
The following display will appear while recording is in progress.

When the "New" or "Replc" Record Type is selected.
If the "Replc" or "New" Record Type has been selected via the SETUP display (page 153), the following display will appear while recording is in progress.
In this state recording will stop and the sampler will return to the record standby display ready to record the next sample when Knob 2 (STOP) is pressed. If "Edge/Manual" stop triggering has been selected via the TRIGGER page (page 159), recording will stop automatically as soon as the input signal level drops below the set stop edge trigger level, and the sampler will return to the record standby display ready to record the next sample. If Knob 3 (>SKIP) is pressed during recording, recording of the current sample will be cancelled and the sampler will return to the record standby display ready to record the next sample. Recording will stop completely and the sampler will return to the record ready mode when Knob 5 (FINISH) is pressed. If "Edge/Manual" start triggering has been selected via the TRIGGER page (page 158), recording will stop when either Knob 2 (>STOP) or Knob 3 (>SKIP), and the following display will appear while the sampler waits for the input signal to drop below the specied stop trigger level before recording of the next sample can begin.
Knob 1 Turn action Press action
Knob 2
Knob 3 ABORT
Knob 4
Knob 5 FINISH Knob 1 Turn action Press action Knob 2 STOP Knob 3 SKIP Knob 4 START Knob 5 FINISH
In this state recording will stop and the sampler will return to the record ready display when Knob 5 (FINISH) is pressed. If "Edge/Manual" triggering has been selected via the TRIGGER page (page 159), recording will stop automatically as soon as the input signal level drops below the set stop edge trigger level, and the sampler will return to the record ready display. If you press Knob 3 (ABORT) during recording, recording will be cancelled and the sampler will return to the record ready display.
If you have set up to record from an audio CD loaded into a CDROM drive connected to the A5000/A4000 via the EXT CTRL display (page 161), playback of the audio CD will stop automatically as soon as Knob 5 (FINISH) or Knob 3 (ABORT) is pressed.
When the input signal level has dropped below the stop edge trigger level, the sampler will automaticaly return to the record standby display, ready to record the next sample. While the sampler is waiting for the input signal to decay below the stop trigger level it is possible to immediately force recording of the next sample to start by pressing Knob 4 (>START).
Knob 4 (>PAUSE) can be pressed to temporarily pause recording (recording will not re-start even if the input signal level exceeds the specied start trigger level). Press Knob 4 (>CONTINUE) a second time to resume recording. When recording from an audio CD loaded in a CD-ROM drive connected to the A5000/A4000, the next index on the CD is automatically selected when Knob 2 (>STOP) or Knob 3 (>SKIP) is pressed. If there is no index, or recording was stopped during playback of the last index on the track, the next track will be selected for playback. CD playback will stop when Knob 5 (>FINISH) is pressed.
152
RECORDING-SETUP
2. SETUP
The SETUP display allows selection of the recording source, key range, record start/stop method, normalization, and other parameters in preparation for recording. Press the [REC] button and then the [F2] button to go to the SETUP display. 2 display pages are provided: RecSetup (Record Setup), and Process (page 157).
Save ... The recorded sample will automaticaly be saved to disk and erased from memory after recording has nished. This makes it possible to record mono samples longer than 32 megabytes and stereo samples longer than 64 megabytes if enough memory is available.
Save cannot be selected if a oppy disk has been selected in the DISK mode. Only the rst 32 (mono) or 64 (stereo) megabytes of samples longer than 32 or 64 megabytes saved to disk can be loaded into the sampler's memory at a time. When Save is selected the recordable sample size is limited only by the amount of space available on the disk used. This capability is useful when you want to record a long musical segment or even a complete song to CD using the CD-DA command (page 184). If the New+ Record Type is selected and appropriate start and stop edge levels are specied in the TRIGGER page, the sample will automatically record a new sample each time an input signal is detected, and ignore periods of silence.
Record Setup
[REC] Button [F2] Knob 1 to select "REC-RecSetup"
SETUP is used to select the recording source, key range, and other parameters for recording.
Cursor q q w
[
Press] MONITOR Pressing this knob alternately turns the MONITOR function on and off. A speaker icon appears above Knob 2 when the MONITOR function is turned on.
Cursor
Knob 4
[
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Record Type MONITOR Knob 3 Knob 4 Sample RENAME... Knob 5 MapTo
Turn] Sample Species the destination sample when the Replc Record Type is selected. When any other Record Type selected a new sample name is created for each new sample.
[Range] All samples in memory.
Knob 1
Press] RENAME... Calls the name entry display for the sample to be recorded. See page 81 for details on character entry. If a sample with the same name already exists in memory or the New+ Record Type is selected, an incremental numeric sufx will be automatically appended to the sample name.
The RENAME function cannot be used if the Replc Record Type is selected.
Knob 2
[ Turn] Record Type Species whether the recorded sample will be a new sample, will replace the selected existing sample, will be automatically saved to disk, etc.
[Range] Replc, New, New+, Save Replc ... Record the new sound directly into the currently selected sample, overwriting (completely replacing) its waveform data. But retain all of the existing samples parameter settings (key range, original key, etc.).
* Enough memory capacity to record the entire new sample must be available to use the Replc record type. * Note that Replc is not available if you have selected a sample bank rather than a sample.
Knob 5
[ Turn] MapTo This function can be used to automatically assign new samples to a program or sample bank.
[Range] off, Pgm, NewSB off ... No automatic assignment. Pgm ... New samples are automatically assigned to the currently selected program. The receive channel assignment is automatically set to =smp (page 94).
* Pgm can only be selected when the New or New+ Record Type is seleced.
New ... Record a new sample. New+ ... Record a series of new samples.
153
RECORDING-SETUP
NewSB ... A new sample bank is automatically created and new samples are automatically assigned to that sample bank. The new sample bank is automatically assigned to the curently selected program.
* NewSB can only be selected when the New+ Record Type is selected. This is handy when you want to assign a number of sequentially recorded samples to the same sample bank.
Knob 3
[ Turn] Original Key Turn the knob to set the samples original key the key that best represents the samples inherent pitch.
[Range] C-2 G8
If the Note Display Type utility (UTILITY-SYSTEMCustom) (page 198) is set to "name" the parameter will be displayed as note names such as "C3." If set to "number" the parameter will be displayed as MIDI note numbers such as "60." The key range cannot be set if the Record Type is set to Replc (the settings of the selected sample are used).
[DISPLAY]
q A number of recording parameters set via the SETUP display are
shown here. [
w An input signal level meter with markers for the start and stop edge
levels set via the TRIGGER display.
Press] MIDI When this knob is pressed the parameter can be directly set by a MIDI message received from an external MIDI device (page 82).
Cursor w
[
Cursor
When Key Map (Knob 2) Is Set To Manual
Knob 4
w
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Key Map MONITOR Knob 3 Original Key MIDI Knob 4 Low Key / No function MIDI / No function Knob 5 High Key / Map Key MIDI / No function
Turn] Low Key Turn the knob to set the low end for the samples key range.
[Range] =Orig, C-2 G8 =Orig ... The original key value is used. C-2 G8 ... The Low Key is set to the corresponding note. Low Key cannot be set to a note higher than the High Key.
Knob 1
The key range cannot be set if the Record Type is set to Replc (the settings of the selected sample are used).
Knob 2
[ Turn] Key Map Species the key mapping method for the new sample.
[Range] Manual, Auto Manual ... Key mapping for the new sample is setup via Knobs 3 through 5: Original Key, Low Key, and High Key. Auto ... The original key of the new sample is determined by the Knob 3 (Original Key) setting, and the Key Range Low and High values are set to =Orig (i.e. the same as the original key). When a number of samples are recorded sequentially the originally key is automatically shifted upward by one note for each sample.
When the New+ Record Type is selected (sequential recording) and Key Map is set to Auto, the original key of each new sample recorded is automatically shifted up one note. This parameter cannot be set when the Record Type is set to Replc.
Knob 5
[ Turn] High Key Turn the knob to set the high end for the samples key range.
[Range] C-2 G8, =Orig. C-2 G8 ... The High Key is set to the corresponding note. High Key cannot be set to a note lower than the Low Key. =Orig ... The original key value is used.
The key range cannot be set if the Record Type is set to Replc (the settings of the selected sample are used).
154
RECORDING-SETUP
When Key Map (Knob 2) Is Set To Auto
Knob 4
No function.
When StOut, DIGITAL, or OPTICAL is selected the Record Effect on/off parameter (REC-EFFECTEfType, page 160) will automatically be turned off (record effects cannot be used). When DIGITAL or OPTICAL is selected, the Stereo/ Mono parameter (Knob 3) will automatically be set to Stereo. If you select STOut, then MIDI control-change messages (as well as pitchbend and aftertouch messages) are all disabled during recording. In addition, maximum polyphony (the maximum number of monaural samples that can play at one time) is limited to 4 (so that you cannot record sound from more than 4 monaural or 2 stereo samples at any given moment).
Knob 5
[ Turn] Map Key When the Key Map parameter is set to Auto, this parameter determines whether new samples will be mapped to only the white keys or to all keys.
[Range] white, all
Cursor e
Knob 3
Cursor
e
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Input MONITOR Knob 3 Stereo / Mono Knob 4 Frequency Knob 5 Pre Trigger
Turn] Stereo/Mono Determines whether new samples will be recorded as stereo or mono samples.
[Range] Mono, Stereo Mono ... New samples will be recorded as mono samples. When AD L is selected a signal connected to the AD L input will be recorded as a mono sample. When AD R or StOut is selected, or when recording the stereo output from a record effect, the L and R channel signals will be mixed and recorded as a mono sample. Stereo ... New samples will be recorded as stereo samples. When AD L is selected a signal connected to the AD L input will be recorded on both the L and R channels as a stereo sample (the same signal will be recorded on the L and R channels). When AD R or StOut is selected, or when recording the stereo output from a record effect, the L and R channel signals will be recorded as a stereo sample. When the DIGITAL or OPTICAL input is selected this parameter will be automatically set to Stereo (Mono cannot be selected).
Knob 1
Knob 2
[ Turn] Input This setting selects the input source for the recording. Note that the DIGITAL and OPTICAL settings are effective only if you have installed the optional I/O expansion board (AIEB1 board).
[Range] AD L, AD L/R, StOut, DIGITAL, OPTICAL AD L ... Record analog signal from the front panels INPUT-L jack. AD L/R ... Record analog signal from both frontpanel input jacks (INPUT-L and INPUT-R). StOut ... Record the signal that the A5000/A4000 is producing and transmitting to its own stereo outputs. (A process called resampling: the A5000/A4000 re-records its own signal. You use this setting to record playback that you control from a MIDI keyboard or other such device.) DIGITAL ... Record the digital signal supplied to the DIGITAL IN connector on the AIEB1 expansion board. OPTICAL ... Record the digital signal supplied to the OPTICAL IN connector on the AIEB1 expansion board.
Knob 4
[ Turn] Frequency This setting selects the sampling frequency the A5000/ A4000 uses to record the input.
[Range] If Input is set to AD L, AD L/R, or StOut: 44.1k(44.1kHz), 22k(22.05kHz), 22kLoFi, 11k(11.025kHz), 11kLoFi, 5k(5.5125kHz), 5kLoFi
155
RECORDING-SETUP
If Input is set to DIGITAL or OPTICAL: ext, ext/2, ext/4, ext/8 ext ... The sample is recorded at the input sampling frequency. ext/2 ... The sample is recorded at 1/2 the input sampling frequency. ext/4 ... The sample is recorded at 1/4 the input sampling frequency. ext/8 ... The sample is recorded at 1/8 the input sampling frequency.
The higher the sampling frequency the higher the sound quality, but samples recorded at higher frequencies use up correspondingly more memory/disk space. For most applications the standard 44.1 kHz sampling frequency is the best choice. When converting to 22k, 11k, or 5k, the A5000/ A4000 applies a lter to eliminate noise produced by the conversion. The LoFi settings switch the lter off, resulting in a rougher sound. If you select a frequency other than 44.1, the quality that you hear when monitoring the signal may not match the quality of the actual recording. For DIGITAL and OPTICAL inputs, the A5000/A4000 supports the following three clock frequencies only: 48kHz, 44.1kHz, and 32kHz. The A5000/A4000 can not accept input frequencies other than these. Note also that the A5000/A4000 does not lter out noise when reducing the frequency to ext/2, ext/4, or ext/8. Also note that if you reduce the frequency, the quality that you hear when monitoring the signal may not match the recording quality. Note that you can not use the DIGITAL OUT connector (on the AIEB1 expansion board) to monitor the input signal. Note also that A5000/A4000s DIGITAL OUT frequency is xed at 44.1kHz.
Cursor r
Cursor
r
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Stereo Level MONITOR Knob 3 Knob 4 Knob 5
Knob 1
Knob 2
[ Turn] Stereo Level Sets the recording level when StOut is selected as the recording source.
[Range] -12 +12
The parameter can only be edited when StOut is selected as the input.
Knob 3
[Display] Disk, Volume When the Record Type is set to Save, the selected disk and volume are displayed.
The actual disk and volume are selected via the DISK mode VOLUME parameter (page 172).
Knob 5
[ Turn] Pre Trigger "Pre-trigger" means that recording actually begins the specied number of milliseconds (a millisecond is 1/ 1000th of a second) before recording is started, either manually or by automatic triggering.
[Range] 0ms 500ms
This feature ensures that the beginning of samples won't be cut off. Even if you press the (>START) knob a little late when recording a sample, an appropriate amount of pre-trigger time ensures that you'll capture the initial attack of the sample. The maximum setting of 500 milliseconds is actually a half a second, which should be more than enough for most applications. Pre-trigger can also be useful when automatically triggering recording with a start edge trigger level setting (TRIGGER functions, page 158). Edge triggering can cut off the initial attack of some sounds, and an appropriate pre-trigger setting can completely avoid this problem, allowing the full attack of the source to be faithfully recorded. The Pre Trigger parameter is not available if StOut is selected for the Input parameter (Knob 2).
156
RECORDING-SETUP
Process
[REC] Button [F2] Button Knob 1 to select "REC-Process"
Use this page to select whether the A5000/A4000 normalizes samples immediately after recording them.
Knob 2 MONITOR
Knob 3 Auto Normalize
Knob 4
Knob 5
Knob 1
Knob 2
Knob 3
[ Turn] Auto Normalize Set this on if you want the A5000/A4000 to normalize each new sample immediately after recording it. If you select on, the A5000/A4000 automatically adjusts the recorded waveform by proportionately raising all levels such that the highest level comes to just below the clip point, as illustrated below. (The clip point is the maximum level appropriate for digital processing.)
Normalize
Recorded sample
[Range] off, on
Since normalization will occur automatically when recording ends, some time may be required for processing.
157
RECORDING-TRIGGER
3. TRIGGER
You use this page to set the type of triggers used to start and stop actual recording. Press the [REC] button and then the [F3] button to enter the TRIGGER function display. 1 display page is provided: Trigger.
[DISPLAY]
q Input level meter. w Start and stop edge level settings. Cursor w
Cursor
Trigger
[REC]Buttonl [F3]Button to select "REC-Trigger"
w
Knob 1 Turn action Press action Cursor Tree View Knob 2 MONITOR Knob 3 Start Trigger Knob 4 Start Edge Level QUICK... Knob 5
You use this page to set the type of triggers used to start and stop actual recording.
Cursor q
Cursor
Knob 1, 2
q w
Knob 3
q
[ Turn] Start Trigger Species the method to be used to start recording from the record standby display.
[Range] Manual, Edge/Manual
Knob 1 Turn action Press action Cursor Tree View Knob 2 MONITOR Knob 3 AD Input Gain Knob 4 Knob 5
Manual ... Recording can only be started by pressing Knob 4 (>START). Edge/Manual ... Recording will start automatically when the input signal level exceeds the specied start edge level (Knob 4). Recording can also be started manually by pressing Knob 4 (>START) in the record standby display.
Knob 1
[ [ Turn] Cursor Positions the cursor. Press] Tree View Calls the Tree View display (page 83).
Knob 4
[ Turn] Start Edge Level Species the input level at which recording will be automatically started. Recording will start automaticall the instant the input signal level exceeds the Start Edge Level in the record standby display (but only if the Start Trigger parameter (Knob 3) is set to Edge/Manual).
[Range] 0 63
Knob 2
Knob 3
[ Turn] AD Input Gain Selects line or microphone-level sensitivity for the analog input jacks.
[Range] Line, Mic
If the front-panel REC VOL control is set to maximum (minimum) and the record level as displayed by the level meters is too low (high), set the AD Input Gain parameter to Mic (Line) for optimum level matching.
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RECORDING-TRIGGER
Cursor e
Cursor
e
Knob 1 Turn action Press action Cursor Tree View Knob 2 MONITOR Knob 3 Stop Trigger Knob 4 Stop Edge Level QUICK... Knob 5
Knob 1, 2
Knob 3
[ Turn] Stop Trigger Species the method to be used to stop recording in the record standby display.
[Range] Manual, Edge/Manual Manual ... Recording can only be stopped by pressing Knob 5 (>FINISH) or Knob 2 (>STOP). Edge/Manua ... Recording will stop automatically when the input signal level drops below the specied stop edge level (Knob 4). Recording can also be stopped manually by pressing Knob 5 (>FINISH) or Knob 2 (>STOP) in the record standby display.
Knob 4
[ Turn] Stop Edge Level Species the input level below which recording will be automatically stopped. Recording will stop automaticall the instant the input signal level drops below the Stop Edge Level in the record standby display (but only if the Stop Trigger parameter (Knob 3) is set to Edge/Manual).
[Range] 0 63
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
A5000/A4000
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RECORDING-EFFECT
4. EFFECT
The EFFECT function sets the recording effect(s). If the recording-effect switch is enabled, the A5000/A4000 passes the incoming signal through the selected effect(s) before recording it into memory.
Most of the settings provided here are identical to those that you use to set up the program effects. The explanations below describe only those parameters that are different. For detailed information, refer to the explanations for the PLAY EFFECT function.
Recording Effect Edit

[REC] Button [F4] Knob 1 to select "REC-EfEdit"
In this display page it is possible to set the effect parameters for Effect 1 3 (all effect parameters are available).
All functions are the same as in the PLAY mode EFFECT EDIT display (page 104). Refer to the Effect Parameter List on page 258 for details on the parameters available for each effect.
Press the [REC] button and then the [F4] button to enter the EFFECT function display. 2 display pages are provided: EfSetup (Effect Setup), and EfEdit (Effect Edit).
Recording Effect Setup

[REC] Button [F4] Knob 1 to select "REC-EfSetup"
In this display page you can select the effect types for Effect 1 3, and turn the record effects on or off.
In this display Knob 4 turns record effects on or off rather than selecting effect connections. All other functions are the same as in the PLAY mode EFFECT SETUP display (page 102). Refer to the Effect List on page 256 for details on the available effect types. When used as record effects, Effect 1 3 are connected in series (1 2 3), and this arangement cannot be changed.
Knob 2 Effect Type LIST...
Knob 3 Effect1 BYPASS
Knob 4 Rec Effect on/off Effect2 BYPASS
Knob 5 Effect3 BYPASS
Knob 4
[ Turn] Rec Effect on/off Turns record effects on or off. No record effects can be used when this parameter is turned off.
[Range] off, 1>2>3
Record effects cannot be used when the input is set to StOut, DIGITAL, or OPTICAL (page 155).
160
RECORDING-EXT CTRL
5. EXT CTRL (External Control)

This display page provides playback control of a CD loaded in a CD-ROM drive connected to the sampler's SCSI port.
To record from an audio CD loaded in the CD-ROM drive, be sure to connect the CD-ROM drive's analog audio outputs to the sampler's front-panel analog inputs. Also make sure that the AD L/R inputs are selected via the Record Setup page (REC-SETUP-RecSetup) (page 155).
After selecting the SCSI ID number for the CD-ROM drive, move the cursor down and select the track/ index number(s) from which you want to begin recording.
Knob 4
[ Press] STOP Stops playback of the audio CD. Also stops playbck from the PAUSE mode.
Press the [REC] button and then the [F5] button to enter the EXT CTRL display. 1 display page is provided: CDDACtrl (CD-DA Control).
Knob 5
[ Press] PLAY/ PAUSE/ CONTINUE
CD-DA Control
[REC] Button [F5] "REC-CDDACtrl"
In this display page you can set the SCSI ID number of the CD-ROM drive, and control playback.
Cursor q
Cursor
The function of this knob depends on the current status of the CD-ROM drive (the Knob 5 icon will change accordingly). When Playback is Stopped [PLAY] Press the knob to begin playback.
w
During Playback [PAUSE] Press the knob to temporarily pause playback.
During Pause [CONTINUE] Press the knob to continue playback from the point at which it was paused.
Knob 1 Turn action Press action Cursor Tree View Knob 2 MONITOR Knob 3 CD-ROM Drive ID Knob 4 STOP Knob 5 PLAY / PAUSE CONTINUE
[DISPLAY]
q The currently playing CD track and index numbers. w The PLAY, PAUSE, CONTINUE, and STOP functions are displayed
for each knob.
Knob 1
Knob 2
Knob 3
[ Turn] CD-ROM Drive ID Turn the knob to select the SCSI ID of the CD-ROM drive that you want to record from. The right side of the screen indicates the name (and manufacturer) of the device connected to the currently selected SCSI ID. Turn the knob until you see the name (manufacturer) of the CD-ROM drive that you want to use.
[Range] SCSI 0 7
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RECORDING-EXT CTRL
Cursor w
Cursor
w
Knob 1 Turn action Press action Cursor Tree View Knob 2 Track MONITOR Knob 3 Index Knob 4 STOP Knob 5 PLAY/PAUSE/ CONTINUE
Knob 1
Knob 2
[ [ Turn] Track Selects the track at which playback starts. Press] MONITOR Pressing this knob alternately turns the MONITOR function on and off. A speaker icon appears above Knob 2 when the MONITOR function is turned on.
Knob 3
[ Turn] Index Selects the Index at which playback starts.
If an index number other than "1" is selected, there may be a short delay before playback begins after Knob 5 is pressed. If an index number other than "1" is selected, the point at which playback begins may be slightly off the actual index point.
Knob 4, 5
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RECORDING-MONITOR
6. MONITOR
Sets monitoring of the input signal. Also allows generation of a click signal at a specied tempo. Press the [REC] button and then the [F6] button to go to the MONITOR display. 1 display page is provided: Mon&Click (Monitor & Click).
Knob 3
[ Turn] Monitor Level Sets the monitor output level. This has no effect on the recording level.
[Range] 0 127
When the DIGITAL or OPTICAL input is selected via the Record Setup page (REC-SETUP-RecSetup) (page 155), the monitor level cannot be changed.
Monitor & Click

[REC] Button [F6] Button "REC-Mon&Click"
Cursor q (MONITOR) allows the input signal being recorded to be routed to the specied output for monitoring. Cursor w (CLICK) makes it possible to create a "click track" which can be used as a reference when recording drum, percussion, or similar samples.
When Click is turned on, a special "click" sample is created in memory (this sample will not be created, however, if the "click" sample is already in memory). If a sample named "click" is already in memory, that sample will be used to create the click sound, and the sample's output setting will determine the output via which the click sound will be produced.
Cursor w (Click)
Cursor
w
Knob 1 Turn action Press action Page Tree View Knob 2 Click Tempo MONITOR Knob 3 Click Level QUICK... Knob 4 Click Beat Knob 5 Click On/Off
Cursor q (Monitor)
Knob 1
Cursor
Knob 2
Knob 1 Turn action Press action Cursor Tree View Knob 2 Monitor Output MONITOR Knob 3 Monitor Level QUICK... Knob 4 Knob 5
Turn] Click Tempo Sets the tempo for the click.

[Range] 80.0 159.9
Knob 1
Knob 3
[ Turn] Click Level Sets the output level for the click.
[Range] 0 127
Knob 2
[ Turn] Monitor Output Turn the knob to select the output location for the monitor signal. Note that the AS1&2, AS3&4, AS5&6, and DIG&OPT settings are effective only if you have installed the optional AIEB1 expansion board.
[Range] StereoOut, AsgnOutL&R, AsgnOut1&2 AsgnOut5&6, DIG&OPT
When the DIGITAL or OPTICAL input is selected via the Record Setup page (REC-SETUP-RecSetup) (page 155), only StereoOut can be selected.
Knob 4
[ Turn] Click Beat Sets the number of beats.
[Range] 1 15
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RECORDING-MONITOR
Knob 5
[ Turn] Click on/off Set this on if you want to output the click sound. If the setting is on, the A5000/A4000 continues to generate the click while you are working in RECORDING mode.
[Range] off, on
If the setting is on, the A5000/A4000 will include click information into the samples that you record. The information is set into the samples parameter data, and does not affect the waveform itself. You can later use the click data as an aid when editing the samples waveform addresses. When click is turned on and a sample is recorded, the specied tempo is automatically memorized as the loop tempo for the sample. The loop tempo can be used when specifying the sample's wave and/or loop end addresses (page 120). Be careful if using the click while recording from a microphone, since it is possible for the microphone to pick up the click sound and record it into the waveform.
164
Chapter
DISK Mode
The DISK mode provides access to functions for loading data from or saving data to oppy disk, hard disk, CD-ROM, and other storage media.
About the DISK Mode.................................................................166 1. PROGRAM..............................................................................167 2. SAMPLE..................................................................................169 3. SEQUENCE ............................................................................171 4. VOLUME .................................................................................172 5. DISK ........................................................................................173 6. IMPORT...................................................................................175 7. DISK COMMANDS .................................................................177
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Chapter 7 DISK Mode
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About the DISK Mode
About the DISK Mode

The DISK mode provides acces to functions for loading data from or saving data to oppy disk, hard disk, CD-ROM, and other storage media. A range of functions for managing disks, volumes, and SCSI devices are also provided.
The DISK MODE includes several functions FORMAT, for example which can irreversably erase all data from storage
media. Use the DISK MODE functions with caution!
DISK Mode Functions & Commands

The DISK MODE consists of the following 6 functions and 1 command selected via the [F1] through [F6] buttons and [COMMAND/EXIT] button.
s [F1] PROGRAM Button

Loads programs from oppy disk, hard disk, or other media (page 167). 1 display page is provided: PgmLoad (Program Load).
s [F2] SAMPLE Button

Loads samples and sample banks from oppy disk, hard disk, or other media (page 169). 1 display page is provided: SmpLoad (Sample Load).
s [F3] SEQUENCE Button

Loads sequences from oppy disk, hard disk, or other media (page 171). 1 display page is provided: SeqLoad (Sequence Load).
s [F4] VOLUME Button

Selects and creates volumes on oppy or hard disk, and allows loading all data in a volume at once (page 172). 1 display page is provided: Volume.
s [F5] DISK Button

Functions for selecting disks, renaming disks, mounting and unmounting hard disks and CD-ROM drives, and specifying the A5000/A4000s own SCSI ID number (page 173). 2 display pages are provided: Disk and Setup.
s [F6] IMPORT Button

Allows importing computer-format wave les as well as sample data originally created for other equipment (page 175). 1 display page is provided: Import.
s [COMMAND/EXIT] Button
Disk, save, format, volume copy, backup, and other disk-related operations not included in the functions (page 177). 7 display pages are provided: SAVE, FORMAT, COPY VOL (Copy Volume), SYS FILE (System File), BACKUP, CD-DA, and LOAD OS (Load Operating System).
Drives, Disks, & Volumes

Drive .............. The internal oppy disk unit, internal or external SCSI hard disks, or internal IDE hard disks are all drives. Disk................ The term disks refers to removable media such as oppy or ZIP disks, as well as to partitions created on hard disks. With the A5000/A4000, SCSI and IDE hard disks can be formatted with up to 8 partitions (disks). Floppy disks cannot be partitioned. Volume .......... A volume is sort of a virtual container which can be used to hold a number of programs, samples, etc. Multiple volumes can be created on hard disks. 166
Chapter 7 DISK Mode A5000/A4000
DISK-PROGRAM
1. PROGRAM
PROGRAM allows programs to be loaded into the samplers memory from oppy disk, hard disk, or other media to which they have been saved.
See 7. DISK COMMANDS on page 177 for more information on disks, partitions, and volumes.
Knob 4
[ Turn] Program Selects the program to be loaded. Programs cannot be selected if a non-native disk or a multi-segment oppy disk is selected.
[Range] 001 128
Press the [DISK] button and then the [F1] button to go to the PROGRAM display. 1 display page is provided: PgmLoad (Program Load).
The capacity of the wave memory may be exceeded when loading a number of voices. We recommend installing SIMM expansion memory to avoid this problem.
Press] LOAD Initiates loading of the selected program (as well as all samples used by the program) to the target program number. An existing program with the same program number will be overwritten. A conrmation display will appear when the knob is pressed. Press Knob 5 (>YES) to actually execute the load operation. If a sample with the same name as one being loaded exists in memory a different display will appear (see page 170).
A program existing in the target program number will be erased and overwritten by the newly loaded program, but samples and sample banks used by the replaced program will remain in memory.
PgmLoad
[DISK] Button [F1]Button to select "DISK-Pgmload"
Use this page to select and load one or all programs, together with all samples used by these programs.
Cursor q
Knob 5
[ Press] LOAD ALL All programs in the currently selected volume and their samples and sample banks will be loaded into the corresponding program numbers. Previously exisiting programs in those program numbers will be erased and replaced by the new programs. When the knob is pressed a conrmation display will appear. Press Knob 5 (>YES) to actually execute the load operation.
A program existing in the target program number will be erased and overwritten by the newly loaded program, but samples and sample banks used by the replaced program will remain in memory.
Cursor
Knob 1 Turn action Press action Cursor Tree View
Knob 2 Disk
Knob 3
Knob 4 Program LOAD
Knob 5 LOAD ALL
Knob 1
Cursor w
Cursor
w
Knob 1 Turn action Press action Cursor Tree View Knob 2 Volume Knob 3 Knob 4 Program LOAD Knob 5 LOAD ALL
Knob 2
[ Turn] Disk Selects the oppy disk, hard disk, or other storage media from which a program is to be loaded. When a disk is selected, all volumes it contains are listed below the disk name, and all programs contained in the selected volume are listed on the right side of the display. When a hard disk, CD-ROM drive or similar storage device is selected, the SCSI ID number or IDE M/S (Master/Slave) status of the device is shown to the right of the disk name.
[Range] All installed/connected disks.
If a connected SCSI device cannot be selected, go to the disk select display (DISK-DISK-Disk) and check the mount/unmount status and SCSI ID settings of the device (page 173).
Knob 1
Knob 2
[ Turn] Volume Selects the volume containing the program to be loaded.
[Range] All volumes on the selected disk.
When a volume is selected the program list is updated to show all the programs in the selected volume.
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DISK-PROGRAM
Knob 4, 5
Cursor e
Cursor
e
Knob 1 Turn action Press action Cursor Tree View Knob 2 Load To Program Knob 3 Knob 4 Program LOAD Knob 5 LOAD ALL
Knob 1
Knob 2
[ Turn] Load To Program Species the program number to which a program will be loaded.
[Range] 001 128
This function is useful when you want to load a program to a program number which is different from the program number on the disk (e.g. to load program 001 on the disk to program number 003). When the LOAD ALL function is used the programs will be loaded from disk to their correponding program numbers regardless of this setting.
Knob 4, 5
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DISK-SAMPLE
2. SAMPLE
SAMPLE allows samples to be loaded into the samplers memory from oppy disk, hard disk, or other media to which they have been saved. When a sample on a SCSI disk is selected, the sound of the sample can be directly monitored from disk by pressing the [AUDITION] button (this function may not work properly with some SCSI devices). Press the [DISK] button and then the [F2] button to go to the SAMPLE display. 1 display page is provided: SmpLoad (Sample Load).
The capacity of the wave memory may be exceeded when loading a number of voices. We recommend installing SIMM expansion memory to avoid this problem.
Knob 3
[ Press] DELETE Deletes the selected sample from the disk. A conrmation display will appear when the knob is pressed. Press Knob 5 (>YES) to actually execute the delete operation.
Knob 4
[ Turn] Sample Selects the sample or sample bank to be loaded. Samples cannot be selected if a non-native disk or a multi-segment oppy disk is selected.
[Range] All samples and sample banks in the selected volume.
SmpLoad
[DISK] Button [F2]Button to select "DISK-SmpLoad"
This function can be used to load a single sample or sample bank (including all the samples it contains), or all samples/ sample banks within a selected volume.
Cursor q
Press] LOAD Initiates loading of the selected sample or sample bank. A conrmation display will appear when the knob is pressed. Press Knob 5 (>YES) to actually execute the load operation. If a sample with the same name as one being loaded exists in memory a display allowing you to choose how to handle the situation will appear (see page 170).
When a sample bank is loaded all samples contained in that sample bank are loaded.
Knob 5
[ Press] LOAD ALL All samples and sample banks in the currently selected volume will be loaded. When the knob is pressed a conrmation display will appear. Press Knob 5 (>YES) to actually execute the load operation. If a sample with the same name as one being loaded exists in memory a display allowing you to choose how to handle the situation will appear (see page 170).
Cursor
Knob 2 Disk
Knob 3 DELETE
Knob 4 Sample LOAD
Knob 5 LOAD ALL
Knob 1
[ [ Turn] Cursor Positions the cursor.
Cursor w
Cursor
w
Knob 1 Turn action Press action Cursor Tree View Knob 2 Volume Knob 3 DELETE Knob 4 Sample LOAD Knob 5 LOAD ALL
Knob 2
[ Turn] Disk Selects the oppy disk, hard disk, or other storage media from which a sample or sample bank is to be loaded. When a disk is selected, all volumes it contains are listed below the disk name, and all samples and sample banks contained in the selected volume are listed on the right side of the display. When a hard disk, CD-ROM drive or similar storage device is selected, the SCSI ID number or IDE M/S (Master/Slave) status of the device is shown to the right of the disk name.
If a connected SCSI or IDE device (hard disk, ZIP drive, etc.) cannot be selected, go to the disk select display (DISK-DISK-Disk) and check the mount/ unmount status and SCSI ID settings of the device (page 173).
Knob 1
Knob 2
[ Turn] Volume Selects the volume containing the sample to be loaded.
When a volume is selected the program list is updated to show all the programs in the selected volume.
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Chapter 7 DISK Mode
169
DISK-SAMPLE
Knob 3 5
When a sample with the same name as one being loaded exists in memory.
If you attempt to load a sample (or sequence) that has the same name as one existing in memory, the following display will appear.
The following functions are available from this display.

Processing Mode Turn this knob to select One or All. When One is selected and multiple samples are being loaded, this display will appear each time a sample (or sequence) with a duplicate name is loaded. When All is selected the same processing (the rst processing applied) is applied to all samples with duplicate names. Change the name of samples (or sequences) in memory. Press Knob 2 (RENAME) to add an asterisk (*) to the names of samples (or sequences) in memory which have the same names as those being loaded. Do not load samples (or sequences) with duplicate names. Press Knob 3 (>SKIP). Overwrite samples (or sequences) in memory with loaded samples (or sequences) having duplicate names. Press Knob 4 (>REPLACE). Abort the load operation. Press Knob 5 (>ABORT). Data loaded prior to pressing the ABORT knob will remain in memory.
170
DISK-SEQUENCE
3. SEQUENCE
SEQUENCE allows sequences to be loaded into the samplers memory from oppy disk, hard disk, or other media to which they have been saved. Press the [DISK] button and then the [F3] button to go to the SEQUENCE display. 1 display page is provided: SeqLoad (Sequence Load).
Knob 4
[ Turn] Sequence Selects the sequence to be loaded. Sequences cannot be selected if a non-native disk or a multi-segment oppy disk is selected.
[Range] All sequences in the selected volume.
SeqLoad
[DISK] Button [F3]Button to select "DISK-SeqLoad"
Press] LOAD Initiates loading of the selected sequence. A conrmation display will appear when the knob is pressed. Press Knob 5 (>YES) to actually execute the load operation. If a sequence with the same name as one being loaded exists in memory a display allowing you to choose how to handle the situation will appear (see page 170).
Use this page to load one or all sequences from disk.

Cursor q
Knob 5
[ Press] LOAD ALL All sequences in the currently selected volume will be loaded. When the knob is pressed a conrmation display will appear. Press Knob 5 (>YES) to actually execute the load operation. If a sequence with the same name as one being loaded exists in memory a display allowing you to choose how to handle the situation will appear (see page 170).
Cursor
Knob 2 Disk
Knob 3 DELETE
Knob 4 Sequence LOAD
Knob 5 LOAD ALL
Cursor w
Cursor
Knob 1
w
Knob 1 Turn action Press action Cursor Tree View Knob 2 Volume Knob 3 DELETE Knob 4 Sequence LOAD Knob 5 LOAD ALL
Knob 2
[ Turn] Disk Selects the oppy disk, hard disk, or other storage media from which a sequence is to be loaded. When a disk is selected, all volumes it contains are listed below the disk name, and all sequences contained in the selected volume are listed on the right side of the display. When a hard disk, CD-ROM drive or similar storage device is selected, the SCSI ID number or IDE M/S (Master/Slave) status of the device is shown to the right of the disk name.
Knob 1
Knob 2
[ Turn] Volume Selects the volume containing the sequence to be loaded.
When a volume is selected the sequence list is updated to show all the sequence in the selected volume.
Knob 3 5
Knob 3
[ Press] DELETE Deletes the selected sequence from the disk. A conrmation display will appear when the knob is pressed. Press Knob 5 (>YES) to actually execute the delete operation.
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Chapter 7 DISK Mode
171
DISK-VOLUME
4. VOLUME
VOLUME allows selection and management of volumes on the currently selected disk.
See 7. DISK COMMANDS on page 177 for more information on disks, partitions, and volumes.
Knob 3
[ Press] DELETE Deletes the selected volume and all les it contains from the disk. A conrmation display will appear when the knob is pressed. Press Knob 5 (>YES) to actually execute the delete operation.
Press the [DISK] button and then the [F4] button to go to the VOLUME display. 1 display page is provided: Volume.
Knob 4
[ Turn] Volume Selects a volume.
Volume
[DISK] Button [F4]Button to select "DISK-Volume"
The functions provided here make it possible to select volumes for saving or loading data, rename volumes, create new volumes, and load all data contained in the selected volume.
Only 1 volume can be created on a oppy disk. Floppy disk volumes are created automatically when the disk is formatted. Floppy disk volumes have a xed name FD VOLUME which cannot be changed.
Press] RENAME... Calls the display which allows entering a new name for the selected volume. see page 81 for details on character entry.
The volume on a oppy disk cannot be renamed.
Knob 5
[ Press] LOAD All data in the currently selected volume programs, samples, sample banks, and sequences will be loaded. Previously exisiting programs, samples, sample banks, and sequences in the samplers memory will be erased and replaced by the new data. When the knob is pressed a conrmation display will appear. Press Knob 5 (>YES) to actually execute the load operation.
Knob 1 Turn action Press action Tree View
Knob 2 Disk NEW VOL
Knob 3 DELETE
Knob 4 Volume RENAME...
Knob 5 LOAD
Knob 1
Knob 2
[ Turn] Disk Selects the oppy disk, hard disk, or other storage media on which a volume is to be selected or created. When a disk is selected, all volumes it contains are listed on the right side of the display. When a hard disk, CD-ROM drive or similar storage device is selected, the SCSI ID number or IDE M/S (Master/Slave) status of the device is shown to the right of the disk name.
Press] NEW VOL Creates a new volume on the currently selected disk. Newly created volumes are automatically given the name NewVolume (number). Press Knob 4 to change the volume name.
New volumes cannot be created on oppy disks.
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DISK-DISK
5. DISK
DISK allows disks to be selected, renamed, and mounted or unmounted. The A5000/A4000s own SCSI ID number can also be set via this display page.
To format or partition a disk, press the [COMMAND/EXIT] button to access the disk commands (page 177). See 7. DISK COMMANDS on page 177 for more information on disks, partitions, and volumes.
Knob 3
[ Turn] Mount Mounts (internally connects) or unmounts (internally disconnects) the selected device. All mounted disks in mounted drives will be displayed on the right side of the display. When off (unmounted), that device cannot be used by the A5000/A4000 even if it is properly connected and powered up.
[Range] off, on
Mount/Unmount cannot be selected when the A5000/A4000 is selected.
Press the [DISK] button and then the [F5] button to go to the DISK display. 2 display pages are provided: Disk, and Setup. Knob 4
[
Disk Select
[DISK] Button [F5] Button Knob 1 to select DISK-Disk
With these functions you can select a disk to be loaded from or saved to, or change the name of the selected disk. The amount of available space on the currently selected disk is shown in the upper right corner of the display.
Turn] Disk Selects a disk. When a oppy disk is selected FD will appear to the right of the disk name, and when a hard disk, CD-ROM drive or similar device is selected its SCSI ID or IDE type (M or S) will appear to the right of the disk name.
[Range] All disks on all mounted drives.
Press] RENAME... Calls the display which allows entering a new name for the selected volume. see page 81 for details on character entry.
Disk Setup
Knob 1 Turn action Press action Page Tree View Knob 2 Drive ID Knob 3 Mount Knob 4 Disk RENAME... Knob 5
[DISK] Button [F5] Button Knob 1 to select DISK-Setup
Allows setting the samplers own SCSI ID number, the Play&Load on/off status, etc.
Knob 1
Knob 1 Knob 2 Self ID Knob 3 Top Partition Knob 4 Play&Load Knob 5 Turn action Press action Page Tree View
Knob 2
[ Turn] Drive ID Selects the drive to be mounted or unmounted via Knob 3. On the display the drives manufacturer and product number will appear to the right of the drive ID (SCSI ID 0 7, IDE M, IDE S). ------:------ will appear to the right of unused drives. The samplers own ID is displayed as YAMAHA: A5000/A4000.
[Range] SCSI 0 SCSI 7 (SCSI ID 0 7), IDE M (IDE Master), IDE S (IDE Slave).
Knob 1
Knob 2
[ Turn] Self ID Sets the A5000/A4000s own SCS ID number.
[Range] SCSI 0 7
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DISK-DISK
Be sure that the ID that you set here does not match the ID of any other device in your system since all devices must have different IDs. To check for currently used IDs, use the Disk Select page (DISKDISK-Disk) (page 173). The ID that you set here does not become effective until you switch the power off and then back on. There is generally no need to change the ID from its factory setting (ID 6). You will need to make this change only if you are connecting up another SCSI device that has a xed (unchangeable) ID of 6.
Knob 3
[ Turn] Top Partition When mounting an AKAI format disk, only the 8 partitions following the partition specied by this parameter are mounted.
[Range] 1 99
When importing data from a disk created on an AKAI S-series sampler which has 9 or more partitions, use the Top Partition parameter to specify the partition containing the data you want to import. This parameter only works with AKAI format disks.
Knob 4
[ Turn] Play&Load Determines whether data will be played while it is being loaded.
[Range] off, on off ... No playback during load. on ... Playback during load is possible. When this feature is on loading will be slower than when it is off, regardless of whether the data is played or not.
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DISK-IMPORT
6. IMPORT
These functions can be used to import data from the Yamaha EX7/5/5R, SU700, or TX16W, computer sample les, or commercially available sample data. Also, SMF (Standard MIDI File) data can be imported as sequence data. Press the [DISK] button and then the [F6] button to go to the IMPORT display. 1 display page is provided: Import.
Knob 1 Turn action Press action Tree View
Knob 2 Disk
Knob 3 UP
Knob 4 File / Directory DOWN / IMPORT
Knob 5 View VIEW
Knob 1
[
Import
[DISK] Button [F6] Button [DISK-Import]
Knob 2
[ Turn] Disk Selects the oppy disk, hard disk, or other storage media containing the data to be imported. When a disk is selected, the directories and les contained in the uppermost (root) directory are listed on the right side of the display. When a hard disk, CD-ROM drive or similar storage device is selected, the SCSI ID number or IDE M/S (Master/Slave) status of the device is shown to the right of the disk name.
If a connected SCSI or IDE device (hard disk, ZIP drive, etc.) cannot be selected, go to the disk select display (DISK-DISK-Disk) and check the mount/ unmount status and SCSI ID settings of the device.
Allows importing sample and sequence data from other equipment and computers.
The A5000/A4000 is fully compatible with all data created on the Yamaha A3000, and the data can be loaded and managed via the PROGRAM, SAMPLE, SEQUENCE, VOLUME, and DISK functions in the normal way. The following les are imported with all wave data used in all voices, sample banks, and key mapping parameters (HD includes hard disks, ZIP drives, and all orther SCSI/IDE storage devices). EX7/5/5R : Voice (from EX ALL les on FD, HD, non-LPC RAM samples only). Wave (from EX WAVE les on FD, HD, nonLPC RAM samples only.)
The wave data in the following les are imported as samples (HD includes hard disks, ZIP drives, and all orther SCSI/IDE storage devices). SU700 : Sample (from FD, HD) * Except segmented data stored on multiple oppy disks. : Sample (from FD) : 8/16-bit linear, mono/stereo, (.WAV) extension (from DOS-format FD, HD, or ISO9660-format CD-ROM) : 8/16-bit linear, mono/stereo, (.AIF) extension (from DOS-format FD, HD, or ISO9660-format CD-ROM)
Knob 3
[ Press] UP Press this knob to move upward from the current disk directory to the next highest directory. The name of the current directory will appear on the left side of the display under the disk name. The contents of the current directory are listed on the right side of the display
Pressing the UP knob will have no effect if the top (root) directory on the disk is selected.
TX16W WAV File
AIFF File
The following les are imported as sequence data (HD includes hard disks, ZIP drives, and all orther SCSI/IDE storage devices). Standard MIDI File : Format 0, .MID le-name extension (from DOS-format FD, HD, or ISO9660-format CD-ROM) Import not possible from FAT32 format hard disks. The following DOS oppy disk formats are supported: 2DD : MS-DOS 9 sector format (720 kBytes) 2Hd : MS-DOS 18 sector format (1.44 MBytes) The pitch and loop points of some samples may change when imported. A ~ character used in le or directory names on DOS-format disks will appear as on the A5000/A4000 display. AKAI S1000 or S3000 format programs or samples saved to oppy disk, hard disk, or other media; E-mu EIIIx presets or samples saved to hard disk or other media; and Roland S760 format patches or samples saved to hard disk or other media can be loaded (some types of data may not be loaded correctly). * The product and company names listed above are trademarks or registered trademarks of the respective manufacturers.
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DISK-IMPORT
Knob 4
[ Turn] File/Directory Selects a le or directory from the list on the right side of the display which contains the data to be imported.
[Range] All les and directories in the current directory.
Press] DOWN/IMPORT When a directory is selected the function is DOWN, opening the selected directory. The name of the newly opened directory will appear on the left side of the display under the disk name, and the les and directories it contains will be listed on the right side of the display. When a le is selected the function is IMPORT, and a conrmation display will appear when the knob is pressed. To actually import the selected le press Knob 5 (>YES).
Knob 5
[ Turn] View Species what type of les and directories contained in the currently open directory are to be listed on the right side of the display.
[Range] ALL, SMP BANK, SAMPLE, SEQUENCE ALL ... All importable les and directories. SMP BANK ... Only les which will be imported as sample banks. SAMPLE ... Only les which will be imported as samples. SEQUENCE ... Only les which will be imported as sequences.
Press] VIEW The View parameter settings change in sequence each time the knob is pressed.
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7. DISK COMMANDS
7. DISK COMMANDS
Functions for selecting disks, renaming disks, mounting and unmounting hard disks and CD-ROM drives, and specifying the A5000/A4000s own SCSI ID number. Press the [DISK] button and then the [COMMAND/EXIT] button to go to the command menu. Seven pages are provided: SAVE, FORMAT, COPY_VOL (Copy Volume), SYS_FILE (System File), BACKUP, CDDA, LOAD_OS.
Command Execution
The command execution procedure is the same for all commands. In all command pages Knob 1 is EXEC (EXECUTE) and Knob 5 is EXEC&CONT (EXECUTE & CONTINUE). The currently selected command is executed when either Knob 1 (EXEC) or Knob 5 (EXEC&CONT) is pressed. When Knob 1 (EXEC) is used to execute a command, the display that was showing immediately before executing the command is automatically recalled after execution has nished. When Knob 5 (EXEC&CONT) is used to execute a command, the same display is retained after command execution so that you can immediately repeat execution of the same command. Press the [COMMAND/EXIT] button to return to the command menu without executing the command.
Selecting a Command
[DISK] Button [COMMAND/EXIT] Button COMMAND menu
Select the desired command from the COMMAND menu. [Operation]

1. Turn Knob 1 to highlight the display line containing the desired
command.
2. Press the knob Knob2 Knob5 corresponding to the desired

command.
SAVE
[DISK] Button [COMMAND/EXIT] Button Knob 1 to highlight display line 1 Press Knob 2
Save specied data in memory to disk. Refer to Chapter 9: COMMAND (page 208) for information about the SAVE command.
Knob 1 Turn action Press action Cursor
Knob 2 Command Select
FORMAT
Knob 1
[ Turn] Cursor Positions the cursor.
Knob 2 5
[ Press] Command Select Selects the corresponding command in the highlighted display line, and display pages.
This command formats oppy disks, hard disks, ZIP drives, etc. When a hard disk or ZIP drive is formatted you can specify the creation of 2 to 8 partitions.
The content of this page will vary depending on the selected Format Type.
Formatting Floppy Disks

2DD or 2HD oopy disks are formatted as follows: Use Knob 3 (Format Type) to select FD(Quick), FD(2HD), or FD(2DD).
When a oppy disk is formatted all data it contains is irreversably erased. Use this function with caution! A oppy disk cannot be formatted if its write-protect tab is open (page 16). The oppy disk format used by the A5000/A4000 is MS-DOS compatible.
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Chapter 7 DISK Mode
7. DISK COMMANDS
[Operation]
1. Insert the oppy disk to be formatted into the oppy disk drive. 2. Select the FD(Quick), FD(2HD), or FD(2DD) Format Type. 3. Use Knob 1 (EXEC) or Knob 5 (EXEC&CONT) to initiate execution. When the conrmation display appears, press Knob 5 (YES) to execute the format operation.
If Knob 1 (EXEC) is used to execute the command, the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the format display will be retained so you can continue and format other disks.
Cursor w
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 RANAME... Knob 4 Drive ID Knob 5 EXEC&CONT
Cursor q
Knob 1
Cursor
Knob 3
[
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 Format Type Knob 4 Knob 5 EXEC&CONT
Press] RENAME Calls the display which allows entering a new name for the selected oppy disk. See page 81 for details on character entry. The oppy disk name is shown in the FDName section of the display.
Knob 1
[ [ Turn] Cursor Positions the cursor. Press] EXEC (Execute) Press this knob to call the format conrmation display. Press Knob 5 (YES) to actually execute the format operation.
Knob 5
Formatting Hard Disks, ZIP Disks, and Similar Media

SCSI or IDE hard disks, MO disks, ZIP disks, etc., are formatted as follows: Use Knob 3 to select the Logical or Physical Format Type.
When a disk is formatted all data it contains is irreversably erased. Use this function with caution! When formatting a disk it is possible to specify the creation of 2 to 8 partitions, but the individual size of each partition cannot be specied. The total available disk space is equally divided to make up the number of partitions specied. The maximum partition size which can be created by the A5000/ A4000 is 1 gigabyte. It is therefore necessary to create an appropriate number of partitions when formatting disks larger than 1 gigabyte. The formatting used by the A5000/A4000 is a special Yamaha format which is directly compatible with the A3000, but not with other computers or devices. The maximum disk size usable by the A5000/A4000 is 8 gigabytes (1 gigabyte x 8 partitions). Even if a larger disk is connected, only 8 gigabytes of the available space will be usable.
Knob 3
[ Turn] Format Type Species the type of disk to be formatted and the type of formatting to be applied.
[Range] Logical, Physical, OnePartition, FD(Quick), FD(2HD), FD(2DD) FD(Quick) Applies logical formatting only to a oppy disk which has previously been formatted to MS-DOS format. If a disk which has not been formatted to MS-DOS format is inserted, the choices are automatically limited to FD(2HD) and FD(2DD). FD(2HD) Formats a 2HD oppy disk. FD(2DD) Formats a 2DD oppy disk. For information on the Logical, Physical, and OnePartition options, refer to pages 179 and 180, respectively.
[Operation]
1. Select the Logical or Physical Format Type. 2. Use the Drive ID parameter to select the drive to be formatted. 3. Use Knob 5 (Number of Partitions) to specify the number of partitions to be created.
Knob 5
[ Press] EXEC&CONT (Execute & Continue) Press this knob to call the format conrmation display. Press Knob 5 (YES) to actually execute the format operation.
4. Use Knob 1 (EXEC) or Knob 5 (EXEC&CONT) to initiate execution. When the conrmation display appears, press Knob 5 (YES) to execute the format operation.
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Chapter 7 DISK Mode A5000/A4000 q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q
7. DISK COMMANDS
Cursor q
Cursor w
Cursor
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 Format Type Knob 4 Drive ID Knob 5 EXEC&CONT Turn action Press action Knob 1 Cursor EXEC Knob 2 Knob 3 RENAME... Knob 4 Knob 5 Number of Partitions EXEC&CONT
Knob 1
Knob 1
Knob 3
[ Press] RENAME Calls the display which allows entering a name for a partition to be created. See page 81 for details on character entry. During normal sampler operation the partition name is handled and displayed as a disk name. If more than one partition has been created, the disk names corresponding to each partition are the partition name followed by a number. The partition name is shown in the PartitionName section of the display.
Knob 3
[Range] Logical, Physical, OnePartition, FD(Quick), FD (2HD), FD (2DD) Logical Applies logical formatting to a hard disk, ZIP disk, or similar medium. This is the normal choice for formatting such media (page 177). Physical Applies physical and logical formatting to a SCSI hard disk, MO disk, or similar media. Use this option if logical formatting alone does not succeed with the selected disk (page 177). For information on the OnePartition, FD (Quick), FD (2HD), and FD (2DD) options, refer to pages 178 and 180, respectively.
Knob 5
[ Turn] Number of Partitions Species the number of partitions to be created on the drive to be formatted.
[Range] 1 8
Press] EXEC&CONT (Execute & Continue) Press this knob to call the format conrmation display. Press Knob 5 (YES) to actually execute the format operation.
Knob 4
[ Turn] Drive ID Species the ID of the drive to be formattted. When a drive ID is selected, the drives manufacturer and product number will appear immediately above the drive ID.
[Range] SCSI 0 SCSI 7 (SCSI 0 7), IDE M (IDE Master), IDE S (IDE Slave)
Formatting a Single Partition On a Hard Disk, ZIP Drive, etc.

A single selected partition on a formatted hard disk, ZIP drive, or similar medium can be reformatted (logical format) as follows: Use Knob 3 to select the OnePartition Format Type.
When a partition is formatted all data it contains is irreversably erased. Use this function with caution! The formatting used by the A5000/A4000 is a special Yamaha format which directly compatible with the A3000, but not with other computers or devices.
Knob 5
[Operation]
1. Select the OnePartition Format Type. 2. Use the Drive ID parameter to select the drive containing the partition to be reformatted.
3. Use Knob 5 (Partition Number) to specify the partitions to be reformatted.
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7. DISK COMMANDS
4. Use Knob 1 (EXEC) or Knob 5 (EXEC&CONT) to initiate execution. When the conrmation display appears, press Knob 5 (YES) to execute the format operation.
Cursor w
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 RANAME... Knob 4 Knob 5 EXEC&CONT
Cursor q
Cursor
Knob 1
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 Format Type Knob 4 Drive ID Knob 5 Partition Number EXEC&CONT
Knob 3
[ Press] RENAME... Calls the display which allows entering a name for a partition to be formatted. See page 81 for details on character entry. During normal sampler operation the partition name is handled and displayed as a disk name. The partition name is shown in the PartitionName section of the display.
Knob 1
Knob 5
Knob 3
[Range] Logical, Physical, OnePartition, FD(Quick), FD (2HD), FD (2DD) OnePartition Reformats a single specied partition on a previously formatted hard disk, ZIP disk, or similar medium. Only logical formatting is performed, and other partitions are not affected. For information on the Logical, Physical, FD (Quick), FD (2HD), and FD (2DD) options, refer to pages 178 and 179, respectively.
Knob 4
[ Turn] Drive ID Species the ID of the drive to be formattted. When a drive ID is selected, the drives manufacturer and product number will appear immediately above the drive ID.
[Range] SCSI 0 SCSI 7 (SCSI 0 7), IDE M (IDE Master), IDE S (IDE Slave)
Knob 5
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7. DISK COMMANDS
Knob 5
COPY VOLUME
Press] EXEC&CONT (Execute & Continue) Press this knob to call the copy volume conrmation display. Press Knob 5 (YES) to actually execute the copy volume operation.
Copies all data in a selected volume to a separate volume. Floppy disk volumes cannot be selected as the copy source or destination. Also, volumes on disks which were not formatted by the A5000/A4000 cannot be copied. [Operation]
1. Use Knob 3 to specify the Copy Type. 2. Use Knob 1 (EXEC) or Knob 5 (EXEC&CONT) to initiate execution. When the conrmation display appears, press Knob 5 (YES) to execute the copy operation.
If Knob 1 (EXEC) is used to execute the command, the command
menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the copy volume display will be retained so you can continue and copy other volumes.
Cursor w
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 To Disk Knob 4 Knob 5 To Volume EXEC&CONT
Knob 1
Cursor q
Knob 3
[ Turn] To Disk Selects the destination hard disk, ZIP disk, or similar medium to which the data is to be copied.
[Range] All connected/mounted disks.
Knob 1 Knob 2 Knob 3 Copy Type Knob 4 Knob 5 EXEC&CONT
Cursor
Knob 5
[ Turn] To Volume Selects the destination volume to which the data is to be copied.
[Range] A volumes on the disk specied by the To Disk parameter.
This parameter cannot be set when the AllVolume Copy Type is selected.
Cursor EXEC
Knob 1
[ [ Turn] Cursor Positions the cursor. Press] EXEC (Execute) Press this knob to call the copy volume conrmation display. Press Knob 5 (YES) to actually execute the copy volume operation. [
Press] EXEC&CONT (Execute & Continue) Press this knob to call the copy volume conrmation display. Press Knob 5 (YES) to actually execute the copy volume operation.
Knob 3
[ Turn] Copy Type Species whether one volume is to be copied, or all volumes on the selected disk.
[Range] OneVolume, AllVolume OneVolume Only the single specied volume is copied. Any previous data in the destination volume will be erased and overwritten by the copied data. AllVolume All volumes on the selected disk will be copied. Any previous data on the destination disk will be erased and overwritten by the copied data.
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7. DISK COMMANDS
SYSTEM FILE
[DISK] Button [COMMAND/EXIT] Button Knob 1 to highligh display line 1, Press Knob 5
Allows saving all system parameters to disk, or loading them from disk (for information on system parameters see MIDI Data Format). Use this feature when you want to save or load the A5000/ A4000 operating environment.
Only 1 system data le can be saved to 1 disk or partition.
Knob 5
[ Press] EXEC (Execute) Press this knob to call the system le conrmation display. Press Knob 5 (YES) to actually execute the save/ load operation.
[Operation]
1. Use Knob 3 to specify whether the system le is to be saved or
loaded. 2. Use Knob 4 to select the disk to or from which the system le is to be saved or loaded. 3. Use Knob 1 (EXEC) or Knob 5 (EXEC&CONT) to initiate execution. When the conrmation display appears, press Knob 5 (YES) to execute the system le save or load operation.
If Knob 1 (EXEC) is used to execute the command, the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the system le display will be retained so you can continue and execute the save/ load operation.
BACKUP
Allows the entire contents of a hard disk, ZIP disk, or other disk to be backed up to CD-R or CD-RW. Up to 8 disks can be backed up to a single CD-R or CD-RW disk.
In order to use this function an appropriate CD-R or CD-RW drive must be connected to the A5000/A4000 SCSI bus. CD-RW disks are written using the Disk at Once method, so once a disk has been written, further data cannot be written to that disk. CD-R and CD-RW disks can only be written to from disks formatted by the A5000/A4000. Use a Yamaha CD-R/CR-RW drive such as the CRW4416SX to write CD-R/CD-RW disks. Errors may occur if you attempt to write to a CD-R or CD-RW disk while a computer is connected to the samplers SCSI bus. A sufcient amount of parameter memory must be available in the sampler in order to use this function. Ideally, the BACKUP function should be used after turning the units power on, and before any data has been loaded or recorded.
Knob 1 Turn action Press action EXEC
Knob 2
Knob 3 Save / Load
Knob 4 Disk
Knob 5 EXEC&CONT
[Operation]
1. Use Knob 4 to specify the CD-R drive ID. 2. Use Knob 5 to set the write speed. 3. Use Knob 4 to specify the disks to be backed up for each backup
number in the backup list (Knob 2)
Knob 1
[ Press] EXEC (Execute) Press this knob to call the system le conrmation display. Press Knob 5 (YES) to actually execute the save/ load operation.
4. Use Knob 1 (EXEC) or Knob 5 (EXEC&CONT) to initiate execution. When the conrmation display appears, press Knob 5 (YES) to execute the backup operation.
If Knob 1 (EXEC) is used to execute the command, the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the backup display will be retained so you can continue and execute the backup operation.
Knob 3
[ Turn] Save/Load Species whether the system le is to be saved or loaded.
[Range] Save, Load
The system le can only be loaded from a disk to which it has previously been saved.
Knob 4
[ Turn] Disk Selects the disk to or from which the system le is to be saved or loaded.
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7. DISK COMMANDS
Cursor q
Press] EXEC&CONT (Execute & Continue) Press this knob to call the backup conrmation display. Press Knob 5 (YES) to actually execute the backup operation.
Cursor
q Cursor w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 RW-ERASE Knob 4 CDR DriveID TEST Knob 5 Write Speed EXEC&CONT
Cursor
Knob 1
[ [ Turn] Cursor Positions the cursor. Press] EXEC (Execute) Press this knob to call the backup conrmation display. Press Knob 5 (YES) to actually execute the backup operation.
Knob 1 Cursor EXEC
Knob 2 Backup#
Knob 3 RW-ERASE
Knob 4 Disk TEST
Knob 5 EXEC&CONT
Knob 1
Knob 3
[ Press] RW-ERASE (CD-RW Erase) Erase all data from a CD-RW disk to allow further recording.
Depending on the CD-RW drive being used, this process may take some time.
Knob 2
[ Turn] Backup # (Backup Number) Selects a line in the disk backup list.
[Range] 1 8
End of List will appear at the rst line number for which a disk or volume has not been selected. Line numbers past the End of List line cannot be selected. For this reason, line numbers 2 and higher cannot be selected when no disk or volume selections have been made. Disks listed up to the End of List line will be backed up.
Knob 4
[ Turn] CDR DriveID Selects the drive ID of the CD-R or CD-RW drive to which the data is to be backed up. When a CD-R or CD-RW drive is selected, the drives maker and product number will be displayed.
[Range] SCSI 0 SCSI 7
If a connected CD-R or CD-RW drive cannot be selected, go to the disk select display (DISK-DISKDisk) and check the mount/unmount status and SCSI ID settings of the device (page 173).
Knob 3
Knob 4
[ Turn] Disk Species a disk to be backed up for the currently selected backup number (Knob 2).
Press] TEST Executes a data transfer test for the selected CD-R or CD-RW drive. A disk must be loaded in the drive before the test can be initiated, but no data will be written to the disk.
If the test produces an error, choose the next slowest write speed (Knob 5) and run the test again. The write speed setting is appropriate if the test produces no errors. Use the error-free write speed when actually writing to a disk. The data transfer test will take as long as actually writing to the disk, but since a CD-R disk will become unusable if an error occurs while actually writing to it, it is advisable to run the test to check for potential errors before actually writing the data.
If the test produces an error, choose the next slowest write speed (Knob 5) and run the test again. The write speed setting is appropriate if the test produces no errors. Use the error-free write speed when actually writing to a disk.
Knob 5
[ Turn] Write Speed Selects the CD-R/CD-RW write speed.
[Range] x1, x2, x4, x6, x8
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7. DISK COMMANDS
The data transfer test will take as long as actually writing to the disk, but since a CD-R disk will become unusable if an error occurs while actually writing to it, it is advisable to run the test to check for potential errors before actually writing the data.
Cursor q
Cursor
Knob 5
[ Press] EXEC&CONT (Execute & Continue) Press this knob to call the backup conrmation display. Press Knob 5 (YES) to actually execute the backup operation.
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 Knob 4 CDR DriveID TEST Knob 5 EXEC&CONT
Knob 1
[
CD-DA
Turn] Cursor Positions the cursor. Press] EXEC (Execute) Press this knob to call the CD-DA conrmation display. Press Knob 5 (YES) to actually execute the CD-DA operation.
Writes samples stored on disk to CD-R or CD-RW disk to produce an audio CD.
In order to use this function an appropriate CD-R or CD-RW drive must be connected to the A5000/A4000 SCSI bus. CD-RW disks are written using the Disk at Once method, so once a disk has been written, further data cannot be written to that disk. CD-R and CD-RW disks can only be written to from disks formatted by the A5000/A4000. Use a Yamaha CD-R/CR-RW drive such as the CRW4416SX to write CD-R/CD-RW disks. Errors may occur if you attempt to write to a CD-R or CD-RW disk while a computer is connected to the samplers SCSI bus. A sufcient amount of parameter memory must be available in the sampler in order to use this function. Ideally, the CD-DA function should be used after turning the units power on, and before any data has been loaded or recorded. Only samples having a 44.1 kHz sampling frequency can be written to CD-R/CD-RW. Samples digitally recorded to the A5000/A4000 from commercial CDs in a CD player cannot be written to CD-R/CD-RW. Use the BACKUP RW-ERASE function to erase data from a recorded CD-RW disk.
Knob 4
[ Turn] CDR DriveID Selects the drive ID of the CD-R or CD-RW drive to which the samples are to be written. When a CD-R or CD-RW drive is selected, the drives maker and product number will be displayed.
[Range] SCSI 0 SCSI 7
If a connected CD-R or CD-RW drive cannot be selected, go to the disk select display (DISK-DISKDisk) and check the mount/unmount status and SCSI ID settings of the device (page 173).
If the test produces an error, choose the next slowest write speed (Knob 5) and run the test again. The write speed setting is appropriate if the test produces no errors. Use the error-free write speed when actually writing to a disk. The data transfer test will take as long as actually writing to the disk, but since a CD-R disk will become unusable if an error occurs while actually writing to it, it is advisable to run the test to check for potential errors before actually writing the data.
[Operation]
1. Use Knob 4 to specify the CD-R drive ID. 2. Use Knob 5 to set the write speed. 3. Use Knobs 3 and 5 to specify the samples to be backed up for
each track (Knob 2)
4. Use Knob 1 (EXEC) or Knob 5 (EXEC&CONT) to initiate execution. When the conrmation display appears, press Knob 5 (YES) to execute the CD-DA operation.
If Knob 1 (EXEC) is used to execute the CD-DA command, the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the CDdisplay will be retained so you can continue and write to other CDR/CD-RW disks.
Knob 5
[ Turn] Write Speed Selects the CD-R/CD-RW write speed.
[Range] x1, x2, x4, x6, x8
Press] EXEC&CONT (Execute & Continue) Press this knob to call the CD-DA conrmation display. Press Knob 5 (YES) to actually execute the CD-DA operation.
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7. DISK COMMANDS
Cursor w
LOAD OS
Cursor
Allows an OS le to be loaded in order to update the samplers operating system.

Knob 1 Turn action Press action Cursor EXEC Knob 2 Track# INSERT Knob 3 Volume DELETE Knob 4 Knob 5 Sample EXEC&CONT
When LOAD OS is executed all data in the samplers memory will be erased!
[Operation] Knob 1
1. Use Knob 3 to select the OS File Type. 2. Use Knob 4 to select the destination disk. 3. Use Knob 5 (EXEC&CONT) to initiate execution. When the Load
OS? (Param&Wave memory will be erased) conrmation display appears, press Knob 5 (YES) to execute the load OS operation. 4. When loading has nished, the Upgrade OS? conrmation display will appear. Press Knob 4 (NO) if you dont want to upgrade the operating system, or Knob 5 (YES) if you do want to upgrade the operating system. 5. If you choose not to upgrade the operating system, OS will not be upgraded. Please restart will appear and you will need to restart the A5000/A4000. If you choose to upgrade the operating system Please wait a few seconds will appear, then when the operating system has been upgraded After all [F1] [F6] red lamp lighting, please restart will appear and you will need to restart the A5000/A4000.
See page 86 for the restart procedure.
Knob 2
[ Turn] Track # (Track Number) Selects the track number to which the samples are to be written.
[Range] TR1 TR99
End of List will appear at the rst line number for which a disk or volume has not been selected. Line numbers past the End of List line cannot be selected. For this reason, line numbers 2 and higher cannot be selected when no disk or volume selections have been made. Disks listed up to the End of List line will be backed up.
Press] INSERT Inserts a new track at the currently selected track position. All track numbers following the inserted track will be moved up by one up to a maximum of 99. Any data previously assigned to track 99 will be erased.
Knob 3
[ Turn] Volume Selects the volume which contains the samples which are to be written to the track number specied by Knob 2.
[Range] All volumes on the currently selected disk.
Disk selection is carried out via the Disk Select parameter (DISK DISK Disk, page 173). Samples stored on separate disks cannot be recorded to a single CD-R or CD-RW disk.
Knob 1 Turn action Press action Knob 2 Knob 3 OS File Type Knob 4 Disk Knob 5 EXEC&CONT
Knob 3
[ Turn] OS File Type Selects the type of OS le to be loaded.
[Range] Main, Sub, Boot (Main, Boot on the A4000) Main Loads the OS le for the main CPU. Sub Loads the OS le for the secondary (sub) CPU. Boot Loads the OS le for the boot block of the main and sub CPUs.
Press] DELETE Deletes the selected track. All track numbers following the deleted track are moved back by one, and a new empty track will be created for track 99.
Knob 5
[ Press] EXEC&CONT (Execute & Continue) Press this knob to call the CD-DA conrmation display. Press Knob 5 (YES) to actually execute the CD-DA operation.
Chapter 7 DISK Mode
185
7. DISK COMMANDS
Knob 4
[ Turn] Disk Selects the disk from which the OS le is to be loaded.
[Range] All connected/mounted MS-DOS format hard disks and oppy disks, and ISO9660 format CDROM disks.
If the OS le is stored in the disks root directory the OS information will appear on the display. OS les stored in any directory other than the root directory will not be recognized. If a connected SCSI or IDE device (hard disk, ZIP drive, etc.) cannot be selected, go to the disk select display (DISK-DISK-Disk) and check the mount/ unmount status and SCSI ID settings of the device (page 173).
Knob 5
[ Press] EXEC&CONT (Execute & Continue) Press this knob to call the OS load conrmation display. Press Knob 5 (YES) to actually execute the OS load operation.
The LOAD OS operation cannot be executed if the OS le information does not appear on the display.
186
Chapter
UTILITY Mode
This mode includes a range of utility functions as well as sequence recording and playback functions.
About the UTILITY Mode............................................................188 1. TOTAL EQ ...............................................................................189 2. PANEL PLAY ..........................................................................191 3. SEQUENCE ............................................................................194 4. MASTER .................................................................................195 5. SYSTEM..................................................................................197 6. MIDI .........................................................................................200
q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q A5000/A4000
187
About the UTILITY Mode
About the UTILITY Mode

You use UTILITY mode to set up the systems environment, and to record and play sequences.
Changes that you make in UTILITY mode never cause any changes to the local settings stored in your programs and samples. But some UTILITY settings do affect the way that programs and samples behave, and may effectively disable (or add an offset to) the local settings.
UTILITY Mode Functions

The UTILITY mode includes the 6 functions listed below (selected via the [F1] [F6] function buttons, respectively).
s [F1] TOTAL EQ Button

This function sets up the 4-band equalizer for the stereo output (page 189). This function has only one page: TotalEQ (Total Equalizer).
s [F2] PANEL PLAY Button

This function lets you set up knobs so that they operate as MIDI controllers, and function buttons so that they operate as MIDI keyboard keys (page 191). 3 display pages are provided: KnobCtrl (Knob Controller), KnobSet (Knob Controller Setup), and FKeySet (Function Key Play Setup).
s [F3] SEQUENCE Button

Use this function to record and replay MIDI sequences (page 194). This function has only one page: Sequence.
s [F4] MASTER Button

Use this function to adjust the systems output pitch, to adjust the level to the stereo outputs, and to set an assignable-output destination for the stereo output signal (page 195). 2 display pages are provided: Tuning, and Output.
s [F5] SYSTEM Button

The SYSTEM functions affect overall system operation and display (page 197). 2 display pages are provided: KeysSet, and Custom (Customise).
s [F6] MIDI Button

This display provides access to a number of functions affecting MIDI operation (page 200). 2 display pages are provided: Channel (Channel Message), and SysEx (System Exclusive).
188
Chapter 8 UTILITY Mode A5000/A4000 q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q
UTILITY-TOTAL EQ
1. TOTAL EQ
This function sets up the 4-band equalizer applied to the stereo-output signal. Press the [UTILITY] button and then the [F1] button to go to the TotalEQ function. This function has only one page: TotalEQ (Total Equalizer). You set up the equalizer by setting its Gain, Frequency, and Width parameters. The following illustration shows how these parameters operate on the output frequency.
Low Width Level LowBoost Gain Low Gain Middle Gain High Gain Middle Width High Width
Cursor q (Gain)
Cursor
q
Knob 1 Turn action Press action Cursor Tree View Knob 2 Low Boost Gain QUICK... Knob 3 Low Gain QUICK... Knob 4 Middle Gain QUICK... Knob 5 High Gain QUICK...
Knob 1
Knob 2
Frequency LowBoost Freq Low Freq Middle Freq High Freq
Turn] Low Boost Gain Sets the low-frequency boost.

[Range] -12dB +12dB
The Total Equalizer does not affect the signal appearing at the assignable outputs. When the Stereo Out To Assignable Out parameter is not set to off (UTILITY-MASTER-output, page 195), the Total Equalizer does affect the signal appearing at the specied assignable outputs. The equalization you set here applies to all sound directed to the stereo output. If you have set the A5000/A4000 up temporarily in a studio or sound stage, the equalizer offers a convenient way to make nal adjustments to match the acoustics of your environment.
Knob 3
[ Turn] Low Gain Sets the gain for the low-frequency band.
[Range] -12dB +12dB
Total Equalizer
[UTILITY] Button [F1] Button "UTIL-TotalEQ"
Knob 4
[ Turn] Middle Gain Sets the gain for the mid-frequency band.
[Range] -12dB +12dB
This function sets up the 4-band equalizer applied to the stereo-output signal.
Cursor q (Gain): Sets the gain values for the equalizer. Cursor w (Frequency): Sets the equalizer frequency points. Cursor e (Width): Sets the equalizer band widths.
Knob 5
[ Turn] High Gain Sets the gain for the high-frequency band.
[Range] -12dB +12dB
189
UTILITY-TOTAL-EQ
Cursor w (Frequency)
Cursor e (Width)
Cursor
w
Knob 1 Turn action Press action Cursor Tree View Knob 2 Low Boost Frequency QUICK... Knob 3 Low Frequency QUICK... Knob 4 Middle Frequency QUICK... Knob 5 High Frequency QUICK...
Cursor
e
Knob 1 Turn action Press action Cursor Tree View Knob 2 Knob 3 Low Width QUICK... Knob 4 Middle Width QUICK... Knob 5 High Width QUICK...
Knob 1
Knob 1
Knob 2
[ Turn] Low Boost Frequency Sets the low-boost frequency point.
[Range] 32Hz 2.0kHz
Knob 3
[ Turn] Low Width Sets the band width for low-frequency equalization. Note that lower values produce greater width.
[Range] 1.0 12.0
Knob 3
[ Turn] Low Frequency Sets the frequency point for the low-frequency band.
[Range] 32Hz 2.0kHz
Knob 4
[ Turn] Middle Width Sets the band width for mid-frequency equalization. Lower values produce greater width.
[Range] 1.0 12.0
Knob 4
[ Turn] Middle Frequency Sets the frequency point for the mid-frequency band.
Knob 5
[ Turn] High Width Sets the band width for high-frequency equalization. Lower values produce greater width.
[Range] 1.0 12.0
Knob 5
[ Turn] High Frequency Sets the frequency point for the high-frequency band.
190
UTILITY-PANEL PLAY
2. PANEL PLAY
This function lets you set up and use the A5000/A4000 knobs as MIDI controllers, and to set up the function keys so that they operate as keys on a MIDI keyboard. Press the [UTILITY] button and then the [F2] button to go to the PANEL PLAY function. 3 display pages are provided: KnobCtrl (Knob Controller), KnobSet (Knob Controller Setup), and FKeySet (Function Key Play Setup page 192).
Press] CENTER Centers the control change value to 64. 064 will appear on the display.
Knob Controller Setup

[UTILITY] Button [F2] Button Knob 1 to select "UTIL-KnobSet"
Use this page to assign a controller number and transmit channel to each of the knobs you want to use as controller.
Knob Controller
[UTILITY] Button [F2] Button Knob 1 to select "UTIL-KnobCtrl"
Cursor q
MIDI control change data can be produced by turning Knobs 2 5. In addition to directly affecting playback of the A5000/A4000, this control change data can also be transmitted via the MIDI out connector to control external equipment. The type of control change data generated is determined by the Knob Controller Setup parameters.
The [ASSIGNABLE] button can be engaged (its indicator will light) when any other page than this is being displayed to enable control change transmission by Knobs 2 5. In this case, the ASSIGNABLE Key Function parameter (UTILITY-SYSTEM-KeysSet: page 197) must be set to KnobControl on/off.
Cursor
Knob 2
Knob 3 MIDI Out
Knob 4
Knob 5
Knob 1
Knob 3
Knob 1 Turn action Press action Page Tree View Knob 2 Control Change CENTER Knob 3 Control Change CENTER Knob 4 Control Change CENTER Knob 5 Control Change CENTER
Turn] MIDI Out Species the MIDI connector via which the knob control change data will be transmitted.
[Range] AMIDIOUT, BMIDIOUT AMIDIOUT ... The control change data from knobs set to MIDI channels A01 A16 will be transmitted via MIDI OUT. The control change data from knobs set to MIDI channels B01 B16 will affect playback of the A5000 only. BMIDIOUT ... The control change data from knobs set to MIDI channels B01 B16 will be transmitted via MIDI OUT. The control change data from knobs set to MIDI channels A01 A16 will affect playback of the A5000 only.
The A4000 does not have this parameter.
Knob 1
Knob 2 5
[ Turn] Control Change Species the control change number to be generated by the corresponding knob. The display shows the control change number, MIDI channel, and current control change value for each knob.
[Range] 000 127
Knobs for which the Control Type is set to off will not transmit any control change data.
191
UTILITY-PANEL PLAY
Cursor w
[Range] AUDITION, A01 B16 (01 16 on the A4000), Bch

In order for the generated control change data to affect samples played by the A5000/A4000, the transmission MIDI channel must be set to match the channel set for the sample(s) to be controlled.
Cursor
w
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Knob# Knob 3 Device MIDI Knob 4 Knob 5
Control Type MIDI Channel MIDI
Press] MIDI When this knob is pressed the parameter can be directly set by a MIDI note-on message received from an external MIDI device. See page 82.
Knob 1
Knob 2
[ Turn] Knob# (Knob Number) Selects the knob (2 5) to be set up for control change transmission via Knobs 3 5, below (Knobs 3 5 set the control change number, MIDI channel, etc. for the Knob# selected here).
[Range] 2 5
Function Key Play Setup

[UTILITY] Button [F2] Button Knob 1 to select "UTIL-FKeySet"
Knob 3
[ Turn] Device This value assigns the knobs controller function (controller number).
[Range] 000 120
Keep in mind that the MIDI standard denes specic uses for certain controller numbers.
Knob 4
[ Turn] Control Type This value sets the selected knobs control sensitivity the amount by which the control value changes per increment of knob rotation. Set to on for minimum sensitivity, or to Step 1, Step 2, or Step 3 for greater sensitivity (where Step 3 gives the highest sensitivity). Set the value to off if you want to disable use of the selected knob as a controller.
[Range] off, on, Step1 3
The 6 function buttons of the A5000/A4000 can be used as a mini keyboard to play notes on the sampler itself as well as transmit corresponding MIDI note-on data. The FUNCTION KEY PLAY SETUP parameters can be used to specify the MIDI channel, note number (pitch), and velocity for each function button. To use the function buttons in this way the ASSIGNABLE Key Function parameter (UTILITY-SYSTEM-KeysSet: page 197) must be set to Fkey Play on/off. The function keys can then be used to play the specied notes when the [ASSIGNABLE] button is engaged (its indicator will light). The Function Key Play feature will not work, however, during recording or when certain other displays are selected.
Cursor q
Cursor
Knob 2
Knob 3 MIDI Out
Knob 4
Knob 5
Knob 5
[ Turn] MIDI Channel Species the MIDI channel via which the control change data generated by the knob will be transmitted. When AUDITION is selected, the control change data will only affect the sound produced when the [AUDITION] button is pressed. When Bch is selected, the same channel as that set as the MIDI Basic Channel (page 89) will be used.
Knob 1
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UTILITY-PANEL PLAY
Knob 3
[ Turn] MIDI Out Species the MIDI connector via which the function button note-on data will be transmitted.
[Range] AMIDIOUT, BMIDIOUT AMIDIOUT ... The note-on data from function buttons set to MIDI channels A01 A16 will be transmitted via MIDI OUT. The note-on data from function buttons set to MIDI channels B01 B16 will affect playback of the A5000 only. BMIDIOUT ... The note-on data from function buttons set to MIDI channels B01 B16 will be transmitted via MIDI OUT. The note-on data from function buttons set to MIDI channels A01 A16 will affect playback of the A5000 only.
Knob 4
[ Turn] Velocity Use this knob to set the velocity for selected function key. The setting determines the velocity value that the key transmits when sending a Note-On message.
[Range] 1 127
Knob 5
[ Turn] MIDI Channel Use this knob to set the Transmit channel for the selected function key. The setting determines the MIDI channel over which the Note-On message is transmitted. Set the value to Bch if you want to use the channel selected by the BasicCh parameter (page 89).
[Range] A01 B16 (01 16 on the A4000), Bch
Cursor w
Cursor
[
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Funktion Key# Knob 3 Note MIDI Knob 4 Velocity MIDI Knob 5 MIDI Channel MIDI
Knob 1
Knob 2
[ Turn] Function Key# (Function Key Number) Selects the function button (1 6) to be set up for noteon transmission. Values 1 through 6 correspond to function buttons [F1] through [F6].
[Range] 1 6
After selecting the function button to be set up for note-number transmission, use Knobs 3 5 to set the note number, MIDI channel, and velocity, as required.
Knob 3
[ Turn] Note Use this knob to set the note to be played by the selected function key. The setting determines the note value that the key transmits when sending a Note-On message.
[Range] C-2 G8
If the Note Display Type utility (UTILITY-SYSTEMCustom: page 198) is set to name the parameter will be displayed as note names such as C3. If set to number the parameter will be displayed as MIDI note numbers such as 60.
193
UTILITY-SEQUENCE
3. SEQUENCE
The SEQUENCE fetaure makes it possible to record and play back performance data from and external MIDI device. It is also possible to import and play back standard MIDI les. These easy-to-use sequencer functions are ideal for jotting down breakbeat of sequence phrase ideas. Full-blown sequencer functions such as external MIDI clock synchronization and sequence editing are not implemented. Press the [UTILITY] button and then the [F3] button to go to the SEQUENCE function. This function has only one page: Sequence.
MIDI channel mesage data set to disable via the UTILITY-MIDIChannel display (page 200) will not be recorded.
The Shortcut Commands
s DELETE
When DELETE is executed, a conrmation display for deleting the currently selected sequence will appear. Press Knob 5 (>YES) to execute the delete operation.
s SAVE
When SAVE is executed, the SAVE command display for saving the currently selected sequence to disk will appear. See page 208 for details on the SAVE command (COMMAND-SAVE).
s NEW_SEQ
When NEW_SEQ is executed a new blank sequence is created. New sequences are automatically given the name NewSeq, followed by a number.
Knob 4
Sequence
[UTILITY] Button [F3] Button "UTIL-Sequence"
Allows playback of sequence data, and the creation of a new sequence to which data can be recorded.
Turn] Playback Speed This value sets the playback speed, relative to the recorded speed. The setting is by percentage. A value of +0 reproduces the original speed; a setting of +50 increases the speed by a factor of 1.5, while a setting of -50 cuts the speed in half.
[Range] -50 +50
If you are playing back an imported SMF (standard MIDI le), the available range may be less than shown here.
[
Knob 1 Turn action Press action Tree View Knob 2 Sequence RENAME Knob 3 Shortcut Command EXECUTE Knob 4 Playback Speed RECORD / STOP Knob 5 RecPort& PlayChannel PLAY / PAUSE / CONTINUE
Press] RECORD/STOP Press to immediately begin sequence recording. Press a second time during recording to stop.
Knob 5
[ Turn] RecPort & PlayChannel Species the MIDI port to be used for recording, and the MIDI channels to be used for playback.
[Range] A, B A ... MIDI performance data received via the MIDI IN-A connector will be recorded. MIDI channels A01 A16 will be used for playback. B ... MIDI performance data received via the MIDI IN-B connector will be recorded. MIDI channels B01 B16 will be used for playback.
Knob 1
Knob 2
[ Turn] Sequence Turn the knob to select the sequence that you want to play or over-record. Press] RENAME Press to call the character-entry display for the currently selected sequence name. See page 81 for details on character entry. [
Knob 3
[ Turn] Shortcut Command This knob positions the cursor within the sub-mode window to select one of the available shortcut commands.
[Range] DELETE, SAVE, NEW_SEQ (See The Shortcut Commands below for details on each command)
Press] PLAY/PAUSE/CONTINUE Press to immediately begin playback of the recorded sequence (PLAY). Press during playback to temporarily pause playback (PAUSE). Press again while paused to resume playback from the point at which it was paused (CONTINUE).
Press] EXECUTE Executes the the highlighted shortcut command.
194
UTILITY-MASTER
4. MASTER
Use this function to adjust the systems output pitch, to adjust the level to the stereo outputs, and to set an assignable-output destination for the stereo output signal. Press the [UTILITY] button and then the [F4] button to go to the MASTER function. 2 display pages are provided: Tuning, and Output.
Output
[UTILITY] Button [F4] Button Knob 1 to select "UTIL-Output"
This function allows the signal appearing at the STEREO OUTPUT jacks to simultaneously be sent to the assignable outputs, and level offset can be individually applied for each output.
The setting that you make at this page takes precedence over the assignable-output settings within samples and programs. If you select AsgnOut2&3 at this page, for example, then AsgnOut2&3 will always produce the same signal as the stereo outputs.
Tuning
[UTILITY] Button [F4] Button Knob 1 to select "UTIL-Tuning"
Cursor q
Use this page to adjust the tuning (shift the pitch) of all system output.
Cursor
Knob 1 Turn action Knob 1 Turn action Press action Page Tree View Knob 2 Tuning Coarse QUICK... Knob 3 Tuning Fine QUICK... Knob 4 Knob 5 Press action Cursor/Page Tree View
Knob 2
Knob 3
Knob 4 Knob 5 Stereo Out To Assignable DIG&OPT Bit Out
Knob 1
[ Turn] Cursor/Page Positions the cursor and selects display pages. Press] Tree View Calls the Tree View display (page 83).
Knob 1
[ [ Turn] Page Selects display pages. Press] Tree View Calls the Tree View display (page 83). [
Knob 4
[ Turn] Stereo Out To Assignable Out You can select an assignable-output destination for the stereo output signal so that the stereo-output jacks and the selected assignable-output connectors produce exactly the same signal.
[Range] off, AsgnOutL&R, AsgnOut1&2 AsgnOut5&6, DIG&OPT off ... The stereo output signal is not simultaneously routed to any assignable output. AsgnOutL&R ... The stereo output signal is simultaneously routed to the Assignable Out L & R outputs. AsgnOut1&2 AsgnOut5&6 ... The stereo output signal is simultaneously routed to the specied Assignable Outputs. DIG&OPT ... The stereo output signal is simultaneously routed to the DIG&OPT (digital coaxial and optical) outputs.
The AsgnOut1&2, AsgnOut3&4, AsgnOut5&6, and DIG&OPT outputs cannot be selected unless the optional AIEB1 I/O expansion board is installed.
Knob 2
[ Turn] Tuning Coarse Turn the knob to adjust the tuning, in semitone increments.
[Range] -127 +127
Knob 3
[ Turn] Tuning Fine Turn the knob to adjust the tuning in increments of 1.171875 cent. (Note: 100 cents = 1 semitone)
[Range] -63 +63
The pitch of A (standard frequency = 440 Hz) as a result of Master Tuning is displayed in Hertz above the parameters value.
195
UTILITY-MASTER
Knob 5
[ Turn] DIG&OPT Bit (Digital & Optical Output Bits) Species 20-bit or 24-bit output for the digital coaxial and optical outputs.
[Range] 20, 24
Set this parameter to 20 when connecting to digital equipment which does not support 24-bit audio data.
Cursor w
Cursor
Knob 2
Knob 3 Output
Knob 4
Knob 5 Level Offset
Knob 1
Knob 3
[ Turn] Output Selects the output for which a level offset will be specied via the Level Offset parameter (Knob 5, below).
[Range] StereoOut, AsgnOutL&R, AsgnOut1&2 AsgnOut5&6, DIG&OPT (StereoOut, AsgnOutL&R, AsgnOut1&2 on the A4000)
Knob 5
[ Turn] Level Offset Species a level offset for the output selected via Knob 3 (Output, above). If set too high this parameter can result in distorted sound, depending on the number of notes being played simultaneously and the type of sound being played.
[Range] -0dB +24dB
If the stereo output signal has been assigned to an assignable output via the Stereo Out To Assignable Out parameter, the stereo output offset value takes priority.
196
UTILITY-SYSTEM
5. SYSTEM
Use this function to set up the systems operating environment and screen-display options. Press the [UTILITY] button and then the [F5] button to go to the SYSTEM function. 2 display pages are provided: KeysSet, and Custom (Customise page 198).
UTILITY-PANEL PLAY-KnobSet parameters (page 191). Damp ... Allows the [ASSIGNABLE] button to turn all notes off. Controller Reset ... Allows the [ASSIGNABLE] button to reset all control change values received by the A5000/A4000. Fkey Play on/off ... Allows the [ASSIGNABLE] button to turn note-on transmission by the function buttons ([F1] [F6]) on or off. When engaged the normal functions of the function buttons in the page being displayed are not available. The notes, MIDI channels, and velocity of each function button are determined by the UTILITY-PANEL PLAY-FKeySet parameters (page 192). Knob&Fkey on/off ... Allows the [ASSIGNABLE] button to turn both control via Knobs 2 5 and note-on transmission by the function buttons (F1] [F6]) on or off. MIDISmp on/off ... Allows the [ASSIGNABLE] button to turn the MIDI To Sample feature (Tree View, page 198) on or off.
KeysSet
[UTILITY] Button [F5] Button Knob 1 to select "UTIL-KeysSet"
Species the function of the [ASSIGNABLE] button, and how the [AUDITION] button will affect playback.
Cursor q provides access to the [ASSIGNABLE] button parameters, and Cursor w provides access to the [AUDITION] button parameters.
Cursor q
Press] LIST... Press to call a list of the available [ASSIGNABLE] button functions.
Cursor
Cursor w
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Knob 3 ASSIGNABLE Key Function LIST... Knob 4 Knob 5
Cursor
w
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 AUDITION Key Effect Knob 3 AUDITION Key EasyEdit Knob 4 Knob 5 AUDITION Key Trigger Mode
Knob 1
Knob 1
Knob 3
[ Turn] ASSIGNABLE Key Function Species the function of the [ASSIGNABLE] button when it is engaged (i.e. when its indicator is lit).
For on/off settings, the corresponding function will be on when the [ASSIGNABLE] button is engaged (its indicator is lit), and off when the [ASSIGNABLE] button is disengaged (its indicator is out).
Knob 2
[ Turn] AUDITION Key Effect Determines whether effects will be applied to the sound produced by pressing the [AUDITION] button.
[Range] off, on
[Range] Knob Control on/off, Damp, Controller Reset, Fkey Play on/off, Knob&Fkey on/off, MIDISmp on/off Knob Control on/off ... Turns control by Knobs 2 5 on or off. Symbols indicating the knobs for which control is active will ash on the bottom line of the display. In this case the normal functions of the knobs in the current display page are not available. The actual control functions of each knob are determined by the
Knob 3
[ Turn] AUDITION Key EasyEdit Determines whether the Easy Edit parameter settings will be applied to the sound produced by pressing the [AUDITION] button.
[Range] off, on
Easy Edit parameter settings will not be applied to samples which are not assigned to a program, regardless of the setting of this parameter.
197
UTILITY-SYSTEM
Knob 5
[ Turn] AUDITION Key Trigger Mode Selects whether the [AUDITION] button produces sound only while held down, or whether it continues to produce sound until pressed a second time.
[Range] normal, toggle normal ... The button produces sound only while you hold it down. Sound stops immediately when you release the key. toggle ... Pressing the button once starts the playback. Pressing the key again stops the sound (if it is still playing) and disengages the key.
Knob 5
[ Turn] MIDI Sample Layer Selection Determines whether or not multiple samples (sample banks) assigned to a note will be selected sequentially each time a note-on message is received when the MIDI To Sample function is used.
[Range] atAllPages, onlyAtTree atAllPages ... This function will be active at all times (when any display page is showing). Multiple samples (sample banks) assigned to a note will be selected one after the other each time the corresponding note-on meaasge is received. onlyAtTree ... This function will be active only when the Tree View dislay is showing (i.e. the display called when Knob 1 is pressed). Multiple samples (sample banks) assigned to a note will be selected one afer the other each time the corresponding note-on meaasge is received. When any other display is showing one of the samples (sample banks) assigned to the received note will be selected, but multiple samples (sample banks) will not be selected in sequence.
The MIDI To Sample function can be used to select a sample or sample banks to be edited from an external MIDI device. Refer to page 83 for details. These settings have no effect when the MIDI To Sample function is turned off.
Customise
[UTILITY] Button [F5] Button Knob 1 to select "UTIL-Custom"
Species how pitches will be displayed, which page will be displayed rst when switching between modes and functions, and more.
Cursor q
Cursor
Cursor w
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Knob 3 Note Display Type Knob 4 Knob 5 MIDI>Sample Layer Selection
Cursor
w
Knob 1 Knob 2 Knob 3 Function Knob 4 Knob 5 Page Turn action Press action
Knob 1
Knob 1
Knob 3
[ Turn] Note Display Type This value selects the note display type.
[Range] Name, Number Name ... The A5000/A4000 displays note values by name. For example: C3, F4, F#-1 Number ... The A5000/A4000 displays note values by MIDI note number. For example: 60, 77, 18.
Knob 3
[ Turn] Function This setting selects whether the A5000/A4000 activates the rst function or the last (most recent) function when you switch to a different mode.
[Range] 1stFunction, LastFunction, HoldFunction 1stFunction ... When you switch to a different mode, the A5000/A4000 automatically moves into the function identied by the rst (leftmost) function key.
198
UTILITY-SYSTEM
LastFunction ... When you switch to a different mode, the A5000/A4000 automatically reenters the function that was active when you last exited that mode. HoldFunction ... The last-used function display will automatically be recalled when a mode button is pressed. When this option is selected, you can go directly to the last-used function simply by pressing either the mode button or function button.
Knob 5
[ Turn] Page This setting selects whether the A5000/A4000 activates the rst page or the last (most recent) page when you switch to a different function within the current mode.
[Range] 1stPage, LastPage 1stPage ... When you change functions (by pressing a function key), the A5000/A4000 automatically displays the initial page for that function. LastPage ... When you change functions (by pressing a function key), the A5000/A4000 automatically displays the page that was shown when you last exited that function.
199
UTILITY-MIDI
6. MIDI
Use this function to set the various MIDI parameters. Press the [UTILITY] button and then the [F6] button to go to the MIDI function. 2 display pages are provided: Channel (Channel Message), and SysEx (System Exclusive page 201).
[
If you set the value to +1, the A5000/A4000 will transpose all received note values upward by one semitone. If the MIDI device transmits a Note-On for A4, the A5000/A4000 will change the value to A#4 before passing it into the internal tone generator.
Knob 4
[ Turn] Velocity Curve This setting selects the conversion curve that the A5000/ A4000 uses to adjust received velocity values before sending them to the tone generator.
[Range] normal, soft-1, soft-2, hard-1, hard-2, vel=7 127 normal ... Linear relationship soft-1, soft-2 ... The applied velocity rises more rapidly in the low-velocity range, with the rate becoming atter at higher range. Use one of these settings if you tend to strike the keyboard lightly when playing. The soft-2 setting is more pronounced than the soft-1 setting. hard-1, hard-2 ... The applied velocity increases relatively slowly in the low-velocity range, with the rate becoming sharper as velocity gets higher. Use one of these settings if you have a relatively strong key attack. The hard-2 setting is more pronounced than the hard-1 setting.
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Omni Knob 3 Transpose QUICK... Knob 4 Velocity Curve Knob 5
Channel Message
[UTILITY] Button [F6] Button Knob 1 to select "UTIL-Channel"
Determines how received MIDI channel messages wil be internally handled by the A5000/A4000.
MIDI performance data which is set to disable via the parameters in this section will not be recorded by the sequencer record function.
Cursor q
Cursor
vel=7 127 ... Uses a single velocity for all notes, regardless of received velocity value. You can set the applied velocity to any velocity value ending in 7 (127, 117,...,17, 7).
Knob 1
Cursor w
Cursor
w
Knob 1 Turn action Press action Cursor/Page Tree View Knob 2 Program Change Knob 3 Control Change Knob 4 After Touch Knob 5 Pitch Bend
Knob 2
[ Turn] Omni Set this value on to enable reception over all channels. Note that setting the value to on disables the Basic Channel setting, since the A5000/A4000 will accept note messages, program-change messages (if Program Change = receive; see below), and control-change messages over all channels.
[Range] off, on
Knob 1
Knob 2
[ Turn] Program Change Determines whether received MIDI program change data will be passed on to the sampler or not.
[Range] receive, disable receive ... Received program change data will affect sampler operation. disable ... Received program change data will not affect sample operation.
Knob 3
[ Turn] Transpose Turn either knob to set the transposition applied to received note values, in semitones. Set to +0 if you do not want to apply any transposition.
[Range] -127 +127
200
UTILITY-MIDI
Knob 3
[ Turn] Control Change Set this to enable if you want to allow control-change data to pass to the tone generator. Set to disable if you want the A5000/A4000 to ignore (lter out) all control-change data.
[Range] receive, disable receive ... Received control change data will affect sampler operation. disable ... Received control change data will not affect sample operation.
System Exclusive
[UTILITY] Button [F6] Button Knob 1 to select "UTIL-SysEx"
This page sets parameters related to MIDI bulk dumps.
Knob 4
[ Turn] After Touch Set this to enable if you want to allow aftertouch data to pass to the tone generator. Set to disable if you want the A5000/A4000 to ignore (lter out) all aftertouch data.
[Range] receive, disable receive ... Received aftertouch data will affect sampler operation. disable ... Received aftertouch data will not affect sample operation.
Knob 2
Knob 3 Bulk Protect
Knob 4 Device#
Knob 5 Recieve Port
Knob 1
Knob 3 Knob 5
[ Turn] Pitch Bend Set this to enable if you want to allow pitchbend data to pass to the tone generator. Set to disable if you want the A5000/A4000 to ignore (lter out) all pitchbend data.
[Range] receive, disable receive ... Received pitchbend data will affect sampler operation. disable ... Received pitchbend data will not affect sample operation.
Turn] Bulk Protect This setting selects whether the A5000/A4000 accepts bulk-dump transmissions from connected MIDI devices.
[Range] off, on off ... The A5000/A4000 will accept and process dumped data as soon as it is received. on ... The A5000/A4000 ignores all received bulk data.
Knob 4
[ Turn] Device# This value sets the A5000/A4000s device number for purposes of bulk dumps.
[Range] off, 1 16, all off ... The A5000/A4000 does not send or receive bulk dumps. 1 16 ... The A5000/A4000 can receive bulk dumps directed to this device number only. It transmits all bulk dumps to this device number. all ... The A5000/A4000 accepts all bulk dumps, regardless of device number. It transmits bulk dumps to Device #1 only.
The A5000/A4000 can transfer a bulk dump to/from another device only if the two devices have consistent device-number settings.
201
UTILITY-MIDI
Knob 5
[ Turn] Recieve Port Determines which of the A5000s MIDI ports MIDI IN-A or MIDI IN-B will be used for system exclusive data reception.
[Range] A, B
This parameter is not available on the A4000.
202
Chapter
COMMAND
Program and sample copy, editing, and other operations not included in the function displays.
About the COMMANDS ..............................................................204 COPY ...........................................................................................206 DELETE .......................................................................................208 SAVE ............................................................................................208 ARRANGE ...................................................................................211 FREEZE .......................................................................................212 REGISTER ...................................................................................214 BULK DUMP ................................................................................216 INITIALIZE ...................................................................................217 PROCESS ....................................................................................218 LOOP DIVIDE ..............................................................................221 RESAMPLE..................................................................................222 STEREO MONO ......................................................................225 MOVE ...........................................................................................226 CREATE OSC ..............................................................................227 EXPORT .......................................................................................228 REVERT .......................................................................................230
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203
About the COMMANDS
About the COMMANDS

The COMMANDS include program and sample copy, edit, and a range of operations not included in the function displays. Press the [COMMAND/EXIT] button to go to the command menu.
Command Menu
The following 16 commands are available:
s COPY............................................................................................................................................... page 206

Copies all or specied programs or samples (sample banks) in memory to different programs or samples (sample banks).
s DELETE .......................................................................................................................................... page 208

Deletes the specied sample (sample bank) or sequence from memory.
s SAVE ............................................................................................................................................... page 208

Saves data from memory to disk.
s ARRANGE ..................................................................................................................................... page 211

Automatically remaps the samples assigned to a specied program or sample bank.
s FREEZE .......................................................................................................................................... page 212

Causes the easy edit settings to be actually applied to the samples or sample banks, or the sample banks settings to the samples it contains.
s REGISTER..................................................................................................................................... page 214

Registers the settings of the selected program or sample as the initial values.
s BULK DUMP ................................................................................................................................. page 216

Allows bulk transmission of program or sample data in memory via the MIDI OUT connector.
s INITIALIZE ..................................................................................................................................... page 217

Initializes a single specied program or all programs in memory.
s PROCESS ...................................................................................................................................... page 218

The PROCESS commands include sample normalization, reverse, fade, loop crossfade, and more.
s LOOP DIVIDE ............................................................................................................................... page 221

Divides the wave data between the sample loop start and loop end points into equal segments which become independent samples.
204
Chapter 9 COMMAND A5000/A4000
About the COMMANDS
s RESAMPLE ................................................................................................................................... page 222

s STEREO MONO .................................................................................................................... page 225

Converts stereo samples to mono.
s MOVE .............................................................................................................................................. page 226

s CREATE OSC............................................................................................................................... page 227

s EXPORT ......................................................................................................................................... page 228

Coverts the selected sample to AIFF or WAV format (audio wave data formats commonly used on personal computers) and saves the result to an MS-DOS format oppy disk or hard disk.
s REVERT ......................................................................................................................................... page 230

A5000/A4000
Chapter 9 COMMAND
205
About the COMMANDS
Selecting a Command
[COMMAND/EXIT] Button COMMAND Menu
COPY
[COMMAND/EXIT] Button Knob 1 to highlight display line 1 Press Knob 2
Select the desired command from the COMMAND menu. [Operation]

Select a COMMAND as follows: 1. Turn Knob 1 to highlight the display line containing the desired command. 2. Press the knob Knob 2 Knob 5 corresponding to the desired command.
Copies all or specied programs or samples (sample banks) in memory to different programs or samples (sample banks). [Operation]
Copy the data as follows: 1. Select the type of data to be copied via the Copy Type parameter. 2. If the selected Copy Type is ProgramParameters, ProgramMerge, or StepWave, also specify the copy source and destination programs. If the selected Copy Type is Effect, also specify the copy source and destination programs, and the effect number. If the selected Copy Type is SampleParameters, also specify the copy source and destination samples or sample banks.
Copy cannot be executed if the specied copy source and destination are the same.
Knob 1 Turn action Press action Cursor EXIT
3. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the copy

conrmation display will appear. Press Knob 5 (YES) to execute the copy operation.
If Knob 1 (EXEC) is used to execute the command, the display previous to the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the copy display will be retained so you can continue and perform further copy operations.
Knob 1
[ [ Turn] Cursor Positions the cursor. Press] EXIT Returns to the display that was showing before the command menu was called.
Knob 2 5
[ Press] Command Select Selects the corresponding command in the highlighted display line, and selects display pages.
Cursor q
Cursor
Knob 1 Turn action Press action Cursor EXEC
Knob 2
Knob 3 Copy Type
Knob 4
Knob 5 EXEC&CONT
Command Execution
The command execution procedure is the same for all commands. In all command pages Knob 1 is EXEC (EXECUTE) and Knob 5 is EXEC&CONT (EXECUTE & CONTINUE). The currently selected command is executed when either Knob 1 (EXEC) or Knob 5 (EXEC&CONT) is pressed. When Knob 1 (EXEC) is used to execute a command, the display that was showing immediately before executing the command is automatically recalled after execution has nished. When Knob 5 (EXEC&CONT) is used to execute a command, the same display is retained after command execution so that you can immediately repeat execution of the same command. Press the [COMMAND/EXIT] button to return to the command menu without executing the command.
[ [
Knob 1
Turn] Cursor Positions the cursor. Press] EXEC Press this knob to call the copy conrmation display. Press Knob 5 (YES) to actually execute the copy operation.
Knob 3
[ Turn] Copy Type Selects the type of data to be copied.
[Range] ProgramParameters, ProgramMerge, Effect, StepWave, SampleParameters
206
About the COMMANDS
ProgramParameters ... Copies all parameters for a specifed program to a different program. ProgramMerge ... Allows the samples or sample bank used in the source program to be used by the destination program, and copies all EASY EDIT settings with the merged samples/sample bank. The samples, sample banks, and sample settings originally used with the destination program will remain unaffected. Effect ... Copies only the effect settings from a specied program to a different program. StepWave ... Copies only the StepWave settings from the Program LFO of a specied program to a different program. SampleParameters ... Copies the parameters from a specifed sample (sample bank) to a different sample (sample bank). The following parameters are NOT copied: Original Key (page 128), Pitch Fine (page 130), Low Key (page 154), High Key (page 154), Loop Mode (page 123), Wave Start Address (page 120), Wave End Address (page 120), Loop Start Address (page 121), Loop End Address (page 122).
Knob 3
[ Turn] From Effect Selects the source effect. This can only selected when the Copy Type is set to Effect.
[Range] E1 E6 (E1 E3 on the A4000)
Knob 4
[ Turn] To Program Selects the destination program.
[Range] 001 128
Knob 5
[ Turn] To Effect Selects the destination effect. This can only selected when the Copy Type is set to Effect.
[Range] E1 E6 (E1 E3 on the A4000)
Press] EXEC&CONT Press this knob to call the copy conrmation display. Press Knob 5 (YES) to actually execute the copy operation.
Knob 5
[ Press] EXEC&CONT Press this knob to call the copy conrmation display. Press Knob 5 (YES) to actually execute the copy operation.
Cursor w (when the CopyType is SampleParameters)
Cursor
w Cursor w (when the CopyType is ProgramParameters, ProgramMerge, or StepWave/Effect)

Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 From Sample Knob 4 Knob 5 To Sample EXEC&CONT
Knob 1
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 From Program Knob 3 From Effect Knob 4 To Program Knob 5 To Effect EXEC&CONT
Knob 3
[ Turn] From Sample Selects the source sample or sample bank. All samples (sample banks) in memory can be selected.
Knob 1
Knob 5
[ Turn] To Sample Selects the destination sample or sample bank. All samples (sample banks) in memory can be selected. If a sample has been selected via the From Sample parameter only samples can be selected. If a sample bank has been selected via the From Sample parameter only sample banks can be selected. Press] EXEC&CONT Press this knob to call the copy conrmation display. Press Knob 5 (YES) to actually execute the copy operation.
Knob 2
[ Turn] From Program Selects the source program.
[Range] 001 128
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About the COMMANDS
DELETE
AllSamples ... All samples and sample banks in memory are deleted. AllFreeSamples ... Deletes all samples and sample banks which are not currently used by a program. OneSequence ... Allows a specied sequence in memory to be deleted. Select the sequence to be deleted via Knob 5.
Deletes all or specied samples (sample banks) or sequences in memory.

Before executing the delete operation make sure the sample you are deleting is not being used in a sample bank or program.
Knob 5 [Operation]
Delete the data as follows: 1. Select the type of data to be copied via the Delete Type parameter. 2. If the selected Delete Type is OneSample or OneSequence, also specify the sample or sequence to be deleted. 3. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the delete conrmation display will appear. Press Knob 5 (YES) to execute the delete operation.
If Knob 1 (EXEC) is used to execute the command, the display previous to the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the delete display will be retained so you can continue and perform further delete operations.
Turn] Sample/Sequence Selects the sample or sequence to be deleted. When the selected Delete Type is OneSample, Knob 5 selects the sample to be deleted. When the selected Delete Type is OneSequence, Knob 5 selects the sequence to be deleted. All samples (sample banks) and sequences in memory can be selected. Press] EXEC&CONT Press this knob to call the delete conrmation display. Press Knob 5 (YES) to actually execute the delete operation.
SAVE
Knob 1 Turn action Press action EXEC Knob 2 Knob 3 Delete Type Knob 4 Knob 5 Sample / Sequence EXEC&CONT
[COMMAND/EXIT] Button Knob 1 to highlight display line 1 Press Knob 4.
Saves specied data in memory to disk. [Operation]

1. Specify the type of data to be saved via the Save Type parameter
(page 209).
Knob 1
[ Press] EXEC Press this knob to call the delete conrmation display. Press Knob 5 (YES) to actually execute the delete operation.
2. Select the destination disk and volume (page 209). 3. If the Save Type is OneProgram, specify the source program number and the destination program number (page 209). If the Save Type is OneSample or OneSequence select the sample (sample bank) or sequence to be saved (page 210). 4. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the save conrmation display will appear. Press Knob 5 (YES) to execute the save operation.
If Knob 1 (EXEC) is used to execute the command, the display previous to the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the save display will be retained so you can continue and perform further save operations.
Knob 3
[ Turn] Delete Type Species the type of data to be deleted.
[Range] OneSample, AllSamples, AllFreeSamples, OneSequence OneSample ... Allows a specied sample in memory to be deleted. Select the sample to be deleted via Knob 5. If a sample contained in a sample bank is selected, a conrmation display asking if you want to delete all other sample in that sample bank will appear when the delete operation is executed. Press Knob 5 (YES) to delete all samples in the sample bank. If you press Knob 4 (NO), the remaining samples are removed from the sample bank, becoming independent samples.
208
About the COMMANDS
Cursor q
program number on the disk side (in the destination volume). OneSample ... Allows a single sample or sample bank in memory to be saved. OneSequence ... Allows a single sequence in memory to be saved.
Cursor
Knob 2
Knob 3 Save Type
Knob 4 Volume
Knob 5 EXEC&CONT
Knob 4
[ Turn] Volume Selects the destination volume.
Knob 5 Knob 1
[ [ Turn] Cursor Positions the cursor. Press] EXEC Press this knob to call the save conrmation display. Press Knob 5 (YES) to actually execute the save operation. [ Press] EXEC&CONT Press this knob to call the save conrmation display. Press Knob 5 (YES) to actually execute the save operation.
Cursor w (when the SaveType is OneProgram)
Knob 3
[ Turn] Save Type Species the type of data to be saved.
Cursor
[Range] All(Wipe), AllPrograms(Wipe), AllEdited, AllSamples, OneProgram, OneSample, OneSequence All(Wipe) ... Saves all memory content to disk. This operation saves all objects currently in memory (all usable programs, all samples, all sample banks, and all sequences) to the destination volume on disk. The operation erases all data already existing in the destination disk volume. [Note: a program is usable if it uses at least one sample or if its "AD In" setting is on.] AllPrograms(Wipe) ... Saves all usable programs, together with all samples/sample banks used by these programs, to the destination volume on disk. Does not save any sequences. Saves only those samples/sample banks that are used with at least one program (does not save unused samples). This operation erases all data already existing in the destination disk volume. AllEdited ... Saves all new data to disk (all new and all edited objects that have not yet been saved to disk in their current form). Does not save objects that have not been changed since the most recent disk load. AllSamples ... Saves all samples/sample banks into the destination volume. OneProgram ... Saves the currently selected program only, together with all samples/sample banks used by that program. Note that you can save the program into any "program number" (001 to 128) on the destination side. Note also that the operation deletes any program data already existing in the target
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 From Program Knob 3 To Program Knob 4 Volume Knob 5 EXEC&CONT
Knob 1
Knob 2
[ Turn] From Program Selects the program to be saved.
[Range] 001 128
Knob 3
[ Turn] To Program Selects the number of the destination program.
[Range] 001 128
Knob 4
Knob 5
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209
About the COMMANDS
Cursor w (when the SaveType is OneProgram or OneSequence)
Knob 4
Knob 5
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 Sample/ Seguence Knob 4 Volume Knob 5 EXEC&CONT
Name Conicts During a save operation, the A5000/A4000 may encounter a sample or sequence that has the same name as a sample or sequence already existing within the destination volume. The rst time the A5000/A4000 encounters this type of name duplication during a save, it displays the command page shown below. You must then determine how to resolve the name conict, as follows.
Knob 1
Knob 3
[ Turn] Sample / Sequence Selects the sample or sequence to be saved. When the selected Save Type is OneSample, Knob 3 selects the sample to be saved. When the selected Save Type is OneSequence, Knob 3 selects the sequence to be saved. All samples (sample banks) and sequences in memory can be selected.
s Select whether to repeat this page display for each duplication

If you are saving more than one sample, you can use this knob to select whether to handle all sample-name duplications in the same way, or whether to have the A5000/A4000 prompt you for instructions each time it encounters another conict. If you select One, the A5000/A4000 will display the above-shown command page each time it encounters another sample-name duplication. You can decide how to proceed for each such sample. If you select All, the A5000/A4000 will apply your instructions to all same-name samples that it encounters during the current save operation. Note that the One/All selection has no meaning if you are saving a single sample only, or if you are saving a sequence. (It is not possible to save more than one sequence in a single operation.)
Knob 4
Knob 5
Cursor e
s Save Methods
Cursor
e
Knob 1 Turn action Press action Cursor EXEC Knob 2 Disk Knob 3 Knob 4 Volume Knob 5 EXEC&CONT
If an object with the same name already exists in the save destination, the data can be saved by either of the following 4 methods. Change the name of the object to be saved. Push Knob 2 if you want to rename the object (sample or sequence) in memory before executing the save. This option lets you keep both the original disk object and the newly saved object. If you select this option, the A5000/A4000 appends an asterisk (*) to the memory-resident name before executing the save. Dont save objects with duplicate names. Push this knob if you do not want to save the conicting object to disk. In this case, the original disk-side object will remain unchanged.
Knob 1
Knob 3
[ Turn] Disk Selects the destination disk.
210
About the COMMANDS
Overwrite the object on disk with the object from memory. Push this knob if you want to overwrite the existing disk object with the object that you are saving. If you select this option, the A5000/A4000 will delete the original disk object and replace it with the object from main memory. Abort the save operation. Push this knob to terminate the save operation without executing any further saves. Note that it is not possible to undo any saves that you have already completed.
If Knob 1 (EXEC) is used to execute the command, the display previous to the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the arrange display will be retained so you can continue and perform further arrange operations.
Cursor q
Cursor
Saving and loading to or from multiple oppy disks.

Data which is too large to t on a single oppy disk can be segmented and saved to multiple oppy disks. A conrmation display allowing you to choose to abort the save operation or save to multiple oppies will appear when saving data too large for a single oppy. Press Knob 5 (OK) to execute a multioppy save. You will not need to change disks at this point. When performing a multi-oppy save, follow the instructions on the display and insert new oppy disks as required. Unformatted disks can be used from the second disk onward (unformatted disks will automatically be formatted without interrupting the save operation). Multi-oppy data is saved in a special format, and saved programs and samples cannot be veried in the DISK mode. For this reason, single programs or samples cannot be loaded from oppy disks saved in this way, and addition programs or samples cannot be saved to the disks. Data saved to multiple oppy disks can be loaded by rst inserting the rst oppy disk and executing the load operation from the DISK-VOLUME display (page 172). Then all you need to do is change oppies as directed by the display. The disk names for multiple-saved oppy disks are the name of the rst disk plus a consecutive numbers. The disks must be changed in the order of their consecutive numbers when loading the data. Since the contents of oppy disks saved in this way cannot be veried in the disk mode, choose a disk name that clearly reects the disks contents.
q
Knob 1 Turn action Press action Cursor EXEC Knob 2 Arrange Type Knob 3 Knob 4 Program/ SampleBank Knob 5 EXEC&CONT
Knob 1
[ [ Turn] Cursor Positions the cursor. Press] EXEC Press this knob to call the arrange conrmation display. Press Knob 5 (YES) to actually execute the arrange operation.
Knob 2
[ Turn] Arrange Type Determines whether the mapping of samples assigned to a program or sample bank will be arranged.
[Range] Program, SampleBank Program ... The mapping of samples assigned to a program will be arranged.
ARRANGE
SampleBank ... The mapping of samples assigned to a Sample Bank will be arranged.
Knob 4
[ Turn] Program/SampleBank Selects the program or sample bank to which automatic sample mapping (Arrange) is to be applied. All programs and sample banks in memory can be selected.
Automatically arranges the mapping of samples assigned to the selected program or sample bank. The samples are arranged in order of their Low Key Range settings, from lowest to highest. [Operation]
1. Use the Arrange Type parameter to specify whether the samples in
a Program or Sample Bank (page 211).
2. Select the Program or Sample Bank which uses the samples to be

arranged (page 211).
3. Use Cursor w Knobs 2 and 3 to specify the conditions for the samples to be arranged.
4. Use Cursor w Knobs 4 and 5 to specy the arrange conditions. 5. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the arrange
conrmation display will appear. Press Knob 5 (YES) to execute the arrange operation.
A5000/A4000
Chapter 9 COMMAND
211
About the COMMANDS
Knob 5
[ Press] EXEC&CONT Press this knob to call the arrange conrmation display. Press Knob 5 (YES) to actually execute the arrange operation.
Press] MIDI Allows setting the Target Area parameter directly from an external MIDI controller (page 82).
Knob 4
[ Turn] Map From Sets the base note for sample arrangement. The samples selected for arrangement will be mapped from the specied Map From note upward, key by key.
[Range] C-2 G8
Cursor w
[
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Target Channel MIDI Knob 3 Target Area MIDI Knob 4 Map From MIDI Knob 5 Map Key EXEC&CONT
Press] MIDI Allows setting the Map From parameter directly from an external MIDI controller (page 82).
Knob 5
[ Turn] Map Key Determines whether samples will or will not be assigned to black keys.
[Range] White, all
Knob 1
White ... Samples will be assigned only to white keys. all ... samples will be assigned to all keys (white and black).
Knob 2
[ Turn] Target Channel Species the MIDI channel which will be used to select the samples to be arranged.
[Range] A01 B16 (01 16 on the A4000), Bch, all A01 B16 (01 16 on the A4000) ... Only samples set to the corresponding receive channel will be arranged. Bch ... Only samples set to the basic receive channel (page 94) will be arranged. all ... All assigned samples will be arranged.
Press] EXEC&CONT Press this knob to call the arrange conrmation display. Press Knob 5 (YES) to actually execute the arrange operation.
FREEZE
Press] MIDI Allows setting the Target Channel parameter directly from an external MIDI controller (page 82).
This command actually applies the current Easy Edit or Sample Bank settings directly to the samples. After execution the Easy Edit or Sample Bank settings are initialized.
If a sample which uses Easy Edit settings or sample bank settings is copied to a different program or sample bank, the sound of the sample will change. The Freeze function can be used to actually apply the Easy Edit or sample bank settings to a sample so that it can be moved to any other program or sample bank with no change in sound. It is also possible to simultaneously change the loop modes of all samples contained in a sample bank.
Knob 3
[ Turn] Target Area Species the lowest note in the key area containing samples to be arranged.
[Range] C-2 G8 When the Arrange Type parameter is set to Program, all samples in the range from the specied Target Area note up to G8 will be selected for arrangement. When the Arrange type parameter is set to SampleBank, samples which are both in the SAMPLE parameter Key Range (page 127) and in the range from the Target Area not to G8 will be selected.
[Operation]
1. Select the Freeze Type (page 213). 2. Make other settings as required. 3. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the freeze
conrmation display will appear. Press Knob 5 (YES) to execute the freeze operation.
If Knob 1 (EXEC) is used to execute the command, the display previous to the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the freeze display will be retained so you can continue and perform further freeze operations.
212
About the COMMANDS
Cursor q
Knob 5
[ Press] EXEC&CONT Press this knob to call the freeze conrmation display. Press Knob 5 (YES) to actually execute the freeze operation.
Cursor
Knob 2
Knob 3 Freeze Type
Knob 4
Knob 5 EXEC&CONT
Cursor w (when the FreezeType is EasyEdit Sample)
Knob 1
Cursor
[ [
Turn] Cursor Positions the cursor. Press] EXEC Press this knob to call the freeze conrmation display. Press Knob 5 (YES) to actually execute the freeze operation.
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 From SampleBank Knob 3 To Type Knob 4 Knob 5 To Sample EXEC&CONT
Knob 1 Knob 3
[ Turn] Freeze Type Sets the source of the settings to be applied to the samples.
[Range] EasyEdit Sample, SampleBank&LpMode Samples, SampleBank Samples, LpMode Samples EasyEdit Sample ... The Program mode Easy Edit settings are applied directly to the related samples (Sample Banks). The Easy Edit parameters are initialized after execution, with the exception of the following parameters: MIDI Control (page 101) if the target is samples, or MIDI Control (page 101), Pitch Fine (page 98), Key Range Shift (page 99), and Key Low/High Limit (page 99) if the target is Sample Banks. In some other cases some parameters may not be applied to the samples or Sample Banks. The samples within a target Sample Bank are not affected. SampleBank&LpMode Samples ... The Sample Bank settings are directly applied to the samples it contains. The Sample Banks settings are initialized after execution. At the same time the Loop Mode (page 123) settings of all samples within the specied Sample Bank are changed. SampleBank Samples ... The Sample Bank settings are directly applied to the samples it contains. The Sample Banks settings are initialized after execution. LpMode Samples ... The Loop Mode (page 123) settings of all samples within the specied Sample Bank are changed.
Knob 2
[ Turn] From Program Selects the source Program for the Freeze operation.
[Range] 001 128
Knob 3
[ Turn] To Type Determines whether the Easy Edit settings will be applied to all samples (Sample Bank), or to a single specied sample (Sample Bank).
[Range] AllSamples, OneSample AllSamples ... All samples (Sample Banks) used by the program will be affected. OneSample ... Only the specied single sample (Sample Banks) will be affected.
Knob 5
[ Turn] To Sample Species the target sample or sample bank for the Freeze operation. All samples (Sample Banks) assigned to the Program selected via the From Program parameter can be selected.
This parameter can only be used when the To Type parameter is set to OneSample.
Press] EXEC&CONT Press this knob to call the freeze conrmation display. Press Knob 5 (YES) to actually execute the freeze operation.
A5000/A4000
Chapter 9 COMMAND
213
About the COMMANDS
Cursor w (when the FreezeType is SampleBank&LpMode Samples, SampleBank Samples, and LpMode Samples)
REGISTER
[COMMAND/EXIT] Button Knob 1 to highlioght display line 2 Press Knob 3.
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 From SampleBank Knob 4 Loop Mode Knob 5 EXEC&CONT
This command registers the initial EFFECT, SETUP, and CONTROL function settings which will be recalled whenever the power is turned on or when a program is initialized (page 217) from the specied source program. It also registers the initial sample parameters which will be recalled whenever a sample is recorded (page 151) or imported (page 175) from the specied source sample.
If, for example, you want reverb to be ON whenever the power is turned on or a program is initialized, use the following procedure:
Knob 1
1. Create a program that uses reverb. 2. Go to the REGISTER page and select Program as the
Regist Type.
Knob 3
[ Turn] From SampleBank Selects the source Sample Bank for the freeze operation. All Sample Banks in memory can be selected.
3. Select the program created in step 1 as the Source

Program, and set the Regist Source EFFECT parameter to SourcePgm. 4. Execute the Register command.
The registered settings are retained even when the power is turned off. When new settings are registered the previously registered settings are erased and overwritten.
Knob 4
[ Turn] Loop Mode Sets the Loop Mode. When the Freeze command is executed the Loop Mode settings of all samples within the target Sample Bank are set accordingly. All Loop Modes can be selected (page 123).
This parameter can only be used when the Freeze Type is set to SampleBank&LpModeSamples or LpModeSamples.
[Operation]
1. Select the Regist Type (page 215). 2. Make other settings as required. 3. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the register
conrmation display will appear. Press Knob 5 (YES) to execute the register operation.
If Knob 1 (EXEC) is used to execute the command, the display previous to the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the register display will be retained so you can continue and perform further register operations.
Knob 5
Cursor q
Cursor
Knob 2 Regist Type
Knob 3
Knob 4
Knob 5 EXEC&CONT
Knob 1
[ [ Turn] Cursor Positions the cursor. Press] EXEC Press this knob to call the register conrmation display. Press Knob 5 (YES) to actually execute the register operation.
214
About the COMMANDS
Knob 2
[ Turn] Regist Type Determines whether Program or Sample initial settings are to be registered.
[Range] Program, Sample
Knob 4
[ Turn] Regist Source CONTROL Species the source of the data to be registered as the initial control settings.
[Range] off, SourcePgm, FactorySet off ... No initial control settings will be registered. The currently registered settings are retained. SourcePgm ... The control settings of the specied Source Program will be registered. FactorySet ... The initial factory control settings will be registered.
Knob 5
[ Press] EXEC&CONT Press this knob to call the register conrmation display. Press Knob 5 (YES) to actually execute the register operation.
Knob 5
Cursor w (when the RegistType is Program)
[ Turn] Source Program Species the source program for the Register operation.
[Range] 001 128
This setting has no effect if if the Regist Source EFFECT, Regist Source SETUP, and Regist Source CONTROL parameters are not set to SourcePgm.
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 Knob 4 Regist Source Regist Source Regist Source EFFECT SETUP CONTROL Knob 5 Source Program EXEC&CONT
Press] EXEC&CONT Press this knob to call the register conrmation display. Press Knob 5 (YES) to actually execute the register operation.
Knob 1
Cursor w (when the RegistType is Sample)
Knob 2
[ Turn] Regist Source EFFECT Species the source of the data to be registered as the initial effect settings.
[Range] off, SourcePgm, FactorySet off ... No initial effect settings will be registered. The currently registered settings are retained. SourcePgm ... The effect settings of the specied Source Program will be registered. FactorySet ... The initial factory effect settings will be registered.
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 Regist Source Knob 4 Knob 5 Source Sample EXEC&CONT
Knob 1
Knob 3 Knob 3
[ Turn] Regist Source SETUP Species the source of the data to be registered as the initial setup settings.
[Range] off, SourcePgm, FactorySet off ... No initial setup settings will be registered. The currently registered settings are retained. SourcePgm ... The setup settings of the specied Source Program will be registered. FactorySet ... The initial factory setup settings will be registered.
Turn] Regist Source Species the source of the data to be registered as the initial sample settings.
[Range] SourceSample, FactorySet SourceSample ... The setup settings of the specied Source Sample will be registered. FactorySet ... The initial factory setup settings will be registered.
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About the COMMANDS
Knob 5
[ Turn] Source Sample Species the source sample for the Register operation. All samples in memory can be selected.
If the Regist Source parameter is set to FactorySet, the Source Sample setting will not be used when the command is executed.
Knob 2
[ Turn] Bulk Type Species the type of data to be transferred via the Bulk Dump operation.
[Range] Program, Sample, System, All Program ... The single program specied via Knob 4 will be transmitted. Sample ... The single sample or sample bank specied via Knob 5 will be transmitted. System ... The system data will be transmitted. All ... All data, including the system data, will be transmitted.
Press] EXEC&CONT Press this knob to call the register conrmation display. Press Knob 5 (YES) to actually execute the register operation.
Knob 3
[
BULK DUMP
Turn] With Related / Format When "With Related," all samples assigned to the selected program, or all samples within the selected sample bank, can be automatically transmitted at the same time as the specied program/sample bank.
[Range] off, on off Sample data is not transmitted. on Sample data is also transmitted.
The "With Related" setting is possible when the Bulk Type is set to Program or Sample and a sample bank has been selected via Knob 5.
The Bulk Dump command allows program and sample data in memory to be transferred to other MIDI devices as MIDI bulk data.
The device numbers of the transmitting and receiving devices must be properly matched for bulk data transfers.
[Operation]
1. Select the Bulk Type (page 216). 2. Make other settings as required. 3. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the bulk
dump conrmation display will appear. Press Knob 5 (YES) to execute the bulk dump operation.
If Knob 1 (EXEC) is used to execute the command, the display previous to the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the bulk dump display will be retained so you can continue and perform further bulk dump operations.
Format determines the type of data to be transmitted.

[Range] normal, parameter, SDS#1 SDS#1025 normal ... Transmit all data (wave and parameter) in A5000/A4000 format. parameter ... Transmit parameter data only, in A5000/A4000 format. SDS#1 SDS#1025 ... Transmit all data (wave and parameter data) in "sample-dump standard format." The numerical value gives the SDS sample number transmitted along with the dumped data.
The "Format" setting is possible when the Bulk Type is set to Sample and a sample has been selected via Knob 5.
Knob 4
Knob 1 Turn action Press action EXEC Knob 2 Bulk Type Knob 3 With Related / Format Knob 4 Program Knob 5 Sample EXEC&CONT
Turn] Program Species the program to be transmitted via the Bulk Dump operation.
[Range] 001 128
This parameter can only be used when the Bulk Type is set to Program.
Knob 1
[ Press] EXEC Press this knob to call the bulk dump conrmation display. Press Knob 5 (YES) to actually execute the bulk dump operation.
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About the COMMANDS
Knob 5
[ Turn] Sample Species the sample (sample bank) to be transmitted via the Bulk Dump operation. All samples (sample banks) in memory can be selected.
This parameter can only be used when the Bulk Type is set to Sample.
Knob 2
[ Turn] Init Type Determines whether a single program or all programs will be initialized.
[Range] AllPrograms, OneProgram AllPrograms ... Initialize all programs. OneProgram ... Initialize only the program selected by Knob 3.
Press] EXEC&CONT Press this knob to call the bulk dump conrmation display. Press Knob 5 (YES) to actually execute the bulk dump operation.
Knob 3
[ Turn] Program Selects a single program to be initialized.
[Range] 001 128
This parameter can only be used if Init Type is set to OneProgram.
INITIALIZE
Knob 5
[ Turn] InitTo Species the type of initialization to be performed.
[Range] RegisteredSet, FactorySet RegisteredSet ... The values registered via the REGISTER command are used for initialization. FactorySet ... The factory preset values are used for initialization.
Use this screen to initialize one or all memory-resident programs.

Initialization removes all sample assignments (sets all ToPgm switches to OFF), clears all Easy Edit settings, and returns the EFFECT, SETUP, and CONTROL settings to the initial values selected at the REGISTER page (page 214). (If you have not set any REGISTER values, then EFFECT, SETUP, and CONTROL settings revert to their factory defaults)
[Operation]
1. Select the Init Type (page 217). 2. If the Init Type is OneProgram, specify the program to be initialized
(page 217).
Press] EXEC&CONT Press this knob to call the initialize conrmation display. Press Knob 5 (YES) to actually execute the initialize operation.
3. Specify whether to initialize from the Register settings, or from the

factory preset settings (page 217).
4. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the initialize

conrmation display will appear. Press Knob 5 (YES) to execute the initialize operation.
If Knob 1 (EXEC) is used to execute the command, the display previous to the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the bulk dump display will be retained so you can continue and perform further bulk dump operations.
Knob 2 Init Type
Knob 3 Program
Knob 4
Knob 5 InitTo EXEC&CONT
A5000/A4000
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About the COMMANDS
PROCESS
Normalize
The PROCESS commands include sample normalization, reverse, fade, loop crossfade, and more. [Operation]
1. 2. 3. 4.
Select the Process Type to be applied to the sample. Select the sample to be processed. Set other parameters as required. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the process conrmation display will appear. Press Knob 5 (YES) to execute the process operation.
The content of this display will vary according to the selected Process Type. If Knob 1 (EXEC) is used to execute the command, the display previous to the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the process display will be retained so you can continue and perform further process operations.
Reverse ... This command reverses the waveform with respect to time, so that the sound is reversed.
Reverse
The command reverses the entire waveform. Operation is not restricted to the area between the start and end addresses. When Reverse is executed, the wave start and end addresses are automatically adjusted so that the wave sounds over the same region. The same applies to the loop start and end addresses: they are automatically adjustyed so that the loop plays over the same region.
Cursor q (the same for all Process Types)
Fade ... Applies a gradual fade-in from the wave start address or fade-out to the wave end address. LoopXfade ... produces a smooth transition at the loop crossover point.
Cursor
Knob 5
[
Knob 1 Turn action Press action Cursor EXEC Knob 2 Process Type Knob 3 Knob 4 Knob 5 Sample EXEC&CONT
Turn] Sample Selects the sample to be processed.

Knob 1
[ Turn] Cursor Positions the cursor. The cursor cannot be moved when the Reverse Process Type is selected. Press] EXEC Press this knob to call the process conrmation display. Press Knob 5 (YES) to actually execute the process operation.
Press] EXEC&CONT Press this knob to call the process conrmation display. Press Knob 5 (YES) to actually execute the process operation.
Cursor w (when the Process Type is Normalize)
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 Plus Side Gain Knob 4 Knob 5 Minus Side Gain EXEC&CONT
Knob 2
[ Turn] Process Type Species the type of processing to be applied to the sample.
[Range] Normalize, Reverse, Fade, LoopXfade Normalize ... The peak level of the selected sample is detected, and the overall level of the waveform is adjusted so that the peak level is just below clipping (i.e. the level is maximized). The wave data can also be deliberately clipped or the plus or minus sides of the waveform can be individually adjusted to change the sound as required.
Knob 1
218
Chapter 9 COMMAND A5000/A4000 q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q

Chapter 9 COMMAND
About the COMMANDS
Knob 3
[ Turn] Plus Side Gain Species an amount of amplication (in percent) to be applied to only the plus side (the section of the waveform above the center 0 line) of the selected samples waveform. A setting of 100% normalizes only the plus side of the waveform. Settings higher than 100% may produce clipping.
[Range] 0% 400%
Plus Side Gain set to 100% (standard normalize) 100% 0% 100%
Cursor w (when the Process Type is Fade)
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Fade Type Knob 3 Curve Knob 4 Length Knob 5 Length % EXEC&CONT
Knob 1
Plus Side Gain set to 50% 100% 50% 0% 50% 100%

Plus Side Gain set to 200% 100% 50% 0% 50% 100%
Knob 2
[ Turn] Fade Type Species the type of fade to be created: fade in or fade out.
[Range] FadeIn, FadeOut FadeIn ... Produces a fade-in. FadeOut ... Produces a fade-out.
Fade In
Knob 5
[ Turn] Minus Side Gain Species an amount of amplication (in percent) to be applied to only the minus side (the section of the waveform below the center 0 line) of the selected samples waveform. A setting of 100% normalizes only the minus side of the waveform. Settings higher than 100% may produce clipping.
[Range] 0% 400%
Minus Side Gain set to 100% (standard normalize) 100% 0% 100%
Minus Side Gain set to 50% 100% 50% 0% 50% 100%
Length Start address
Fade Out
Length End address
Knob 3
[ Turn] Curve This setting selects the curve type for the fade in/out. Three types are available, as illustrated below.
[Range] -exponent, linear, +exponent
Fade-In Curves -exponent
Level
linear
Level
+exponent
Level
Minus Side Gain set to 200% 100% 50%

0%
Time
Time
Time
Fade-Out Curves -exponent

Level
linear
Level
+exponent
Level
50% 100%
Press] EXEC&CONT Press this knob to call the normalize conrmation display. Press Knob 5 (YES) to actually execute the normalize operation.
Time
Time
Time
Chapter 9 COMMAND
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About the COMMANDS
Knob 4
Processing if Crossfade Area = sustain:
Turn] length Turn the knob to set the length for the fade, in address units. The minimum length is 0 (no fade). The maximum length is equal to the entire playback length of the waveform (the length from the start address to the end address). Note again that fade-in always begins from the start address, while fade-out always ends at the end address.
[Range] 0 Wave length
Start Address
Loop Start Address
Loop End Address
End Address
Width (where C D = 100%) Step 1: Copy waveform piece from end of segment A B into a buffer. Extract piece of equal length from the end of C D, and copy into another buffer. The length of these pieces is determined by the Width setting.
Step 2: Apply fade-in processing to the A B piece, and fade-out processing to the C D piece.
Step 3: Combine the two resulting waveforms, and write the result into the extraction area at the end of C D.
Knob 5
[ Turn] length % Species the length of the fade in or fade out as a percentage of the wave length. This parameter works in conjunction with the length (Knob 4) parameter.
[Range] 0% 100%
Processing if Crossfade Area = release:
Start Address Loop Start Address Loop End Address End Address
Width (where C D = 100%) Step 1: Copy waveform piece from start of segment C D into a buffer. Extract equal piece from the start of E F, and copy into another buffer. The lengths of these pieces is determined by the Width setting.
Press] EXEC&CONT Press this knob to call the fade conrmation display. Press Knob 5 (YES) to actually execute the fade operation.
Step 2: Apply fade-in processing to the C D piece, and fade-out processing to the E F piece.
Step 3: Combine the two resulting waveforms, and write the result into the extraction area at the start of E F.
Cursor w (when the Process Type is LoopXfade)
Knob 3
[ Turn] Curve This setting selects the curve type for the loop cross fade. Three types are available, as illustrated below.
[Range] -exponent, linear, +exponent
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Crossfade Area Knob 3 Curve Knob 4 Knob 5 Width EXEC&CONT
Fade-In Curves -exponent

Level
linear
Level
+exponent
Level
Knob 1
Time Time Time
Knob 2
[ Turn] Crossfade Area Selects the area over which crossfade is applied, and determines the segments that are used to generate the crossfade.
[Range] sustain, release sustain ... Generates the crossfade by merging the end part of the loop with the area just preceding the loop start. This method produces smoother sustained looping, and the crossfade recurs with each iteration. release ... Generates the crossfade by merging the initial part of the loop with the initial segment following the loop area. This method produces a smoother loop release, and the crossfade occurs only once (as the loop is exited). This method is useful only with the O loop type.
Fade-Out Curves -exponent

Level
linear
Level
+exponent
Level
Time
Time
Time
Knob 5
[ Turn] Width Sets the length of the crossfade area, as a percentage of the total loop length.
[Range] 0% 90%
Press] EXEC&CONT Press this knob to call the loop cross fade conrmation display. Press Knob 5 (YES) to actually execute the loop cross fade operation.
220
About the COMMANDS
Knob 5
LOOP DIVIDE
Turn] Sample Selects the sample to be divided.

Divides the wave data between the sample loop start and loop end points into equal segments which become independent samples. This command allows multiple copies of the selected sample to be created and placed in a new sample bank. The actual wave data, however, is not copied. The wave and loop addresses of the new samples are equal divisions of the area between the loop start and end addresses of the original sample. The loop mode for the new samples is automatically set to . The new samples are stored with consecutive numbers in a sample bank which is automatically named Div SmpBank.
* Make sure the samples loop is properly set up before using this feature.
This feature can be used to extract individual beats from a drum pattern sample, for example, and save them as individual samples. The individual samples produced by the Loop Divide feature are automatically mapped to consecutive notes, so the resultant samples can be assigned to a program or sample bank and played via MIDI right away.
Press] EXEC&CONT Press this knob to call the loop divide conrmation display. Press Knob 5 (YES) to actually execute the loop divide operation.
Cursor w
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Division Knob 3 Length Knob 4 Map From MIDI Knob 5 Map Key EXEC&CONT
Knob 1
Knob 2
[ Turn] Division Determines the number of segments the sample will be divided into. The wave data between the sample loop start and loop end points is divided into the corresponding number of equal segments. The address of each segment becomes the wave start address of each new sample.
[Range] 1/2 1/32
[Operation]
1. Select the sample to be divided. 2. Set other parameters as required. 3. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the loop
divide conrmation display will appear. Press Knob 5 (YES) to execute the loop divide operation.
If Knob 1 (EXEC) is used to execute the command, the display previous to the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the loop divide display will be retained so you can continue and perform further loop divide operations.
Knob 3
[ Turn] Length Species the length of the samples produced by the Loop Divide command as a percentage.
[Range] 10% 800%, ToLoopEnd
Cursor q
Cursor
Knob 2
Knob 3
Knob 4
Knob 5 Sample EXEC&CONT
10% 800% ... The wave length of the resultant samples will be the specied percentage of the segments produced by the Loop Divide command, starting at the new wave start address of each new sample. With a setting of 100% the length of the samples is the same as the segments produced by dividing the loop. ToLoopEnd ... The loop end address of the original sample becomes the wave end address of the new samples.
Knob 1
[ [ Turn] Cursor Positions the cursor. Press] EXEC Press this knob to call the loop divide conrmation display. Press Knob 5 (YES) to actually execute the loop divide operation.
Chapter 9 COMMAND
221
About the COMMANDS
Knob 4
[ Turn] Map From Sets the original note for the divided samples. The samples are mapped with the rst sample at the specied note and the following samples at successively higher notes.
[Range] C-2 G8, off
The content of this display will vary according to the selected Resample Type. If Knob 1 (EXEC) is used to execute the command, the display previous to the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the resample display will be retained so you can continue and perform further resample operations.
Cursor q (the same for all Resample)
Cursor
Knob 5
[ Turn] Map Key Determines whether samples will or will not be assigned to black keys.
[Range] white, all white ... Samples will be assigned only to white keys. all ... samples will be assigned to all keys (white and black).
Knob 2
Knob 3 Resample Type
Knob 4 AUDITION
Knob 1
[ [ Turn] Cursor Positions the cursor. Press] EXEC Press this knob to call the resample conrmation display. Press Knob 5 (YES) to actually execute the resample operation.
Press] EXEC&CONT Press this knob to call the loop divide conrmation display. Press Knob 5 (YES) to actually execute the loop divide operation.
Knob 2
[
RESAMPLE
Turn] Resample Type Determines the type of resample processing to be applied to the selected sample.
[Range] TimeStretch(tempo), TimeStretch(length), TimeStretch(beat), TimeStretch(time), PitchConvert TimeStretch(tempo) ... Time stretch with the resultant sample length being based on a specied tempo. TimeStretch(length) ... Time stretch with the resultant sample length being based on a specied wave-data length. TimeStretch(beat) ... Time stretch with the resultant sample length being based on a specied beat (beats per playback time). TimeStretch(time) ... Time stretch with the resultant sample length being based on a specied playback time. PitchConvert ... Conversion to a specied pitch.
The command lengthens or shortens the entire waveform. (Operation is not restricted to the area between the start and end addresses.) Time conversion may produce unexpected results with some samples. It is recommended that you limit adjustment to 10% in either direction, except in cases where you are trying to achieve an unusual effect. Following time conversion, the start address and loop start address reset to the wave-start address (=0), and the end address and loop end address reset to the wave-end address.
[Operation]
1. 2. 3. 4.
Select the Resample Type. Select the sample to be resampled. Set other parameters as required. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the resample conrmation display will appear. Press Knob 5 (YES) to execute the resample operation.
Knob 4
[ Press] AUDITION Press this knob to hear the results of the resample operation before the resample operation is actually executed.
222
About the COMMANDS
Knob 5
[ Turn] Sample Selects the sample to be processed.
[Range] All samples in memory. [ Press] EXEC&CONT
Knob 5
[ Turn] Accuracy Time-stretch conversion does not produce perfect results, and involves a tradeoff between sound and rhythm quality. This setting allows you to give priority to either sound or rhythm quality when making the conversion.
[Range] sound4 sound1, normal, rhythm1 rhythm4 sound4 sound1 ... sound4 to give maximum weight to sound quality. rhythm1 rhythm4 ... rhythm4 to give maximum weight to rhythm quality. normal ... normal for equal weight. Other values are intermediate settings.
Press this knob to call the resample conrmation display. Press Knob 5 (YES) to actually execute the resample operation.
Cursor w (when the Resample Type is TimeStretch (length), TimeStretch (beat), or TimeStretch (time))
Press] EXEC&CONT Press this knob to call the time stretch conrmation display. Press Knob 5 (YES) to actually execute the time stretch operation.
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 To length / beat / time Knob 4 length% / beat% / time% AUDITION Knob 5 Accuracy EXEC&CONT
Cursor w (when the Resample Type is TimeStretch(tempo))
Knob 1
Cursor
w
Knob 1 Knob 2 CALC Knob 3 To Tempo Knob 4 AUDITION Knob 5 Accuracy EXEC&CONT Turn action Press action
Knob 2
[Display] From length / beat / time Shows the original length, beat, or time values of the sample. The display content will change according to the selected Resample Type.
Cursor EXEC
Knob 1
Knob 3
[ Turn] To length / beat / time Species the length the sample is to be stretched to.
[Range] 1/4 4 times the original sample length.
When this value is changed the Length%/Beat%/ Time% parameter (Knob 4) also changes. This parameter cannot be set so that as a result of the time stretch operation mono samples are longer than 32 megabytes or stereo samples are longer than 64 megabytes.
Knob 2
[Display] From Tempo The upper line of the display shows the sample's original loop tempo. The lower line shows the tempo of the selected sample with the Pitch Coarse and Pitch Fine values applied.
Easy Edit values are not applied.
Knob 4
[ Turn] length % / beat % / time % Species the length of the time-stretched sample as a percentage of the original sample length.
[Range] 25% 400%
When this value is changed the Length/Beat/Time parameter (Knob 3) also changes.
Press] CALC Press this knob to recalculate the loop tempo of the selected sample.
Knob 3
[ Turn] To Tempo Species the target tempo of the sample after time stretch is applied.
[Range] 1/4 4 times the original loop tempo.
This parameter cannot be set so that as a result of the time stretch operation mono samples are longer than 32 megabytes or stereo samples are longer than 64 megabytes.
Press] AUDITION When this knob is pressed the results of the resample operation with the current settings can be auditioned prior to actually executing the resample operation.
Chapter 9 COMMAND
223
About the COMMANDS
Knob 4
[ Press] AUDITION When this knob is pressed the results of the resample operation with the current settings can be auditioned prior to actually executing the resample operation.
This parameter cannot be set so that as a result of the pitch convert operation mono samples are longer than 32 megabytes or stereo samples are longer than 64 megabytes.
Knob 4
[ Turn] To Pitch Fine Use this knob to raise or lower the pitch in increments of 1.171875 cents. (Note: 100 cents = 1 semitone.)
[Range] -50 +50
Knob 5
[Range] sound4 sound1, normal, rhythm1 rhythm4 sound4 sound1 ... sound4 to give maximum weight to sound quality. rhythm1 rhythm4 ... rhythm4 to give maximum weight to rhythm quality. normal ... normal for equal weight. Other values are intermediate settings.
Press] AUDITION When this knob is pressed the results of the resample operation with the current settings can be auditioned prior to actually executing the resample operation.
Knob 5
[Range] sound4 sound1, normal, rhythm1 rhythm4 sound4 sound1 ... sound4 to give maximum weight to sound quality. rhythm1 rhythm4 ... rhythm4 to give maximum weight to rhythm quality.
Press] EXEC&CONT Press this knob to call the time stretch conrmation display. Press Knob 5 (YES) to actually execute the time stretch operation.
Cursor w (when the Resample Type is PitchConvert)

[
Cursor
normal ... normal for equal weight. Other values are intermediate settings.
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 From Pitch MIDI Knob 3 To Pitch Coarse Knob 4 To Pitch Fine AUDITION Knob 5 Accuracy EXEC&CONT
Press] EXEC&CONT Press this knob to call the pitch convert conrmation display. Press Knob 5 (YES) to actually execute the pitch convert operation.
Knob 1
Knob 2
[ [ Turn] From Pitch Species the target pitch for the Pitch Convert operation. Press] MIDI When this knob is pressed the parameter can be directly set by a MIDI note-on message received from an external MIDI device. See page 82.
Knob 3
[ Turn] To Pitch Coarse Use this knob to raise or lower the pitch in semitone increments.
[Range] -12 +12
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About the COMMANDS
STEREO MONO
Knob 5
[ Turn] Sample Selects the sample to be processed.
[Range] All samples in memory
Converts stereo samples to mono. [Operation]

1. 2. 3. 4.
Select the stereo mono Type. Select the sample to be converted. Specify the sample name for the new mono sample. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the stereo mono conrmation display will appear. Press Knob 5 (YES) to execute the stereo mono operation.
If Knob 1 (EXEC) is used to execute the command, the display previous to the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the stereo mono display will be retained so you can continue and perform further stereo mono operations.
Press] EXEC&CONT Press this knob to call the stereo mono conrmation display. Press Knob 5 (YES) to actually execute the stereo mono operation.
Cursor w
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 RENAME... Knob 4 Knob 5 EXEC&CONT
Cursor q
Cursor
Knob 1
Knob 3
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 Stereo Mono Type Knob 4 Knob 5 Sample EXEC&CONT
Press] RENAME... Press to call the character-entry display for the currently selected sample name. See page 81 for details on character entry.
Knob 1
[ [ Turn] Cursor Positions the cursor. Press] EXEC Press this knob to call the stereo mono conrmation display. Press Knob 5 (YES) to actually execute the stereo mono operation.
Knob 5
[ Press] EXEC&CONT Press this knob to call the stereo mono conrmation display. Press Knob 5 (YES) to actually execute the stereo mono operation.
Knob 3
[ Turn] StereoMono Type Species whether both channels of the original stereo sample or only the left or right channel are to be converted to a mono sample.
[Range] L+RMono, LMono, RMono L+RMono ... The left and right channels of the original sample are mixed and converted to a mono sample. LMono ... Only the left channel of the original stereo sample is converted to a mono sample. RMono ... Only the right channel of the original stereo sample is converted to a mono sample.
Chapter 9 COMMAND
225
About the COMMANDS
MOVE
ProgramSampleBank ... All samples assigned to the selected program (not including sample banks or samples contained in sample banks) are moved to the selected sample bank. Program(Freeze)SampleBank ... After applying the Easy Edit parameters to the samples (Freeze page 213), all samples assigned to the selected program (not including sample banks or samples contained in sample banks) are moved to the selected sample bank. SampleBankProgram ... All samples contained in the selected sample bank are removed from the sample bank and assigned to the selected program. SampleBank(Freeze)Program ... After applying the sample bank parameters to the samples it contains (Freeze page 213), all samples contained in the selected sample bank are removed from the sample bank and assigned to the selected program. SampleBankSampleBank ... All samples contained in the selected sample bank are moved to a second selected sample bank.
This command can be used to combine two sample banks into one, or consolidate all the samples in a program that was created without using sample banks into a sample bank, etc.
[Operation]
1. 2. 3. 4.
Select the Move Type. Select the program or sample bank to be moved. Select the destination program or sample bank. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the move conrmation display will appear. Press Knob 5 (YES) to execute the move operation.
If Knob 1 (EXEC) is used to execute the command, the display previous to the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the move display will be retained so you can continue and perform further move operations.
Knob 5
[ Press] EXEC&CONT Press this knob to call the move conrmation display. Press Knob 5 (YES) to actually execute the move operation.
Cursor q
Cursor
q Cursor w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 Knob 4 Move Type Knob 5 EXEC&CONT
Cursor
w
Knob 1 Turn action Press action Cursor EXEC Knob 2 Knob 3 From From Program SampleBank Knob 4 To Program Knob 5 To SampleBank EXEC&CONT
Knob 1
[ [ Turn] Cursor Positions the cursor. Press] EXEC Press this knob to call the move conrmation display. Press Knob 5 (YES) to actually execute the move operation.
Knob 1
Knob 4
[ Turn] Move Type Species what type of data is to be moved to what type of destination, and how Easy Edit parameters are to be handled.
[Range] ProgramSampleBank, Program(Freeze)SampleBank, SampleBankProgram, SampleBank(Freeze)Program, SampleBankSampleBank
Knob 2
[ Turn] From Program Species the source program from which samples are to be moved. This parameter can be used when the Move Type is set to ProgramSampleBank or Program(Freeze)SampleBank.
[Range] 001 128
226
About the COMMANDS
Knob 3
[ Turn] From SampleBank Species the source sample bank from which samples are to be moved. This parameter can be used when the Move Type is set to SampleBankProgram, SampleBank(Freeze)Program, or SampleBankSampleBank.
[Range] All sample banks in memory.
CREATE OSC
If a sample with the same name already exists in memory, the existing sample is used.
Knob 4
[ Turn] To Program Species the destination program to which samples are to be moved. This parameter can be used when the Move Type is set to SampleBankProgram or SampleBank(Freeze)Program.
[Range] 001 128
[Operation]
1. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the create
oscillator conrmation display will appear. Press Knob 5 (YES) to execute the create oscillator operation.
If Knob 1 (EXEC) is used to execute the command, the display previous to the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the create oscillator display will be retained so you can continue and perform further create oscillator operations.
Knob 5
[ Turn] To SampleBank Species the destination sample bank to which samples are to be moved. This parameter can be used when the Move Type is set to ProgramSampleBank, Program(Freeze)SampleBank, or SampleBankSampleBank.
[Range] All sample banks in memory.
Knob 2
Knob 3
Knob 4
Knob 5 EXEC&CONT
Press] EXEC&CONT Press this knob to call the move conrmation display. Press Knob 5 (YES) to actually execute the move operation.
Knob 1
[ Press] EXEC Press this knob to call the create oscillator conrmation display. Press Knob 5 (YES) to actually execute the create oscillator operation.
Knob 5
[ Press] EXEC&CONT Press this knob to call the create oscillator conrmation display. Press Knob 5 (YES) to actually execute the create oscillator operation.
Chapter 9 COMMAND
227
About the COMMANDS
Knob 3
EXPORT
Turn] Export Type Species the format of the exported le.

[Range] AIFF, WAV AIFF ... A single specied sample is exported as an AIFF le. WAV ... A single specied sample is exported as a WAV le.
Coverts the selected sample to AIFF or WAV format (audio wave data formats commonly used on personal computers) and saves the result to an MS-DOS format oppy disk or hard disk. If a sample bank is selected all samples contained in that sample bank are converted and saved. After conversion an ".AIF" sufx is appended to AIFF format les, and a ".WAV" sufx is appended to WAV format les.
Large samples cannot be exported to multiple oppy disks. Most playback settings will be lost when samples are exported. Thus if an exported sample is re-imported the original sample setting may not be reproduced as expected. Stereo samples are exported in a stereo le format.
Press] UP Press this knob to move upward from the current disk directory to the next highest directory.
Knob 4
[ Turn] File/Directory Selects the le or directory from the list on the right side of the display to which the data will be exported.
[Range] All les and directories in the current directory.
If a directory is selected from the list the exported data will be saved to that directory. If a le is selected from the list the data will be saved to the current directory (the directory shown in the lower left corner of the display)
[Operation]
1. 2. 3. 4.
Select the Export Type. Select the sample to be exported. Select the destination disk and/or directory. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the export conrmation display will appear. Press Knob 5 (YES) to execute the export operation.
If Knob 1 (EXEC) is used to execute the command, the display previous to the command menu will be recalled after execution has nished. If Knob 5 (EXEC&CONT) is used to execute the command, the export display will be retained so you can continue and perform further export operations.
Press] DOWN Opens the selected directory in the list. The name of the newly opened directory will appear on the left side of the display, and the les and directories it contains will be listed on the right side of the display.
This command cannot be executed when a le is selected from the list.
Knob 5
Cursor q
Cursor
Press] EXEC&CONT Press this knob to call the export conrmation display. Press Knob 5 (YES) to actually execute the export operation.
Knob 2
Knob 3 Export Type UP
Knob 4 File/Directory DOWN
Knob 5 EXEC&CONT
Cursor w
Cursor
Knob 1
[ [ Turn] Cursor Positions the cursor. Press] EXEC Press this knob to call the export conrmation display. Press Knob 5 (YES) to actually execute the export operation.
Knob 2
Knob 3 Sample UP
Knob 4 File/Directory DOWN
Knob 5 EXEC&CONT
Knob 1
228
About the COMMANDS
Knob 3
[ Turn] Sample Selects the sample or sample bank to be exported. When a sample bank is selected, all samples contained in that sample bank are exported.
Knob 4, 5
Press] UP Press this knob to move upward from the current disk directory to the next highest directory.
Knob 4, 5
Cursor e
Cursor
e
Knob 1 Turn action Press action Cursor EXEC Knob 2 Disk Knob 3 UP Knob 4 File/Directory DOWN Knob 5 EXEC&CONT
Knob 1
Knob 2
[ Turn] Disk Selects the oppy disk, hard disk, or other storage media to which the data is to be exported. When a disk is selected, all directories it contains are listed below the disk name, and all programs contained in the selected volume are listed on the right side of the display. When a hard disk, CD-ROM drive or similar storage device is selected, the SCSI ID number or IDE M/S (Master/Slave) status of the device is shown to the right of the disk name.
Data can only be exported to MS-DOS format oppy disks, hard disks, or similar media. If a connected SCSI device cannot be selected, go to the disk select display (DISK-DISK-Disk) and check the mount/unmount status and SCSI ID settings of the device (page 173).
Knob 3
[ Press] UP Press this knob to move upward from the current disk directory to the next highest directory.
Chapter 9 COMMAND
229
About the COMMANDS
REVERT
You use this operation to cancel errors that you make when editing or re-recording a sample. Assume, for example, that you record a sample, immediately save the results to disk (as you should), and then start to edit. If you now make a signicant error during editing, you can use the REVERT command to restore the sample to its initial state. You can then begin editing all over again. The Revert command cannot be executed for samples which have been loaded but not edited, samples which have not been saved, or imported samples which have not been saved. The Revert command cannot be executed if the disk to which the sample was saved is not connected or mounted.
[Operation]
1. Select the target sample. 2. Press Knob 1 (EXEC) or Knob 5 (EXEC&CONT), and the revert
conrmation display will appear. Press Knob 5 (YES) to execute the revert operation.
Knob 2
Knob 3
Knob 4
Knob 1
[ Press] EXEC Press this knob to call the revert conrmation display. Press Knob 5 (YES) to actually execute the revert operation.
Knob 5
[ Turn] Sample Selects the sample or sample bank to be reverted.
Press] EXEC&CONT Press this knob to call the revert conrmation display. Press Knob 5 (YES) to actually execute the revert operation.
230
Appendix
Installing Optional Equipment...................................................232

Removing the Top Cover .................................................................... 232 Replacing the Top Cover .................................................................... 233 Installing SIMMs ................................................................................. 234 Installing the AIEB1 I/O Expansion Board .......................................... 237 Installing an Internal SCSI Hard Disk ................................................. 240 Installing an Internal IDE Hard Disk ................................................... 244 Installing an ATAPI ZIP Drive.............................................................. 247 Connecting external SCSI devices ..................................................... 251
Specications .............................................................................254 Effect Type List ...........................................................................256 Effect Parameter List..................................................................258 Control Change Number List.....................................................270 Troubleshooting..........................................................................271 Error Messages...........................................................................273 MIDI Data Format ........................................................................274 MIDI Implementation Chart ........................................................286 Index ............................................................................................287
q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q A5000/A4000
Appendix
231
Installing Optional Equipment

The A5000/A4000 features connectors and installation space which can accommodate a range of options for enhanced the performance and functionality SIMM expansion memory, an I/O expansion board, Internal SCSI and IDE hard disk drives, ZIP drives, etc.
Removing the Top Cover

[Procedure]
1. Be sure that you have the following at hand before starting the installation.
Phillips screwdriver: Magnetic-tipped screwdriver is recommended. Workbench: Please carry out all work on a stable workbench or table. Spreading a cloth over the work surface will help prevent scratching. Gloves: Be sure to wear gloves so that your hands are not scratched by the metal cover or other metal parts.
2. Switch off the A5000/A4000 power, and unplug the power cord from the wall outlet. 3. Remove the screws holding the A5000/A4000 top cover in place.
Set the A5000/A4000 upside down on the workbench and unscrew the 8 screws (q) along the sides of the bottom (see illustration below). Then turn the A5000/A4000 right side up again and unscrew the 3 screws (w) along the top. Then unscrew the 5 screws (e) holding the cover to the rear panel.
Bottom
Top
Rear panel
4. Holding both sides of the top cover with both hands, carefully slide the cover straight
back (over the rear panel) and off.
232
Appendix A5000/A4000 q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q
Replacing the Top Cover

Important When replacing the top cover be sure that you do not get cables caught between the cover and main unit, or apply unnecessary force to the cables or internal circuitry.
[Procedure]
1. Holding both sides of the top cover with both hands, carefully slide the cover back to its
original position.
2. Use the original screws to re-attach the top cover.

Use a plus screwdriver to replace the ve screws q in the rear panel. Tighten the central screw rst (5 in the illustration below). Then, facing the front of the unit attach the three screws across the top w while applying pressure to the center of the rear-panel side of the top panel to hold it in place. Finally, turn the unit upside down and attach the 8 bottom-panel screws e.
Do not use screws other than those removed in step 3 on page 232 ( q, w, e, are the same screws). Other screws can damage the unit.
Bottom
Top
Rear panel
Appendix
233
Installing SIMMs
You can increase the A5000/A4000s sampling memory by installing commercially available SIMMs (single in-line memory modules). This section explains how to carry out the installation.
Important Information about Purchase of Expansion SIMMs for the A5000/A4000 The A5000/A4000 does not necessarily support all commercially available SIMMs. Before purchasing SIMMs, please consult your Yamaha dealer or an authorized Yamaha distributor (see list at end of the Owners Manual) for advice. Note that Yamaha cannot assume responsibility for SIMM malfunctions. SIMM Type and SIMM Conguration Before performing the installation, please read precautions Handling and Installation of Options, found at the beginning of this manual. You need to use 72-pin SIMMs with access time of 70ns or less. The SIMM module size may be 4MB, 8MB, 16MB, or 32MB. The A5000/A4000 is designed for use with 32-bit (parity non-type) SIMMs, but can also accept installation of 36-bit (parity-type) SIMMs. When purchasing SIMMs, make sure that the SIMM design does not utilize more than 18 memory chips per module. (SIMMs comprised of more than 18 chips do not operate correctly on the A5000/ A4000.) SIMMs must be installed in pairs: you can install either two SIMMs or four SIMMs. Both modules in a pair must have the same memory capacity. The A5000/A4000 ships with 4MB of sampling memory installed, and is capable of accessing up to 128MB. If you add one pair of 32MB SIMMs, for example, you increase the available sampling memory to a total of (4 + 32 x 2 =) 68MB. If you install four 32MB SIMMs, however, the sampling memory size becomes 128MB (and the original 4MB are effectively disabled). Yamaha recommends that you purchase SIMMs that conform to the JEDEC* standard. Please be aware, however, that conformance to this standard does not constitute a guarantee that the SIMMs will operate correctly on the A5000/A4000.
* JEDEC (Joint Electron Device Engineering Council) sets standards for terminal congurations within electronic devices.
[Procedure]
SIMMs (One or two pairs: 2 or 4 modules) Phillips screwdriver: Magnetic-tipped screwdriver is recommended. Workbench: Please carry out all work on a stable workbench or table. Spreading a cloth over the work surface will help prevent scratching. Gloves: Be sure to wear gloves so that your hands are not scratched by the metal cover or other metal parts.
234
2. Remove the top cover (page 232). 3. Insert the SIMM module into the slot on the circuit board.
First identify the sockets you will install the SIMMs into. There are four sockets, divided into two banks. The two sockets for bank 1 are labeled z, and the two sockets for bank 2 are labeled x. Bank 1 must be lled rst, and then if necessary you can proceed to ll bank 2. (The labels z and x are located at the left side of the slot when viewed from the front panel.)
If you are using different SIMM sizes in the two banks, the larger size must be installed into the Bank 1 sockets to ensure that the A5000/A4000 handles the memory correctly. For example, if you are adding one pair of 32MB SIMMs and one pair of 8MB SIMMs, you must install the 32MB SIMMs into Bank 1. If you already have SIMMs installed in Bank 1 and are now adding a larger pair, you will need to move the original pair into Bank 2 and insert the new pair into Bank 1.
When inserting SIMMs, always begin with the free socket furthest from the A5000/A4000 front side. (SIMMs will not t into the sockets if you reverse this order.)
Hold the SIMM with its cutout part facing to the left (as viewed from the front panel), and set it into the socket at an angle as shown in Figure (1). Then push in direction shown in Figure (2) so that it becomes upright and the hook snaps into place.
(1)
(2)
Appendix
235
Repeat this step for each SIMM that you wish to install. If you need to remove a SIMM from a socket, hold open the two hooks on the socket (one at each end) and push on the SIMM so that it moves to the opposite angle from that shown in Figure (2) (toward yourself in the diagram), and then pull the SIMM out.
This completes the installation. There is no need to remove the expansion board when installing other devices.
4. Replace the top cover (page 233). 5. Plug in the power cord.
Check the FREE MEMORY display in the PLAY-PROGRAM-PgmSel display page (page 89) to ensure that the newly installed SIMM memory is functioning properly.
236
Installing the AIEB1 I/O Expansion Board

The optional AIEB1 Input/Output expansion board adds digital I/O (both optical and coaxial formats) and six assignable outputs to the A5000/A4000. For information about the boards connectors and general board setup, refer to information elsewhere in this manual.
Important Before performing the installation, please read precautions Handling and Installation of Options, found at the beginning of this manual.
[Procedure]
AIEB1 I/O expansion board: Conrm that there are 3 cables extending from the board. Phillips screwdriver: Magnetic-tipped screwdriver is recommended. Workbench: Please carry out all work on a stable workbench or table. Spreading a cloth over the work surface will help prevent scratching. Gloves: Be sure to wear gloves so that your hands are not scratched by the metal cover or other metal parts.
2. Remove the top cover (page 232). 3. Now go to the rear panel and remove the 3 screws (A) holding the I/O cover in place.
Take the I/O cover out.
The I/O cover may fall inside the unit when all 3 screws are removed, so be sure to hold the I/O cover with one hand while removing the screws. The I/O cover will not be needed as long as the AIEB1 is installed, but the screws with which it was attached will be used to attach the AIEB1, so be careful not to misplace them. I/O cover
Appendix
237
4. Connect the at cable.

Connect the at cable from the I/O expansion board (the at, thin cable) to the corresponding connector on the samplers main circuit board (marked B in the illustration below, IO on the circuit board itself). The connector is keyed so that it will only go in one way.
5. Insert the AIEB1 expansion board.

Support the board as shown in the illustration below, and fasten it in to the rear panel by screwing in the three screws (A) that you removed at Step 3 above.
6. Connect the two red/white cables.

First connect the 3-wire cable into the connector (CN7: 3-pin) indicated in the illustration below. (Note that these connectors can attach in one direction only. Make sure that the direction is correct and do not try to force the connection.)
238
7. In the same way, connect the other red-and-white cable (4-wire) to the CN1, CN2, or
CN4 connector shown in the illustration.
If no internal hard disk or ZIP drive is installed, all three connectors will be available. Any of these connectors can be used. If at any time you need to disconnect any of these connectors, do so while pressing the release clip on the plug. Do not apply excessive force.
The expansion board is now fully installed. There is no need to remove the expansion board when installing other devices.
8. Secure the red/white cables and the wide at cable to the bundle tie.
Run the at cable, the 3-wire cable, and the 4-wire cable through the bundle tie (see illustration below). Adjust the tie so that the cables are secure.
Appendix
239
Installing an Internal SCSI Hard Disk

This section explains how to install a standard SCSI hard disk drive (bare drive) into the A5000/A4000.
Hard disk power cable (long): Supplied SCSI hard disk cable (50-pin): Supplied
SCSI hard disk: Optional
Hard disk installation screws (4 pcs.): Optional
Important Before performing the installation, please read precautions Handling and Installation of Options, found at the beginning of this manual. Consult your Yamaha dealer for information about SCSI hard disk models that have been conrmed as operating correctly with the A5000/A4000.
[Procedure]
Internal SCSI hard disk Hard disk installation screws (4 pcs.): Available from your hard disk dealer. SCSI hard disk cable (50-pin): supplied with the A5000/A4000. Hard disk power cable (long red-and-white 4-wire cable): supplied with the A5000/A4000. Phillips screwdriver: Magnetic-tipped screwdriver is recommended. Screwdriver for the hard-disk installation screws: Note that some hard-disk models do not use Phillips-head screws. Workbench: Please carry out all work on a stable workbench or table. Spreading a cloth over the work surface will help prevent scratching. Gloves: Be sure to wear gloves so that your hands are not scratched by the metal cover or other metal parts.
2. Check the hard disk settings.

Be sure that the hard disks terminator is set to ON. For information about how to make this setting, refer to the instructions provided with the disk. It is recommended that you set the hard disks SCSI ID to 4, although you are free to set the ID to any value other than 6 (the factory-set ID for the A5000/A4000). For information about how to make this setting, refer to the instructions provided with the disk.
3. Remove the top cover (page 232).
240
4. Turn the A5000/A4000 SCSI terminator switch ON.

Set the CSCI terminator switch on the A5000/A4000 circuit board (A in the illustration, TERM on the circuit board itself) to the ON position (the terminator is set to ON at the factory).
Terminator Switch
5. Remove the four gold-colored screws holding the hard disk mount panel, and remove
the mount panel from the A5000/A4000.
B
Hard disk mount panel
6. Attach the hard disk to the hard disk mount panel with the four hard disk installation
screws.
7. Connect the SCSI cable (50-pin) and the power cable (long) to the hard disk unit.
The connectors are keyed so that they cannot be inserted the wrong way around.
Hard disk installation screws
Power cable (long)
SCSI cable (50-pin)
Appendix
241
8. Connect the hard disk SCSI cable (50-pin) to the connector on the A5000/A4000 circuit
board.
Connect the at cable from the hard disk (the at, thin cable) to the corresponding connector on the samplers main circuit board (marked C in the illustration below, SCSI CN9 on the circuit board itself). The connector is keyed so that it will only go in one way.
9. Connect the hard disk power cable (long) to one of the power connectors in the A5000/
A4000.
Connect the hard disk power cable to any of the available power connectors CN1, CN2, or CN4. If no expansion board or ZIP drive is installed, all three connectors will be available. Any of these connectors can be used. If at any time you need to disconnect any of these connectors, do so while pressing the release clip on the plug. Do not apply excessive force.
242
10. Install the hard disk and mount panel assembly in the A5000/A4000.
Re-install the mount panel in its original location, attaching it with the 4 original screws. Be careful not to catch the cables between the mount panel and mounting brackets when doing this.
11. Secure the cables with the cable straps.

Secure the connected power cable with the cable straps as shown in the illustration.
The SCSI hard disk is now fully installed. There is no need to remove the disk when installing other devices.
Important After installing the hard disk, connect your audio and MIDI devices, and turn on the A5000/A4000. Then mount the hard disk (page 173), format it (page 177), and partition it into volumes (page 172).
Appendix
243
Installing an Internal IDE Hard Disk

This section explains how to install a standard IDE hard disk drive (bare drive) into the A5000/A4000.
Hard disk power cable (long): Supplied IDE hard disk cable (40-pin): Supplied
IDE hard disk: Optional
Hard disk installation screws (4 pcs.): Optional
Important Before performing the installation, please read precautions Handling and Installation of Options, found at the beginning of this manual. Consult your Yamaha dealer for information about IDE hard disk models that have been conrmed as operating correctly with the A5000/A4000.
[Procedure]
Internal IDE hard disk Hard disk installation screws (4 pcs.): Available from your hard disk dealer. IDE hard disk cable (40-pin): supplied with the A5000/A4000. Hard disk power cable (long red-and-white 4-wire cable): supplied with the A5000/A4000. Phillips screwdriver: Magnetic-tipped screwdriver is recommended. Screwdriver for the hard-disk installation screws: Note that some hard-disk models do not use Phillips-head screws. Workbench: Please carry out all work on a stable workbench or table. Spreading a cloth over the work surface will help prevent scratching. Gloves: Be sure to wear gloves so that your hands are not scratched by the metal cover or other metal parts.
2. Check the hard disk settings.

When using an IDE hard disk alone (i.e. when no ZIP drive is installed), the IDE hard disk must be set to MASTER (for information on MASTER/SLAVE settings, see the disks owners manual/specication sheet). When using an IDE hard disk in conjunction with a ZIP drive, one drive must be set to MASTER and the other to SLAVE (for information on MASTER/SLAVE settings, see the disks owners manual/ specication sheet).
3. Remove the top cover (page 232). 4. Remove the four gold-colored screws holding the hard disk mount panel, and remove
the mount panel from the A5000/A4000. Refer to page 240 for Installing an Internal SCSI Hard Disk.
244
5. Attach the hard disk to the hard disk mount panel with the four hard disk installation
screws.
6. Connect the IDE cable (40-pin) and the power cable (long) to the hard disk unit.
Connect the center connector on the IDE cable to the hard disk. The connectors are keyed so that they cannot be inserted the wrong way around.
Hard disk installation screws
Power cable (long)
Hard disk mount panel
IDE hard disk
IDE cable (40-pin)
7. Connect the hard disk IDE cable (40-pin) to the connector on the A5000/A4000 circuit
board.
Connect the short end of the at cable from the hard disk (the at, thin cable) to the corresponding connector on the samplers main circuit board (marked B in the illustration below, IDE CN4 on the circuit board itself). The connector is keyed so that it will only go in one way.
B
Short end
If a ZIP drive is also installed, the long end of the IDE at cable from the hard disk should be connected to the ZIP drive connector (page 250). If no ZIP drive is installed, secure the long end of the cable with the cable strap as shown in the step 10s illustration on the following page.
Damage can result if the loose end of the cable is allowed to come in contact with other internal circuitry. Be sure to secure the loose end of the cable with the cable strap.
Appendix
245
8. Connect the hard disk power cable (long) to one of the power connectors in the A5000/
A4000.
Connect the hard disk power cable to any of the available power connectors CN1, CN2, or CN4. If no expansion board or ZIP drive is installed, all three connectors will be available. Any of these connectors can be used. If at any time you need to disconnect any of these connectors, do so while pressing the release clip on the plug. Do not apply excessive force.
9. Install the hard disk and mount panel assembly in the A5000/A4000. Refer to page 243
for Installing an Internal SCSI Hard Disk.
10. Secure the cables with the cable straps.

Secure the connected at cable and power cable with the cable straps as shown in the illustration.
Damage can result if the loose end of the cable is allowed to come in contact with other internal circuitry. Be sure to secure the loose end of the cable with the cable strap.
The IDE hard disk is now fully installed. There is no need to remove the disk when installing other devices.
Important After installing the hard disk, connect your audio and MIDI devices, and turn on the A5000/A4000. Then mount the hard disk (page 173), format it (page 177), and partition it into volumes (page 172).
246
Installing an ATAPI ZIP Drive

The procedure for removing the internal oppy disk drive (FDD below) and replacing it with a bare ATAPI ZIP drive is explained below.
IDE hard disk cable (40-pin): Supplied
ZIP drive power cable (short): Supplied
ATAPI ZIP drive: Optional
Important Before performing the installation, please read precautions Handling and Installation of Options, found at the beginning of this manual.
[Procedure]
The ZIP drive to be installed. An IDE hard disk cable (40-pin): supplied with the A5000/A4000. ZIP drive power cable (short red-and-white 4-wire cable): supplied with the A5000/A4000. Phillips screwdriver: Magnetic-tipped screwdriver is recommended. Workbench: Please carry out all work on a stable workbench or table. Spreading a cloth over the work surface will help prevent scratching. Gloves: Be sure to wear gloves so that your hands are not scratched by the metal cover or other metal parts.
2. Check the ZIP drive settings.

When using a ZIP drive alone (i.e. when no IDE hard disk is installed), the ZIP drive must be set to MASTER (for information on MASTER/SLAVE settings, see the ZIP drives owners manual/specication sheet). When using a ZIP drive in conjunction with an IDE hard disk, one drive must be set to MASTER and the other to SLAVE (for information on MASTER/SLAVE settings, see the ZIP drives owners manual/specication sheet).
3. Remove the top cover (page 232).
Appendix
247
4. Disconnect the two FDD cables (FDD CN5 and power CN5) from the main circuit
board.
The FDD at cable is held in place by a cable strap. Remove the cable from the cable strap before installation.
5. Remove the four gold-colored screws with which the FDD is attached, and slide the
FDD backward (toward the rear panel) to remove it.
A
FDD unit
6. Turn the FDD unit over, and remove the mount panel from the drive by removing the four
gold-colored screws.
7. Attach the ZIP drive to the mount panel using the screws removed in step 6.
Do not use screws other than those removed in step 6. Other screws can damage the ZIP drive. Tighten in the following order: qwe
ZIP Drive
FDD Mount Panel
248
8. Position the ZIP drive inside the A5000/A4000.

Guide the ZIP drive into place using the groove on the side panel.
9. Attach the ZIP drive using the same four screws removed when removing the FDD unit.
A
ZIP Drive
A
Tighten in the following order: q w e
10. Connect the IDE cable (40-pin) and the power cable (short) to the hard disk unit.
Connect the longer end of the IDE cable from the central connector to the ZIP drive. The connectors are keyed so that they cannot be inserted the wrong way around.
11. Connect the ZIP drive IDE cable (40-pin) to the connector on the A5000/A4000 circuit
board.
Connect the other end of the at cable from the ZIP drive (the at, thin cable) to the corresponding connector on the samplers main circuit board (marked C in the illustration below, IDE CN4 on the circuit board itself). The connector is keyed so that it will only go in one way.
ZIP Drive IDE Cable
Power Cable (short)
Appendix
249
If an IDE hard drive is also installed, the central connector of the IDE at cable should be connected to the hard disk connector (See the illustration, below). If no IDE hard disk is installed, secure the central connector of the cable with the cable strap as shown in the illustration below.
Damage can result if the loose connector is allowed to come in contact with other internal circuitry. Be sure to secure the loose connector with the cable strap.
When an IDE hard disk is installed ZIP Drive Internal IDE Hard Disk
When an IDE hard disk is not installed ZIP Drive
12. Connect the ZIP drive power cable (short) to one of the power connectors in the A5000/
A4000.
Connect the hard disk power cable to any of the available power connectors CN1, CN2, or CN4. If no expansion board or hard disk is installed, all three connectors will be available. Any of these connectors can be used. If at any time you need to disconnect any of these connectors, do so while pressing the release clip on the plug. Do not apply excessive force.
The ZIP drive is now fully installed. There is no need to remove the disk when installing other devices.
250
Connecting external SCSI devices

This section explains how to connect external devices such as external hard disk drives, MO drives, or CDROM drives.
About SCSI
SCSI (pronounced scuzzy) stands for Small Computer System Interface, and is a data transmission interface standard used by personal computers and other devices. The A5000/A4000SCSI interface allows convenient connection of internal and/or external hard disk drives, MOD drives, CD-ROM drives, and other SCSI-compatible devices. Up to 7 devices can be connected to the SCS bus, including an internal SCSI drive. Most external SCSI devices have two SCSI terminals, allowing a number of devices to be chained together. Devices chained together in this can normally be connected in any order. The last device in the chain must be terminated, either with a terminator unit plugged into the open SCSI connector, or by turning the devices internal terminator on (if available). The rst device in the chain must also be terminated, but in the case of the A5000/A4000 this can be accomplished either with the terminator switch on the main circuit board, or the terminator switch/jumper on an internal hard disk unit.
When an internal hard disk is installed A5000/ A4000 Internal HD Main Unit Circuit Board
indicates the terminator (or a terminator switch that is turned on). Devices which are not indicated by this symbol must not have a terminator attached to them. (Alternatively, their terminator switch must be turned off.)
External SCSI device
When an internal hard disk is not installed A5000/ A4000 Main Unit Circuit Board
Factory default
Important Before connecting SCSI devices, be sure to turn off the power of the A5000/A4000 and all connected equipment. If the power is on while connections are being made, the A5000/A4000 or SCSI devices can be damaged. Including the A5000/A4000, each SCSI device is distinguished by a number from 0 7, called the SCSI ID. If two or more devices have the same SCSI ID number, the SCSI devices will not function correctly. When shipped from the factory, the A5000/A4000 is set to SCSI ID 6. Be aware that the SCSI ID number of a device has no relation to its position in the daisy-chain. Dont forget to attach a terminator to the last SCSI device in the daisy-chain. If an external SCSI device is not connected, it is not necessary to attach a terminator to the external SCSI connector of the SCSI interface board. Use as short a SCSI cable as possible. Using long cables can cause unreliable operation. (In general, the total cable length including the cables inside the A5000/A4000 should be less than 6 meters (approximately 18 feet).) Use good-quality SCSI cables. Poor-quality cables can cause unreliable operation. Hard disks, MO disks, and other removable media will be formatted by the A5000/A4000. If you wish to use a hard disk, MO disk, or other removable media that was being used by a computer, you will need to perform the format operation after connecting and powering-on the disk. Some SCSI devices have only one SCSI connector. If you are using such a device, connect it at the end of the daisy-chain.
Appendix
251
[Procedure]
1. Use SCSI cables to daisy-chain the external SCSI devices.

There are several types of SCSI connector. Use SCSI cables appropriate for your devices.
2. Connect the power cable of the external SCSI device to an AC outlet. 3. Set the SCSI ID (0 7) of the external SCSI device.
Select a SCSI ID that will not conict with the other SCSI devices (including the A5000/A4000). When the A5000/A4000 is shipped from the factory, the SCSI ID is set to 6. When installing the internal hard disk, we suggest that you set the internal hard disk to a SCSI ID of 4.
4. Attach the terminator to the SCSI connector (the vacant one of the two SCSI connectors) of the last device in the daisy-chain. Alternatively, turn on the terminator switch of that device.
5. Make sure that the terminator switch is turned OFF for all other devices in the daisychain (i.e., all devices other than the last device).
Important When a new hard disk, MO disk, or other removable media (or a disk which was previously used on a computer or other equipment) is connected to the A5000/A4000, it will be necessary to format (page 177), create volumes (page 172), and mount (page 173) the disk after making all necessary audio, MIDI, and SCSI connections to the A5000/A4000 (and, in the case of removable media, after inserting the disk in the appropriate drive).
Note Many articles and books concerning SCSI are available. However most of them discuss only the concepts or the specication, and do not tell you what to do if the system does not work when connected as described. The following paragraphs will provide more information about SCSI that will help you correct problems which may occur when SCSI devices are connected. Please read this material if you experience problems. Please be aware that when connecting SCSI devices, problems with termination and cabling can cause valuable data to be damaged. We regret that Yamaha can take no responsibility regarding any data which is lost. s Realities of terminator installation Although we have said that a terminator is required at the beginning and end of the SCSI bus, this is a general principle and not a requirement. For example if the bus is extremely short (45 cm or less), there are cases in which it is best for there to be a terminator only on one or the other end. This is something which you should be aware of when using recent ultra-miniature drives. However if other drives are connected in addition to these drives, the situation will again be different. Also, if the SCSI devices are separated by more than 3 meters, it is said that using a terminator at the 3 meter point is preferable. In this case, three or more terminators will exist within the SCSI bus. In this way, the theory and practice of SCSI connections can differ widely. Simply changing a drive in a system that had been working correctly can cause operation to become unreliable, or adding a drive to an unreliable system can cause it to start working correctly. In practice, a certain amount of trial and error is necessary.
252
s Reasons for SCSI errors A SCSI bus operates stably only if all the connected SCSI devices are operating correctly. If any of the devices are producing noise, the other devices will also produce errors, and in the worst case, the boot block of a drive can be destroyed. (All data in that drive will be lost.) Also, there are cases in which a system on which data appears to have saved may not have actually saved the data, resulting in data loss. The following paragraphs will discuss the reasons for such errors, and will provide a sequence for your troubleshooting. Check the SCSI ID Make sure that there is no conict between the SCSI ID of each SCSI device including the A5000/ A4000. When shipped from the factory, the A5000/A4000s SCSI ID is set to 6. We suggest that the internal hard disk normally be set to 4. Be sure to turn off the power before changing the SCSI ID setting. Check the terminator As discussed above, check the location where the terminator is attached. Check the SCSI cables Low-quality SCSI cables will almost always create problems. Always use double-shielded cables. It is also important that the shield be grounded inside the connector. Long SCSI cables frequently cause problems, so use as short a SCSI cable as possible. Bending or twisting a SCSI cable in a conned space can cause conductors to break or pins to be broken, so be careful to avoid this.
Appendix
253
Specications
Specications
Tone generation method Maximum Polyphony A/D conversion D/A conversion AWM2 tone generator 126 notes (64 notes on the A4000), 32 multi-timbre parts (16 parts on the A4000). 20 bit 64-times oversampling 24 bit 8-times oversampling
Digital I/O (only when AIEB1 I/O expansion board is installed) Input/output Input frequency Output frequency Sampling frequency Analog input DIGITAL connectors OPTICAL connectors 48 kHz, 44.1 kHz, 32 kHz 44.1 kHz 44.1, 22.05, 11.025 kHz, 5.5125 kHz (mono and stereo) 48 kHz, 44.1 kHz, 32 kHz external synchronized recording (stereo only) 1/2, 1/4 and 1/8 undersampling is supported Internal sample memory capacity Standard Maximum 4 Mbytes (installed on-board) 128 Mbytes (When four 32 Mbyte 72 pin SIMM modules are installed. The on-board 4 Mbytes are unused only if memory has been expanded to the maximum.) Sampling time Maximum sample length 32 Mbytes monaural 64 Mbytes stereo Maximum sampling time (mono or stereo) 6 minutes 20 seconds (44.1 kHz) 12 minutes 40 seconds (22.05 kHz) 25 minutes 21 seconds (11.025 kHz) 50 minutes 43 seconds (5.5125 kHz) Effects 6 effect blocks (3 on the A4000) Total equalizer (4 bands) Sample equalizer Program Sequencer Front panel 128 program Real-time recording and playback POWER switch INPUT L,R jacks (phone x 2) REC VOLUME (L& R shared) MASTER VOLUME (L&R shared, STEREO OUT & PHONES shared) PHONES OUTPUT jack Knobs (1 5) Mode buttons (PLAY, EDIT, REC, DISK, UTILITY) Function buttons (six buttons) COMMAND/EXIT button ASSIGNABLE button S/P-DIF (coaxial) S/P-DIF (optical)
Digital input (only when AIEB1 I/O expansion board is installed)
254
Specications
AUDITION button LCD (320 x 80 dot, LED backlight) LCD contrast control 3.5" 2HD/2DD dual mode oppy disk drive Rear panel STEREO OUT L/MONO, R (phone jack x 2) ASSIGNABLE OUT L, R SCSI (half-pitch, 50-pin) Expansion board slot Power supply connector (AC inlet) Fan Dimensions Two-space rackmount unit W 480 mm x D 461 mm x H 90 mm (18-7/8 x 18-1/8 x 3-9/16) Weight Included items 8.0 kg (17lbs 10oz) Power cable x1 (phone jack x 2) MIDI IN-A/B, OUT, THRU-A/B (IN, OUT, THRU on the A4000)
CD-ROM set (See the separate Guide for the Accompanying Disks booklet) FD Power Cable for ZIP Drive (short) SCSI Cable for Internal Hard Disk IDE Cable for Internal Hard Disk Owners manual Options (made by Yamaha) AIEB1: I/O expansion board x4 x1 x1 x1 x1 Power Cable for Internal Hard Disk (long) x 1
Internal expansion devices (made by other manufacturers) Expansion memory (use a pair of identical-size 72pin SIMM modules of the following types) Access time Bit Width Capacity 70 ns or less x 32 (no parity) or x 36 bit (parity) Fast Page or EDO, JEDEC standard. 4 megabyte/8 megabyte/16 megabyte/32 megabyte
Internal hard disk drive (3.5 inch) performance requirements Interface Power supply Internal ZIP Drive Interface Power supply 40-pin IDE (ATAPI) +5V 0.8A 50-pin SCSI or 40-pin IDE +5V maximum 840 mA +12V maximum 2400 mA
Specications and descriptions in this owners manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specications at any time without prior notice. Since specications, equipment or options may not be the same in every locale, please check with your Yamaha dealer.
Appendix
255
Effect Type List
Effect Type List

This section explains each of the types of effect that are built into the A5000/A4000. For the parameters of each effect, refer to the following section Effect parameter list.
No. Effect type
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 Scratch (DIGITAL SCRATCH) AutoSyn (AUTO SYNTH) TechMod (TECH MODULATION) NoisDly (NOISY MOD DELAY) NoisAmb (NOISE AMBIENT) Jump (JUMP) BeatChg (BEAT CHANGE) Pitch1 (PITCH CHANGE 1) Pitch2 (PITCH CHANGE 2) LoReso (LOW RESOLUTION) Noisy (NOISY) AtkLoFi (ATTACK LOFI) Radio (RADIO) TurnTbl (DIGITAL TURNTABLE) LoFi (LOFI) LPFiltr (LOW PASS FILTER) HPFiltr (HIGH PASS FILTER) BPFiltr (BAND PASS FILTER) AWah+DS (AUTO WAH + DIST) AWah+OD (AUTO WAH + OVERDRIVE) TWah+DS (TOUCH WAH + DIST) TWah+OD (TOUCH WAH + OVERDRIVE) W+DS+DL (WAH + DIST + DELAY) W+OD+DL (WAH + OVERDRIVE + DELAY) TalkMod (TALKING MODULATOR) 3BandEQ (3BAND EQ) Isolatr (ISOLATOR) Enhance (HARMONIC ENHANCER) VceCncl (VOICE CANCEL) Comp (COMPRESSOR) Comp+DS (COMP + DIST) C+DS+DL (COMP + DIST + DELAY) C+OD+DL (COMP + OVERDRIVE + DELAY) Clip1 (CLIPPER1) Clip2 (CLIPPER2) NoiseGt (NOISE GATE) V-Dist (V-DISTORTION) Dist (DISTORTION) OverDrv (OVERDRIVE) AmpSim (AMP SIMULATOR) DistS (STEREO DISTORTION)
Effect
Adds a scratch sound to the input signal. Processes the input signal into a synthesizer-type sound. Adds a unique feeling of modulation similar to ring modulation. Adds a modulated delay sound. Adds noise to the input signal, and uses a delay to broaden the sound. Cuts apart the input signal and applies extreme modulation to the playback order or speed. Modies the waveform length of the sound in realtime. Changes the pitch of the input signal. Changes the pitch of the input signal. Simulates a lowered resolution for the input signal. The phase of the Rch can be inverted. Rch can be inverted. Creates a somewhat LoFi feeling, and emphasizes the attack of the sound. Also has the feel of a anger. Simulates a radio. Simulates the noise of an analog record. Degrades the audio quality of the input signal. Passes only the low frequencies of the input signal. Cutoff slopes up to 48dB/oct are possible. Passes only the high frequencies of the input signal. Cutoff slopes up to 48dB/oct are possible. Passes only the midrange frequencies of the input signal. The output of an Auto Wah can be distorted by Distortion. The output of an Auto Wah can be distorted by Overdrive. The output of a Touch Wah can be distorted by Distortion. The output of a Touch Wah can be distorted by Overdrive. TOUCH WAH, DISTORTION and DELAY are connected in series. TOUCH WAH, OVERDRIVE and DELAY are connected in series. Adds a vowel sound to the input signal. An EQ which allows equalization of low, mid and high bands. Controls the level of a specied frequency band of the input signal. Adds new harmonics to the input signal to make the sound stand out. Attenuates the vocal part of a CD or other source. Holds down the output level when a specied input level is exceeded. A sense of attack can also be added to the sound. Since a Compressor is included in the rst stage, steady distortion can be produced regardless of changes in input level. COMPRESSOR, DISTORTION and DELAY are connected in series. COMPRESSOR, OVERDRIVE and DELAY are connected in series. Applies distortion to a specied frequency band of the input signal. Adds a signal in which distortion has been applied to a specied frequency band to the input signal. Gates the input when the input signal falls below a specied level. This is effective when you wish to decrease the noise at the A/D input. Distortion which simulates vintage tube and fuzz sounds. Adds distortion with an edge. Since a Noise Gate is included, this is also suitable for A/D input. Adds mild distortion. Since a Noise Gate is included, this is also suitable for A/D input. Simulates a guitar amp. Since a Noise Gate is included, this is also suitable for A/D input. Stereo distortion.
256
Appendix
Effect Type List
No. Effect type

42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 OvrDrvS (STEREO OVERDRIVE) AmpSimS (STEREO AMP SIMULATOR) Dist+DL (DIST + DELAY) OvDr+DL (OVERDRIVE + DELAY) Chorus (CHORUS) Chorus2 (CHORUS2) Celeste (CELESTE) Sympho (SYMPHONIC) Detune (ENSEMBLE DETUNE) Flanger (FLANGER) V-Flang (V-FLANGER) Phaser1 (PHASER1) Phaser2 (PHASER2) Tremolo (TREMOLO) FlngPan (FLANGING PAN) FlowPan (FLOW PAN) Rotary (ROTARY SPEAKER) Rot2Way (2WAY ROTARY SPEAKER) 2Rotors (DUAL ROTORS SPEAKER) DS+Rot (DIST + ROTARY SPEAKER) OD+Rot (OVERDRIVE + ROTARY SPEAKER) Amp+Rot (AMP SIM + ROTARY SPEAKER) DS+2Way (DIST + 2WAY ROTARY SPEAKER) OD+2Way (OVERDRIVE + 2WAY ROTARY SPEAKER) Amp+2Wy (AMP SIM + 2WAY ROTARY SPEAKER) AutoPan (AUTO PAN) Dly+Pan (DELAY + AUTO PAN) 3Delay (DELAY L,C,R) 2Delay (DELAY L,R) Echo (ECHO) X-Delay (CROSS DELAY) CtlDly (CONTROL DELAY(MONO)) CtlDlyS (CONTROL DELAY(STEREO)) Ambienc (AMBIENCE) Karaoke (KARAOKE) Eref (EARLY REFLECTION) GateRev (GATE REVERB) RvsGate (REVERSE GATE) Hall (HALL) Room (ROOM) Stage (STAGE) Plate (PLATE) WhiteRm (WHITE ROOM) Tunnel (TUNNEL) Basemnt (BASEMENT) Canyon (CANYON) T-Dly (TEMPO DELAY (MONO)) T-DlyS (TEMPO DELAY (STEREO)) T-XDly (TEMPO CROSS DELAY) T-Flang (TEMPO FLANGER) T-Phase (TEMPO PHASER) T-AWah (TEMPO AUTO WAH) T-Scrch (TEMPO DIGITAL SCRATCH) T-ASyn (TEMPO AUTO SYNTH) T-FgPan (TEMPO FLANGING PAN)
Effect
Stereo overdrive. Stereo amp simulator. DISTORTION and DELAY are connected in series. OVERDRIVE and DELAY are connected in series. Standard chorus effect. A variation of the standard chorus effect. Uses a three-phase LFO to add more modulation and width to the sound. Adds more stages to the modulation of Celeste. Chorus effect without modulation, created by adding a slightly pitch-shifted sound. Creates a sound reminiscent of a jet airplane. A simulation on an analog anger effect. The LFO has a random setting. Cyclically modulates the phase to add modulation to the sound. Cyclically modulates the phase to add modulation to the sound. Cyclically modulates the volume. Flanger and auto-pan are synchronized. Auto-pan is placed in series, moving the sound image in complex ways. Simulates a rotary speaker. Simulates a rotary speaker. Rotary speaker simulation with speed switching. Distortion and rotary speaker connected in series. Overdrive and rotary speaker connected in series. Amp simulator and rotary speaker connected in series. Distortion and 2-way rotary speaker connected in series. Overdrive and 2-way rotary speaker connected in series. Amp simulator and 2-way rotary speaker connected in series. Cyclically moves the sound between left and right, front and back. Delayed sound is cyclically moved between left and right. Produces three delayed sounds: L, R and C (center). Produces two delayed sounds: L and R. Two feedback delays are provided. Two delayed sounds (L and R), and independent feedback delays for L and R. The feedback of the two delayed sounds is crossed. Delay with delay time controllable in real time. A controller can be assigned to this delay to create scratch-type effects. Blurs the stereo positioning of the sound to add spatial width. Echo for karaoke. This effect isolates only the early reection components of the reverb. Simulation of gated reverb. Simulation of gated reverb played back in reverse. Reverb simulating the acoustics of a hall. Reverb simulating the acoustics of a room. Reverb suitable for a solo instrument. Reverb simulating a plate reverb unit. Unique short reverb with a bit of initial delay. Simulates a cylindrical space expanding to left and right. Reverb with unique reverberation following a slight initial delay. Creates the sound of an imaginary space in which the sound expands limitlessly. Tempo-synchronized delay. Tempo-synchronized stereo delay. Tempo-synchronized cross delay. Tempo-synchronized anger. Tempo-synchronized phaser. Tempo-synchronized auto wah. Tempo-synchronized digital scratch. Tempo-synchronized auto synth. Tempo-synchronized anging pan. Appendix
257
Effect Parameter List

This section explains the meaning of each parameter in each effect. The tables give the parameter number, the range of settings (or selections), and the explanation. (@ marked parameters have no effect even if a program controller is assigned to the function)
1: DIGITAL SCRATCH
1 2 3 4 5 6 7 8 9 10 11 Input Level Initial Delay Scratch Speed Scratch Depth Auto Pan Speed Auto Pan Depth EQ Frequency EQ Gain EQ Width HPF Frequency Dry/Wet Balance 0 127 0.1 460.0ms 1 127 0 127 0.00Hz 39.7Hz 0 127 100Hz 10.0kHz -12 +12dB 1.0 12.0 thru, 20Hz 8.0kHz D63>W D=W D<W63 Scratch depth Delay time Scratch modulation frequency Scratch modulation depth Autopan frequency Autopan depth Frequency at which the EQ will boost/cut the mid range Gain by which the EQ will boost/cut the mid range Width of the mid range area boosted/cut by the EQ Frequency at which the high pass lter will cut the low range Balance between dry sound and effect sound
2: AUTO SYNTH
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Mod Speed Mod Wave Type Mod Depth Mod Depth Ofst R LPF Frequency HPF Frequency Dry Mix Level Delay Time Delay Time Ofst R Feedback Level FB Level Ofst R Delay Level AM Speed AM Wave AM Depth AM Inverse R 0 127 TypeA,TypeB,TypeC,TypeD 0 127 -64 +63 1.0kHz 18.0kHz,thru thru,22Hz 8.0kHz 0 127 0.1 370.0ms 0 -884 -63 +63 -63 +63 0 127 0 127 tri,sine,saw up,saw down 0 127 normal,inverse Modulation speed Modulation type Modulation depth R ch offset relative to modulation depth Frequency at which the low pass lter will cut the high range Frequency at which the high pass lter will cut the low range Add dry sound before the delay input Delay time Delay time offset for the R ch offset Feedback amount Feedback offset for the R ch Delay level Modulation frequency Select modulation waveform Amplitude modulation depth Left/right phase reversal of the amplitude modulation signal
3: TECH MODULATION
1 2 3 4 5 6 7 8 9 10 11 12 13 14 Mod Speed Mod Depth Pre Mod HPF Freq Mod Gain Mod LPF Frequency Mod LPF Resonance Mod Mix Balance Delay Time Delay Time Ofst R Feedback Level FB Level Ofst R Feedback High Damp FB Hi Damp Ofst R Dry/Wet Balance 0 127 0 127 thru, 20Hz 8.0kHz -12 +12dB 1.0kHz 18.0kHz, thru 1.0 12.0 D63>W D=W D<W63 0.1 740.0ms 0 -884 -64 +63 -64 +63 0.1 1.0 -0.9 +0.9 D63>W D=W D<W63 Modulation speed Modulation depth Frequency at which the high pass lter will cut the low range Gain of the modulation signal Frequency at which the low pass lter will cut the high range Resonance of the low pass lter Balance between the effect sound and the dry sound before the delay input Delay time Delay time offset for the R ch Feedback amount Feedback offset for the R ch Adjust the high range attenuation (lower values will cause the high range to decay faster) High Damp offset for the R ch Balance between the dry sound and effect sound
4: NOISY MOD DELAY

1 2 3 4 5 6 7 8 9 Dry/Wet Balance Mod Speed Mod Wave Type Mod Depth Delay Time Feedback Level Mod Mix Balance EQ High Gain HPF Frequency D63>W D=W D<W63 0 127 Type-A, Type-B, Type-C, Type-D 0 127 0.1ms 650.0ms -63 +63 1 127 -12dB +12dB thru, 20Hz 8.0kHz Balance between the dry sound and the effect sound Delay modulation frequency Modulation type Modulation depth Delay time Feedback amount Balance between delay sound and delay bypass sound Gain by which the EQ will boost/cut the high range Frequency at which the high pass lter will cut the low range
5: NOISE AMBIENT
1 2 3 4 5 6 7 8 9 10 11 12 13 14 Dry/Wet Balance Mod Speed Mod Depth Noise Level LPF Frequency Dry Mix Level Delay Time Delay Time Ofst R Feedback Level Dry Level AM Speed AM Wave AM Depth AM Inverse R D63>W D=W D<W63 0 127 0 127 0 127 1.0kHz 18.0kHz,thru 0 127 0.1 370.0ms 0 -884 -63 +63 0 127 0.0Hz 39.70Hz tri,sine,saw up,saw down 0 127 normal,inverse Balance between dry sound and effect sound Modulation speed Modulation depth Level of noise component Frequency at which the low pass lter will cut the high range Pre-delay dry level Delay time Delay time offset for the R ch Feedback amount Delay level Modulation frequency Modulation waveform selection Depth of amplitude modulation Invert left/right phase of amplitude modulation signal
258
6: JUMP
1 2 3 @4 @5 @6 7 8 9 Depth Speed Direction Type Jump Wave Type Resolution LPF Frequency HPF Frequency Dry/Wet Balance 0 127 0 127 L<>R,L>>R Type-A,Type-B,Type-C Type-A,Type-B,Type-C,Type-D 1/1 1/256 1.0kHz 18.0kHz, thru thru, 20Hz 8.0kHz D63>W D=W D<W63 Modulation depth Modulation speed Modulation type Modulation type Modulation type Resolution Frequency at which the low pass lter will cut the high range Frequency at which the high pass lter will cut the low range Balance between the dry sound and effect sound
7: BEAT CHANGE
1 2 3 4 @5 6 7 8 9 BeatChange(Ctrl) Beat Range PitchChange(Ctrl) Pitch Range Accuracy Type EQ Frequency EQ Gain EQ Width Dry/Wet Balance -63 +63 0 12 -63 +63 0 12 sound4 normal rhythm4 100Hz 10.0kHz -12dB +12dB 1.0 12.0 D63>W D=W D<W63 A beat change effect Width of variation for sample playback speed A pitch change effect Width of variation for Pitch Change Balance between emphasis on sound quality and emphasis on sense of beat Frequency at which the EQ will boost/cut the mid range Gain by which the EQ will boost/cut the mid range Width of the area in which the EQ will boost/cut the mid range Balance between the dry sound and effect sound
You can use this effect to set up a controller so that the controller will vary the playback speed while leaving the pitch unchanged. In order to use this effect a controller must rst be assigned to E*-1 (* is the effect number used for this effect) in the program controller setup display after selecting the effect. Then 2. BeatRange must be set as required. 1. BeatChange(Ctrl) and 3. PitchChange(Ctrl are controlled from controllers and should be set to 0.
8: PITCH CHANGE 1, 9: PITCH CHANGE 2

1 2 3 4 5 6 7 8 9 10 Dry/Wet Balance Pitch Initial Delay Fine1 Fine2 Feedback Level Pan1 Output Level1 Pan2 Output Level2 D63>W D=W D<W63 -24 +24 0.1ms 200.0ms -50 +50 -50 +50 -63 +63 -63 0 +63 0 127 -63 0 +63 0 127 Balance of the dry sound and effect sound Pitch change in semitone steps Delay length Fine pitch setting for rst unit Fine pitch setting for second unit Amount of feedback Panning of rst unit Output level of rst unit Panning of second unit Output level of second unit
The Fine1 and Fine2 settings are in cents for the PITCH CHANGE 2 effect only.
10: LOW RESOLUTION

1 2 3 @4 5 6 7 Mod Depth Mod Delay Offset Mod Feedback Resolution Mod Mix Balance Phase Inverse R Dry/Wet Balance 0 127 1 127 -63 +63 1/1 1/128 0 127 off,Wet,Wet+Dry D63>W D=W D<W63 Modulation depth Modulation delay offset Feedback amount Resolution Delay sound and bypass sound balance Left/right phase reversal Balance between dry sound and effect sound
11: NOISY
1 2 3 4 5 6 7 8 9 10 11 12 13 Drive Mod Depth Mod Speed Mod Feedback AM Speed AM Depth Mod Mix Balance LPF Frequency LPF Resonance EQ Frequency EQ Gain EQ Width Dry/Wet Balance 0 127 1 10 0 127 -63 +63 0.00Hz 39.7Hz 0 127 1 127 1.0kHz 18.0kHz, thru 1.0 12.0 100Hz 10.0kHz -12 +12dB 1.0 12.0 D63>W D=W D<W63 Degree of distortion Modulation depth Modulation speed Feedback amount Amplitude modulation frequency Amplitude modulation depth Balance between noise modulated sound and bypass sound Frequency at which the low pass lter will cut the high range Resonance of the low pass lter Frequency at which the EQ will boost/cut the mid range Gain by which the EQ will boost/cut the mid range Width of the mid range area which the EQ will boost/cut Balance between the dry sound and effect sound
12: ATTACK LOFI

1 @2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Sensitive Resolution Peak Frequency LPF Frequency Flanger Speed Flanger LFO Wave Flanger Depth Fln Depth Ofst R Flanger Delay Fln Delay Ofst R Flanger Feedback Flanger FB Ofst R Flanger FB HiDamp FB HiDamp Ofst R Fln Mix Balance Dry/Wet Balance 0 127 1/1 1/32 100Hz 10.0kHz 1.1kHz 18.0kHz, thru 0.00Hz 39.7Hz tri,sine,saw up,saw down 0 127 -64 +63 0.1 650.0ms 0 884 -63 +63 -63 +63 0.1 1.0 -0.9 +0.9 1 127 D63>W D=W D<W63 Sensitivity Resolution Frequency at which a peak will be created in the mid range Frequency at which the low pass lter will cut the high range Frequency of delay modulation Modulation waveform selection Modulation depth R ch offset for depth Delay time R ch offset for delay time Feedback amount R ch offset for feedback Adjust the high range attenuation (low values will cause the high range to decay faster) R ch offset for high damp Balance between anger sound and bypass sound Balance between dry sound and effect sound
Appendix
259
13: RADIO
1 2 3 4 5 6 7 Noise Level Tone Mod LPF Frequency Mod LPF Resonance HPF Frequency LPF Frequency Dry/Wet Balance 0 127 0 127 1.0kHz 18.0kHz, thru 1.0 12.0 thru,22Hz 8.0kHz 1.0kHz 18.0kHz, thru D63>W D=W D<W63 Degree of noise modulation Tone of noise modulation Frequency at which the low pass lter will cut the high range Resonance of low pass lter Frequency at which the high pass lter will cut the low range Frequency at which the low pass lter will cut the high range Balance between dry sound and effect sound
14: DIGITAL TURNTABLE

1 2 @3 4 5 6 7 8 9 10 11 Click Density Click Level Noise Tone Noise Mod Speed Noise Mod Depth Dry Send to Noise Noise LPF Freq Noise LPF Q Noise Level Dry LPF Frequency Dry Level 05 0 127 06 0.00Hz 39.7Hz 0 127 0 127 1.0kHz 18.0kHz, thru 1.0 12.0 0 127 1.0kHz 18.0kHz, thru 0 127 Frequency with which the click sounds will occur Level of the click sounds Tone of noise Amplitude modulation frequency of the noise Amplitude modulation depth of the noise Mixture of dry signal into the noise Frequency at which the low pass lter will cut the high range Low pass lter resonance Noise level Frequency at which the low pass lter will cut the high range Level of the dry sound
15: LOFI
1 2 3 @4 5 6 7 8 9 10 SamplingFreq Ctrl Word Length Output Gain Filter Type PreLPF CutoffFreq PreLPF Resonance Emphasis Bit Assign Input Mode Dry/Wet Balance 44.1kHz 344Hz 1 127 -6dB +36dB thru,PowerBass,Radio,Telephone,Clean,Low 63Hz 18.0kHz, thru 1 12.0 off/on 06 mono/stereo D63>W D=W D<W63 Selects the sampling frequency Sets the sounds roughness Output gain Selects the type of sound Frequency at which the low pass lter will cut the high range Adds character to the input low-pass lter Changes the high-frequency characteristics Adjusts the effect of the Word Length Mono/stereo input mode selection Balance between dry sound and effect sound
16: LOW PASS FILTER, 17: HIGH PASS FILTER

1 2 @3 4 5 Cutoff Freq Q Filter Type Q Type Output Gain 32Hz 18.0kHz 0 113 -48dB, -24dB x1, x2 -12dB +12dB Species the lter cutoff frequency Sets the Q Selects the lter type Selects the Q type Output level
Noise may be produced with some voices when the 1. Cutoff Freq is varied rapidly.
18: BAND PASS FILTER

1 2 3 4 Cutoff Freq Band Width Q Output Gain 32Hz 18.0kHz 1 32 0 113 -12dB +12dB Species the lter cutoff frequency Sets the lter bandwidth Sets the Q Output level
19: AUTO WAH + DIST, 20: AUTO WAH + OVERDRIVE

1 2 3 4 5 6 7 8 9 10 11 12 13 14 LFO Frequency LFO Depth Cutoff Freq Offset Resonance Drive PostDrive EQ Low PostDrive EQ Mid PostDrive LPF Freq Drive Output Level EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Balance 0.0Hz 39.70Hz 0 127 0 127 1 12.0 0 127 -12dB +12dB -12dB +12dB 1.0kHz 18.0kHz, thru 0 127 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB D63>W D=W D<W63 Frequency at which the wah lter will be controlled Depth at which the wah lter will be controlled Offset value for the wah lter control frequency Bandwidth of the wah lter (Distortion) Degree of distortion (Distortion) Gain by which the EQ will boost/cut the low range (Distortion) Gain by which the EQ will boost/cut the mid range (Distortion) Frequency at which the lter will cut the high range (Distortion) Output level Frequency at which the EQ will boost/cut the low range Amount of gain by which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Amount of gain by which the EQ will boost/cut the high range Balance between the dry sound and effect sound
21: TOUCH WAH + DIST, 22: TOUCH WAH + OVERDRIVE

1 2 3 4 5 6 7 8 9 10 11 12 13 Sensitive Cutoff Freq Offset Resonance Drive PostDrive EQ Low PostDrive EQ Mid PostDrive LPF Freq Drive Output Level EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Balance 0 127 0 127 1 12.0 0 127 -12dB +12dB -12dB +12dB 1.0kHz 18.0kHz, thru 0 127 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB D63>W D=W D<W63 Sensitivity at which the wah lter will change in response to the input level Offset value for the wah lter control frequency Bandwidth of the wah lter (Distortion) Degree of distortion (Distortion) Gain by which the EQ will boost/cut the low range (Distortion) Gain by which the EQ will boost/cut the mid range (Distortion) Frequency at which the lter will cut the high range (Distortion) Output leve Frequency at which the EQ will boost/cut the low range Amount of gain by which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Amount of gain by which the EQ will boost/cut the high range Balance between the dry sound and effect sound
260
23: WAH + DIST + DELAY, 24: WAH + OVERDRIVE + DELAY

1 2 3 4 5 6 7 8 9 10 11 12 Wah Sensitive Wah Cutoff Freq Ofst Wah Resonance Wah Release Dist Drive Dist Output Level Dist EQ Low Gain Dist EQ Mid Gain Delay Mix Delay Time Dly Feedback Level Dry/Wet Balance 0 127 0 127 1 12.0 10ms 680ms 0 127 0 127 -12dB +12dB -12dB +12dB 0 127 0.1ms 1480.0ms -63 +63 D63>W D=W D<W63 Sets the wow lter sensitivity to input variation Offsets the wow lter control frequency Sets the wah lter bandwidth Sets the time before the wow lter center frequency returns to normal Degree of distortion Output level Amount of gain by which the EQ will boost/cut the low range Amount of gain by which the EQ will boost/cut the mid range Delay level Delay time Amount of feedback Balance of the dry sound and effect sound
25: TALKING MODULATOR

1 2 3 4 Vowel Move Speed Drive Output Level a/i/u/e/o 1 62 0 127 0 127 Vowel select The amount of time it takes to change to the selected vowel The amount of enhancement applied Output level
26: 3BAND EQ
1 2 3 4 5 6 7 8 EQ Low Frequency EQ Low Gain EQ Mid Frequency EQ Mid Gain EQ Mid Width EQ High Frequency EQ High Gain Input Mode 50Hz 2.0kHz -12dB +12dB 100Hz 10.0kHz -12dB +12dB 1 12.0 500Hz 16.0kHz -12dB +12dB mono/stereo Frequency at which the EQ will boost/cut the low range Amount of gain by which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the low range Amount of gain by which the EQ will boost/cut the mid range Width of the area in which the EQ will boost/cut the mid range Frequency at which the EQ will boost/cut the high range Amount of gain by which the EQ will boost/cut the high range Mono/stereo input mode selection
27: ISOLATOR
1 2 3 4 5 6 7 On/Off SW Low Level Mid Level High Level Low Mute SW Mid Mute SW High Mute SW off, on 0 127 0 127 0 127 off, on off, on off, on Isolator switch Low frequency level Mid frequency level High frequency level Low frequency mute switch Mid frequency mute switch High frequency mute switch
28: HARMONIC ENHANCER

1 2 3 HPF Cutoff Freq Drive Mix Level 500Hz 16.0kHz 0 127 0 127 Frequency at which the high pass lter will cut the low range of the effect sound Degree with which the enhancer effect will be applied Level at which the effect sound will be mixed into the dry sound
29: VOICE CANCEL

1 2 Low Adjust High Adjust 0 26 0 26 Adjusts the lower frequency of the midrange cancellation Adjusts the upper frequency of the midrange cancellation
30: COMPRESSOR
1 2 3 4 5 Threshold Attack Release Ratio Output Level -48dB -6dB 1ms 40ms 10ms 680ms 1 20.0 0 127 Input level at which compression begins to be applied Time until when the compressor begins to take effect Time until the compressor effect disappears Compression ratio of the compressor Output level
31: COMP + DIST

1 2 3 4 5 6 7 8 9 10 11 12 13 14 Drive LPF Cutoff Freq Output Level Edge Attack Release Threshold Ratio EQ Low Frequency EQ Low Gain EQ Mid Frequency EQ Mid Gain EQ Mid Width Dry/Wet Balance 0 127 1.0kHz 18.0kHz, thru 0 127 0 127 1ms 40ms 10ms 680ms -48dB -6dB 1 20.0 32Hz 2.0kHz -12dB +12dB 100Hz 10.0kHz -12dB +12dB 1 12.0 D63>W D=W D<W63 Degree of distortion Frequency at which the lter will cut the high range Output level Curve of distortion characteristics (127: distortion begins suddenly; 0: distortion begins gradually) (Compressor) Time until when the compressor begins to take effect (Compressor) Time until the compressor effect disappears (Compressor) Input level at which compression begins to be applied (Compression) Compression ratio of the compressor Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the mid range Gain with which the EQ will boost/cut the mid range Width of the mid range area which the EQ will boost/cut Balance of the dry sound and effect sound
32: COMP + DIST + DELAY, 33: COMP + OVERDRIVE + DELAY

1 2 3 4 5 6 7 8 9 10 11 12 Comp Threshold Comp Ratio Comp Attack Comp Release Dist. Drive Dist Output Level Dist EQ Low Gain Dist EQ Mid Gain Delay Mix Delay Time Dly Feedback Level Dry/Wet Balance -48dB -6dB 1 20.0 1ms 40ms 10ms 680ms 0 127 0 127 -12dB +12dB -12dB +12dB 0 127 0.1ms 1480.0ms -63 +63 D63>W D=W D<W63 Input level at which compression begins to be applied Compression ratio of the compressor Time until when the compressor begins to take effect Time until the compressor effect disappears Degree of distortion Output level Gain with which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the mid range Delay level Delay time Amount of feedback Balance of the dry sound and effect sound
Appendix
261
34: CLIPPER1
1 2 @3 4 5 Drive Drive Output Level Clip Band Cutoff Freq Clip Type 0 100 0 100 Lo, Hi 32Hz 18.0kHz TypeA,TypeB,TypeC,TypeD Degree of distortion Output level The frequency band to be distorted Distortion band cutoff frequency Type of distortion
35: CLIPPER2
1 2 @3 4 5 6 7 Drive Drive Output Level Clip Band Cutoff Freq Mid Band Width Clip Type Dry/Wet Balance 0 100 0 100 Lo, Hi, Mid, Lo&Hi 32Hz 18.0kHz 1 32 TypeA,TypeB,TypeC,TypeD D63>W D=W D<W63 Degree of distortion Output level Selects the band to be distorted Distortion band cutoff frequency Mid, Lo&Hi bandwidth Type of distortion Balance of the dry sound and effect sound
36: NOISE GATE

1 2 3 4 Threshold Attack Release Output Level -72dB -30dB 1ms 40ms 10ms 680ms 0 127 Input level at which the gate begins to open Time until when the gate begins to open Time until the gate closes Output level
37: V-DISTORTION
1 @2 @3 4 5 6 7 8 9 10 11 Over Drive Device Speaker Type Presence Output Level Delay Mix Delay Time L Delay Time R Feedback Time Feedback Level Dry/Wet Balance 0 100% Transister,Vintage Tube,Dsitortion1,2, Fuzz Flat, Stack, Combo,Twin,Radio,Megaphone -10 10 0 127 0 127 0.1ms 1480.0ms 0.1ms 1480.0ms 0.1ms 1480.0ms -63 +63 D63>W D=W D<W63 Degree of distortion Species the type of distortion Speaker simulation type High frequency control Output level Delay level Left channel delay time Right channel delay time Feedback delay time Amount of feedback Balance of the dry sound and effect sound
38: DISTORTION, 39: OVERDRIVE

1 2 3 4 5 6 7 8 9 10 Drive EQ Low Frequency EQ Low Gain LPF Cutoff Freq Output Level Edge EQ Mid Frequency EQ Mid Gain EQ Mid Width Dry/Wet Balance 0 127 32Hz 2.0kHz -12dB +12dB 1.0kHz 18.0kHz, thru 0 127 0 127 100Hz 10.0kHz -12dB +12dB 1 12.0 D63>W D=W D<W63 Degree of distortion Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the lter will cut the high range Output level Curve of distortion characteristics (127: distortion begins suddenly; 0: distortion begins gradually) Frequency at which the EQ will boost/cut the mid range Gain with which the EQ will boost/cut the mid range Width of the area in which the EQ will boost/cut the mid range Balance between the dry sound and the effect sound
40: AMP SIMULATOR

1 2 @3 4 5 6 Dry/Wet Balance Drive AMP Type LPF Cutoff Freq Edge Output Level D63>W D=W D<W63 0 127 Off, Stack, Combo,Tube 315Hz 18.0kHz, thru 0 127 0 127 Balance between the dry sound and the effect sound Degree of distortion Select the type of amp to be simulated Frequency at which the low pass lter will cut the high range Curve of distortion characteristics (127: distortion begins suddenly; 0: distortion begins gradually) Output level
41: STEREO DISTORTION, 42: STEREO OVERDRIVE

1 2 3 4 5 6 7 8 9 10 Drive EQ Low Frequency EQ Low Gain LPF Cutoff Freq Output Level Edge EQ Mid Frequency EQ Mid Gain EQ Mid Width Dry/Wet Balance 0 127 32Hz 2.0kHz -12dB +12dB 1.0kHz 18.0kHz, thru 0 127 0 127 100Hz 10.0kHz -12dB +12dB 1 12.0 D63>W D=W D<W63 Degree of distortion Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the lter will cut the high range Output level Curve of distortion characteristics (127: distortion begins suddenly; 0: distortion begins gradually) Frequency at which the EQ will boost/cut the mid range Gain with which the EQ will boost/cut the mid range Width of the area in which the EQ will boost/cut the mid range Balance between the dry sound and the effect sound
43: STEREO AMP SIMULATOR

1 2 @3 4 5 6 Dry/Wet Balance Drive AMP Type LPF Cutoff Freq Edge Output Level D63>W D=W D<W63 0 127 Off, Stack, Combo,Tube 315Hz 18.0kHz, thru 0 127 0 127 Balance between the dry sound and the effect sound Degree of distortion Type of amp simulation Frequency at which the low pass lter will cut the high range Curve of distortion characteristics (127: distortion begins suddenly; 0: distortion begins gradually) Output level
44: DIST + DELAY, 45: OVERDRIVE + DELAY

1 2 3 4 5 6 7 8 9 10 Dist Drive Dist Output Level Dist EQ Low Gain Dist EQ Mid Gain Delay Mix Delay Time L Delay Time R Dly Feedback Time Dly Feedback Level Dry/Wet Balance 0 127 0 127 -12dB +12dB -12dB +12dB 0 127 0.1ms 1480.0ms 0.1ms 1480.0ms 0.1ms 1480.0ms -63 +63 D63>W D=W D<W63 Degree of distortion Output level Gain with which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the mid range Delay level Left channel delay time Right channel delay time Feedback delay time Amount of feedback Balance between the dry sound and the effect sound
262
46: CHORUS, 48: CELESTE

1 2 3 4 5 6 7 8 9 10 11 12 13 Dry/Wet Balance LFO Frequency LFO Depth Feedback Level Delay Offset EQ Low Frequency EQ Low Gain EQ Mid Frequency EQ Mid Gain EQ Mid Width EQ High Frequency EQ High Gain Input Mode D63>W D=W D<W63 0.0Hz 39.70Hz 0 127 -63 +63 0.0ms 50.0ms 32Hz 2.0kHz -12dB +12dB 100Hz 10.0kHz -12dB +12dB 1 12.0 500Hz 16.0kHz -12dB +12dB mono/stereo Balance of the dry sound and effect sound Delay modulation frequency Delay modulation depth Level at which the delay output is returned to the input (negative values invert the phase) Offset value for delay modulation Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the mid range Gain with which the EQ will boost/cut the mid range Width of the mid range area which the EQ will boost/cut Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range Mono/stereo selection for the input
47: CHORUS2
1 2 3 4 5 6 7 8 9 10 11 12 @13 Dry/Wet Balance LFO Frequency LFO Depth Feedback Level Delay Offset EQ Low Frequency EQ Low Gain EQ Mid Frequency EQ Mid Gain EQ Mid Width EQ High Frequency EQ High Gain Input Mode D63>W D=W D<W63 0.0Hz 39.70Hz 0 127 -63 +63 0.0ms 50.0ms 32Hz 2.0kHz -12dB +12dB 100Hz 10.0kHz -12dB +12dB 1 12.0 500Hz 16.0kHz -12dB +12dB mono/stereo Balance of the dry sound and effect sound Delay modulation frequency Delay modulation depth Level at which the delay output is returned to the input (negative values invert the phase) Offset value for delay modulation Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the mid range Gain with which the EQ will boost/cut the mid range Width of the mid range area which the EQ will boost/cut Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range Mono/stereo selection for the input
49: SYMPHONIC
1 2 3 4 5 6 7 8 9 10 11 Dry/Wet Balance LFO Frequency LFO Depth Delay Offset EQ Low Frequency EQ Low Gain EQ Mid Frequency EQ Mid Gain EQ Mid Width EQ High Frequency EQ High Gain D63>W D=W D<W63 0.0Hz 39.70Hz 0 127 0.0ms 50.0ms 32Hz 2.0kHz -12dB +12dB 100Hz 10.0kHz -12dB +12dB 1 12.0 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Frequency of delay modulation Depth of delay modulation Delay modulation offset value Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the mid range Gain with which the EQ will boost/cut the mid range Width of the mid range area which the EQ will boost/cut Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
50: ENSEMBLE DETUNE

1 2 3 4 5 6 7 8 Dry/Wet Balance Detune Initial Delay Lch Initial Delay Rch EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain D63>W D=W D<W63 -50cent +50cent 0.0ms 50.0ms 0.0ms 50.0ms 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Amount by which the pitch will be detuned Length of left channel delay Length of right channel delay Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
51: FLANGER
1 2 3 4 5 6 7 8 9 10 11 12 13 Dry/Wet Balance LFO Frequency LFO Depth Feedback Level Delay Offset LFOPhaseDifference EQ Low Frequency EQ Low Gain EQ Mid Frequency EQ Mid Gain EQ Mid Width EQ High Frequency EQ High Gain D63>W D=W D<W63 0.0Hz 39.70Hz 0 127 -63 +63 0.0ms 50.0ms -180deg +180deg 32Hz 2.0kHz -12dB +12dB 100Hz 10.0kHz -12dB +12dB 1 12.0 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Frequency of delay modulation Depth of delay modulation Level at which delay output is returned to the input Offset value for delay modulation L/R phase difference of modulation waveform (no difference at 0 deg) Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the mid range Gain with which the EQ will boost/cut the mid range Width of the mid range area which the EQ will boost/cut Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
52: V-FLANGER
1 2 @3 4 5 6 7 8 9 10 11 12 13 14 15 16 Dry/Wet Balance LFO Frequency LFO Wave LFO Depth Feedback Level Feedback High Damp Delay Offset Modulation Phase Analog Feel EQ Low Frequency EQ Low Gain EQ Mid Frequency EQ Mid Gain EQ Mid Width EQ High Frequency EQ High Gain D63>W D=W D<W63 0.0Hz 39.70Hz TriAngle,Sine,Random 0 127 -63 +63 0.1 1.0 0.09 36.21ms -180 +180 0 10 32Hz 2.0kHz -12dB +12dB 100Hz 10.0kHz -12dB +12dB 1 12.0 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Frequency of delay modulation LFO waveform Depth of delay modulation Level at which delay output is returned to the input Adjust the high range attenuation (lower values will cause the high range to decay faster) Offset value for delay modulation Phase difference between the left and right channels waveforms Adjusts the analog feel Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the mid range Gain with which the EQ will boost/cut the mid range Width of the mid range area which the EQ will boost/cut Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
Appendix
263
53: PHASER1
1 2 3 4 5 6 7 8 9 10 11 Dry/Wet Balance LFO Frequency LFO Depth Phase Shift Offset Feedback Level Stage Diffusion EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain D63>W D=W D<W63 0.0Hz 39.70Hz 0 127 0 127 -63 +63 4, 5, 6, 7, 8, 9, 10, 11, 12 mono/stereo 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Frequency of phase modulation Depth of phase modulation Phase shift offset value Level at which phaser output will be returned to the input (negative values invert the phase) Number of phaser shifter stages Diffusion Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
54: PHASER2
1 2 3 4 5 6 7 8 9 10 11 Dry/Wet Balance LFO Frequency LFO Depth Phase Shift Offset Feedback Level Stage LFOPhaseDifference EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain D63>W D=W D<W63 0.0Hz 39.70Hz 0 127 0 127 -63 +63 3, 4, 5, 6 -180deg +180deg 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Frequency of phase modulation Depth of phase modulation Phase shift offset value Level at which phaser output will be returned to the input (negative values invert the phase) Number of phaser shifter stages L/R phase difference in the modulation waveform (no difference at 0 deg) Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
55: TREMOLO
1 2 3 4 5 6 7 8 9 10 11 12 LFO Frequency AM Depth PM Depth LFOPhaseDifference EQ Low Frequency EQ Low Gain EQ Mid Frequency EQ Mid Gain EQ Mid Width EQ High Frequency EQ High Gain Input Mode 0.0Hz 39.70Hz 0 127 0 127 -180deg +180deg 32Hz 2.0kHz -12dB +12dB 100Hz 10.0kHz -12dB +12dB 1 12.0 500Hz 16.0kHz -12dB +12dB mono/stereo Modulation frequency Amplitude modulation depth Delay modulation depth L/R phase difference of the modulation waveform (no difference at 0 deg) Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the mid range Gain with which the EQ will boost/cut the mid range Width of the mid range area which the EQ will boost/cut Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range Mono/stereo selection for the input
56: FLANGING PAN

1 2 3 4 5 6 7 8 9 10 11 12 13 @14 15 @16 Dry/Wet Balance Flanger&Pan Speed Flanger Depth Flanger Delay Flanger Feedback FlgPan Delay FlgPan Feedback HPF Frequency LPF Frequency Delay Time Delay Feedback Delay Level AM Speed AM Wave AM Depth AM Inverse R D63>W D=W D<W63 0.0Hz 39.70Hz 0 127 0.1 180.0ms -63 +63 0.1 180.0ms -63 +63 thru,22Hz 8.0kHz 1.0kHz 18.0kHz,thru 0.1 270.0ms -63 +63 0 127 0.0Hz 39.70Hz tri,sine,saw up,saw down 0 127 normal,inverse Balance between the dry sound and the effect sound Delay modulation frequency Delay modulation depth Delay time Feedback amount Delay time Feedback amount Frequency at which the high pass lter will cut the low range Frequency at which the low pass lter will cut the high range Delay time Feedback amount Delay level Frequency of amplitude modulation Select amplitude modulation waveform Amplitude modulation depth Invert left/right phase of amplitude modulation signal
57: FLOW PAN

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Dry/Wet Balance Delay Time Delay Time Ofst R Feedback Level FB Level Ofst R Feedback High Damp FB Hi Damp Ofst R Delay Mod Speed Delay Mod Depth Delay Dry/Wet PreDelayPan Speed PreDelayPan Wave PreDelayPan Depth Auto Pan Speed Auto Pan Wave Auto Pan Depth D63>W D=W D<W63 0.1 650ms 0 -884 -63 +63 -63 +63 0.1 1.0 -0.9 +0.9 0.0Hz 39.70Hz 0 127 1 127 0.0Hz 39.70Hz tri,sine 0 127 0.0Hz 39.70Hz tri,sine 0 127 Balance between delay sound and effect sound Delay time Offset of R ch delay time Feedback amount Offset of R ch feedback Adjust the high range attenuation (lower values will cause the high range to decay faster) Offset of R ch high damp Delay modulation frequency Delay modulation depth Balance between delay sound and effect sound Frequency of the pre-delay autopan Waveform of the pre-delay autopan Depth of the pre-delay autopan Autopan frequency Autopan waveform selection Autopan depth
58: ROTARY SPEAKER

1 2 3 4 5 6 7 8 9 10 LFO Frequency LFO Depth EQ Low Frequency EQ Low Gain EQ Mid Frequency EQ Mid Gain EQ Mid Width EQ High Frequency EQ High Gain Dry/Wet Balance 0.0Hz 39.70Hz 0 127 32Hz 2.0kHz -12dB +12dB 100Hz 10.0kHz -12dB +12dB 1 12.0 500Hz 16.0kHz -12dB +12dB D63>W D=W D<W63 Rotation frequency of the speaker Depth of modulation produced by speaker rotation Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the mid range Gain with which the EQ will boost/cut the mid range Width of the mid range area which the EQ will boost/cut Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range Balance of the dry sound and effect sound
264
59: 2WAY ROTARY SPEAKER

1 2 3 4 5 6 7 8 9 10 Rotor Speed Drive Low Drive High Low/High Balance Crossover Frequency Mic L-R Angle EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain 0.0Hz 39.70Hz 0 127 0 127 L63>H L=H L<H63 100Hz 10.0kHz 0deg 180deg 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB Rotation frequency of the speaker Depth of modulation produced by low-range speaker rotation Depth of modulation produced by high-range speaker rotation Volume balance between high-range speaker and low-range speaker Crossover frequency between high-range speaker and low-range speaker L/R angle of mics which pick up the output Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
60: DUAL ROTORS SPEAKER

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Speed Control Rotor Speed Slow Horn Speed Slow Rotor Speed Fast Horn Speed Fast Slow-Fast Time of R Slow-Fast Time of H Drive Low Drive High Low/High Balance Mic L-R Angle EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Slow/Fast 0.0Hz 2.65Hz 0.0Hz 2.65Hz 2.69Hz 39.70Hz 2.69Hz 39.70Hz 0 127 0 127 0 127 0 127 L63>H L=H L<H63 0deg 180deg 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB Speed switch The slow speed for the low frequency speaker The slow speed for the high frequency speaker The fast speed for the low frequency speaker The fast speed for the high frequency speaker The switching speed for the low frequency speaker The switching speed for the high frequency speaker Depth of modulation produced by low-range speaker rotation Depth of modulation produced by high-range speaker rotation Volume balance between high-range speaker and low-range speaker L/R angle of mics which pick up the output Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
61: DIST + ROTARY SPEAKER, 62: OVERDRIVE + ROTARY SPEAKER

1 2 3 4 5 6 7 8 9 10 Drive LPF Cutoff Freq Output Level LFO Frequency LFO Depth EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Balance 0 127 1.0kHz 18.0kHz, thru 0 127 0.0Hz 39.70Hz 0 127 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB D63>W D=W D<W63 Degree of distortion Frequency at which the lter will cut the high range Output level Rotation frequency of the speaker Depth of modulation produced by speaker rotation Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range Balance of the dry sound and effect sound
63: AMP SIM + ROTARY SPEAKER

1 @2 3 4 5 6 7 8 9 10 11 Drive AMP Type LPF Cutoff Freq Output Level LFO Frequency LFO Depth EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Balance 0 127 Off, Stack, Combo,Tube 1.0kHz 18.0kHz, thru 0 127 0.0Hz 39.70Hz 0 127 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB D63>W D=W D<W63 Degree of distortion Type of amp simulation Frequency at which the lter will cut the high range Output level Rotation frequency of the speaker Depth of modulation produced by speaker rotation Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range Balance of the dry sound and effect sound
64: DIST + 2WAY ROTARY SPEAKER, 65: OVERDRIVE + 2WAY ROTARY SPEAKER
1 2 3 4 5 6 7 8 9 10 11 12 13 14 Drive LPF Cutoff Freq Output Level Rotor Speed Drive Low Drive High Low/High Balance Crossover Frequency Mic L-R Angle EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Balance 0 127 1.0kHz 18.0kHz, thru 0 127 0.0Hz 39.70Hz 0 127 0 127 L63>H L=H L<H63 100Hz 10.0kHz 0deg 180deg 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB D63>W D=W D<W63 Degree of distortion Frequency at which the lter will cut the high range Output level Rotation frequency of the speaker Depth of modulation produced by low-range speaker rotation Depth of modulation produced by high-range speaker rotation Volume balance between high-range speaker and low-range speaker Crossover frequency between high-range speaker and low-range speaker L/R angle of mics which pick up the output Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range Balance of the dry sound and effect sound
66: AMP SIM + 2WAY ROTARY SPEAKER

1 @2 3 4 5 6 7 8 9 10 11 12 13 14 15 Drive AMP Type LPF Cutoff Freq Output Level Rotor Speed Drive Low Drive High Low/High Balance Crossover Frequency Mic L-R Angle EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Balance 0 127 Off, Stack, Combo,Tube 1.0kHz 18.0kHz, thru 0 127 0.0Hz 39.70Hz 0 127 0 127 L63>H L=H L<H63 100Hz 10.0kHz 0deg 180deg 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB D63>W D=W D<W63 Degree of distortion Type of amp simulation Frequency at which the lter will cut the high range Output level Rotation frequency of the speaker Depth of modulation produced by low-range speaker rotation Depth of modulation produced by high-range speaker rotation Volume balance between high-range speaker and low-range speaker Crossover frequency between high-range speaker and low-range speaker L/R angle of mics which pick up the output Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range Balance of the dry sound and effect sound
Appendix
265
67: AUTO PAN

1 2 3 4 5 6 7 8 9 10 11 LFO Frequency L/R Depth F/R Depth PAN Direction EQ Low Frequency EQ Low Gain EQ Mid Frequency EQ Mid Gain EQ Mid Width EQ High Frequency EQ High Gain 0.0Hz 39.70Hz 0 127 0 127 L<>R, L>>R, L<<R, Lturn, Rturn, L/R 32Hz 2.0kHz -12dB +12dB 100Hz 10.0kHz -12dB +12dB 1 12.0 500Hz 16.0kHz -12dB +12dB Auto pan frequency Left/right depth of panning Front/rear depth of panning Auto pan type (L<->R is sine wave, L/R is square wave) Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the mid range Gain with which the EQ will boost/cut the mid range Width of the mid range area which the EQ will boost/cut Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
68: DELAY + AUTO PAN

1 2 3 4 5 6 7 8 9 Dry/Wet Balance Delay Time Feedback Level Feedback High Damp Auto Pan Speed Auto Pan Depth EQ Frequency EQ Gain EQ Width D63>W D=W D<W63 0.1 740.0ms -63 +63 0.1 1.0 0.0Hz 39.70Hz 0 127 90Hz 10.0kHz -12dB +12dB 1.0 12.0 Balance of the dry sound and effect sound Delay time Amount of feedback High range attenuation (lower values cause the high range to decay faster) Auto pan frequency Panning depth Frequency at which the EQ will boost/cut the mid range Gain with which the EQ will boost/cut the mid range Width of the mid range area which the EQ will boost/cut
69: DELAY L,C,R

1 2 3 4 5 6 7 8 9 10 11 12 Dry/Wet Balance Delay Time L Delay Time R Delay Time C Feedback Time Feedback Level Delay Level C Feedback High Damp EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain D63>W D=W D<W63 0.1ms 1480.0ms 0.1ms 1480.0ms 0.1ms 1480.0ms 0.1ms 1480.0ms -63 +63 0 127 0.1 1.0 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Length of left channel delay Length of right channel delay Length of center channel delay Length of feedback delay Feedback amount Volume of center channel High range attenuation (lower values cause the high range to decay faster) Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
70: DELAY L,R

1 2 3 4 5 6 7 8 9 10 11 Dry/Wet Balance Delay Time L Delay Time R Feedback Time 1 Feedback Time 2 Feedback Level Feedback High Damp EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain D63>W D=W D<W63 0.1ms 1480.0ms 0.1ms 1480.0ms 0.1ms 1480.0ms 0.1ms 1480.0ms -63 +63 0.1 1.0 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Length of left channel delay Length of right channel delay Length of feedback delay 1 Length of feedback delay 2 Amount of feedback High range attenuation (lower values cause the high range to decay faster) Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
71: ECHO
1 2 3 4 5 6 7 8 9 10 11 12 13 Dry/Wet Balance Delay Time L1 Feedback Level L Delay Time R1 Feedback Level R Feedback High Damp Delay Time L2 Delay Time R2 Delay Level 2 EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain D63>W D=W D<W63 0.1ms 740.0ms -63 +63 0.1ms 740.0ms -63 +63 0.1 1.0 0.1ms 740.0ms 0.1ms 740.0ms 0 127 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Length of rst delay of left channel Amount of feedback for left channel Length of rst delay of right channel Amount of feedback for right channel High range attenuation (lower values cause the high range to decay faster) Length of second delay of left channel Length of second delay of right channel Volume of second delay Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
72: CROSS DELAY

1 2 3 4 5 6 7 8 9 10 Dry/Wet Balance Delay Time L>R Delay Time R>L Feedback Level Input Select Feedback High Damp EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain D63>W D=W D<W63 0.1ms 740.0ms 0.1ms 740.0ms -63 +63 L, R, L&R 0.1 1.0 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Delay time from left (input) to right (output) Delay time from right (input) to left (output) Amount of feedback Input select High range attenuation (lower values cause the high range to decay faster) Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
73: CONTROL DELAY(MONO)

1 2 3 4 5 6 7 8 9 10 Delay Time Feedback Level Feedback High Damp Delay transition rate Control Type EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Balance 0.1ms 1480.0ms -63 +63 0.1 1.0 1 48 Normal, Scratch 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB D63>W D=W D<W63 Delay time Amount of feedback High range attenuation (lower values cause the high range to decay faster) Selects the speed of delay time variation Normal or scratch type setting Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range Balance of the dry sound and effect sound
266
74: CONTROL DELAY(STEREO)

1 2 3 4 5 6 7 8 9 10 Delay Time Feedback Level Feedback High Damp Delay transition rate Control Type EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Balance 0.1ms 740.0ms -63 +63 0.1 1.0 1 48 Normal, Scratch 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB D63>W D=W D<W63 Delay time Amount of feedback High range attenuation (lower values cause the high range to decay faster) Selects the speed of delay time variation Normal or scratch type setting Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range Balance of the dry sound and effect sound
75: AMBIENCE
1 2 3 4 5 6 7 Dry/Wet Balance Delay Time Wet Output Phase EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain D63>W D=W D<W63 0.0ms 50.0ms normal/inverse 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Delay time Inverts the left an right channel effect phase Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
76: KARAOKE
1 2 3 4 5 Dry/Wet Balance Delay Time Feedback Level HPF Cutoff Freq LPF Cutoff Freq D63>W D=W D<W63 0.1ms 400.0ms -63 +63 thru, 20Hz 8.0kHz 1.0kHz 18.0kHz, thru Balance of the dry sound and effect sound Sets the karaoke echo reection time Sets the number of reections Frequency at which the high pass lter will cut the low range Adds character to the input low-pas lter
77: EARLY REFLECTION

1 @2 3 4 5 6 7 8 9 10 11 Dry/Wet Balance Type Room Size Diffusion Initial Delay HPF Cutoff Freq LPF Cutoff Freq Liveness Density Feedback High Damp Feedback Level D63>W D=W D<W63 S-hall, L-hall, random, reverse, plate, spring 0.1 20.0 0 10 0.1ms 200.0ms thru, 22Hz 8.0kHz 1.0kHz 18.0kHz, thru 0 10 03 0.1 1.0 -63 +63 Balance of the dry sound and effect sound Selects the type of early reections Sets the room size (higher values for longer reections) Sets the feeling of width The delay before the early reections begin Frequency at which the high pass lter will cut the low range Adds character to the input low-pas lter Sets the ER decay (smaller values for faster decay) Sets the density of the reections (higher values for higher density) Adjusts the high-frequency decay (smaller values for faster decay) Amount of feedback
78: GATE REVERB, 79: REVERSE GATE

1 2 3 4 5 6 7 8 @9 10 11 Dry/Wet Balance Type Room Size Diffusion Initial Delay HPF Cutoff Freq LPF Cutoff Freq Liveness Density Feedback High Damp Feedback Level D63>W D=W D<W63 Type-A, Type-B 0.1 20.0 0 10 0.1ms 200.0ms thru, 20Hz 8.0kHz 1.0kHz 18.0kHz, thru 0 10 03 0.1 1.0 -63 +63 Balance of the dry sound and effect sound Selects the type of early reections Sets the room size (higher values for longer reections) Sets the feeling of width Sets the delay time until the GateReverb or ReverseGate begins Frequency at which the high pass lter will cut the low range Adds character to the input low-pas lter Sets the ER decay (smaller values for faster decay) Sets the density of the reections (higher values for higher density) High range attenuation (lower values cause the high range to decay faster) Amount of feedback
80: HALL 83: PLATE

1 2 3 4 5 6 7 @8 9 10 11 Dry/Wet Balance Reverb Time Diffusion Initial Delay HPF Cutoff Freq LPF Cutoff Freq Reverb Delay Density ER/rev Balance Feedback High Damp Feedback Level D63>W D=W D<W63 0.3s 30.0s 0 10 0.1ms 99.3ms thru, 20Hz 8.0kHz 1.0kHz 18.0kHz, thru 0.1ms 99.3ms 04 E63>R E=R E<R63 0.1 1.0 -63 +63 Balance of the dry sound and effect sound Reverb length Spread of the reverb Delay time until the early reections Frequency at which the high pass lter will cut the low range Frequency at which the low pass lter will cut the high range Delay time from the early reections until the reverberation Density of the reverberation Level balance of the early reections and the reverberation High range attenuation (lower values cause the high range to decay faster) Amount of feedback for the initial delay
84: WHITE ROOM 87: CANYON

1 2 3 4 5 6 7 8 9 10 11 @12 13 14 15 Dry/Wet Balance Reverb Time Diffusion Initial Delay HPF Cutoff Freq LPF Cutoff Freq Width Height Depth Wall Vary Reverb Delay Density ER/Rev Balance Feedback High Damp Feedback Level D63>W D=W D<W63 0.3s 30.0s 0 10 0.1ms 99.3ms thru, 20Hz 8.0kHz 1.0kHz 18.0kHz, thru 0.5m 10.2m 0.5m 20.2m 0.5m 30.2m 0 30 0.1ms 99.3ms 04 E63>R E=R E<R63 0.1 1.0 -63 +63 Balance of the dry sound and effect sound Reverb length Spread of the reverb Delay time until the early reections Frequency at which the high pass lter will cut the low range Frequency at which the low pass lter will cut the high range Width of the simulated room Height of the simulated room Depth of the simulated room Wall surface of the simulated room (higher values produce more random reections) Delay time from the early reections until the reverberation Density of the reverberation Level balance of the early reections and the reverberation High range attenuation (lower values cause the high range to decay faster) Amount of feedback for the initial delay
Appendix
267
88: TEMPO DELAY (MONO)

1 @2 3 4 5 6 7 8 9 10 Dry/Wet Delay Time Feedback Level Feedback High Damp L/R Diffusion Lag EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain D63>W D=W D<W63 32nd note whole note -63 +63 0.1 1.0 -63ms +63ms -63ms +63ms 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Delay length specied by note length Amount of feedback High range attenuation (lower values cause the high range to decay faster) The feeling of width produced by the delay Lag in relation to tempo Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
Synchronizes to external MIDI clock when Program LFO sync is set to MIDI, and to the Program LFO tempo when set to Manual.
89: TEMPO DELAY (STEREO)

1 @2 3 4 5 6 7 8 9 10 Dry/Wet Delay Time Feedback Level Feedback High Damp L/R Diffusion Lag EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain D63>W D=W D<W63 32nd note half note -63 +63 0.1 1.0 -63ms +63ms -63ms +63ms 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Delay length specied by note length Amount of feedback High range attenuation (lower values cause the high range to decay faster) The feeling of width produced by the delay Lag in relation to tempo Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
90: TEMPO CROSS DELAY

1 @2 @3 4 5 6 7 8 9 10 11 Dry/Wet Balance Delay Time L>R Delay Time R>L Feedback Level Feedback High Damp Input Select Lag EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain D63>W D=W D<W63 32nd note half note 32nd note half note -63 +63 0.1 1.0 L, R, L&R -63ms +63ms 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Left (input) to right (output) delay specied by note length Right (input) to left (output) delay specied by note length Amount of feedback High range attenuation (lower values cause the high range to decay faster) Input selection Lag in relation to tempo Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range
91: TEMPO FLANGER

1 2 3 4 5 6 @7 8 9 10 11 12 13 14 15 Dry/Wet Balance LFO frequency LFO depth Feedback Level Delay Offset LFO Phase Difference LFO Init Phase EQ Low Frequency EQ Low Gain EQ Mid Frequency EQ Mid Gain EQ Mid Width EQ High Frequency EQ High Gain LFO Reset (Ctrl) D63>W D=W D<W63 32nd note 1/4 note x 16 0 127 -63 +63 0.0ms 50.0ms -180deg +180deg 0deg, 90deg, 180deg, 270deg 32Hz 2.0kHz -12dB +12dB 100Hz 10.0kHz -12dB +12dB 1 12.0 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Delay modulation frequency specied by note length Delay modulation depth Level at which the delay output is returned to the input Offset value for delay modulation L/R phase difference in the modulation waveform (no difference at 0 deg) Sets the initial phase of the LFO waveform Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the mid range Gain with which the EQ will boost/cut the mid range Width of the mid range area which the EQ will boost/cut Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range Reset to initial phase (for MIDI control)
Synchronizes to external MIDI clock when Program LFO sync is set to MIDI, and to the Program LFO tempo when set to Manual. The initial phase of the LFO modulation waveform can be reset from a MIDI controller. In order to do this the controller to be used must be assigned to E*-15 (* is the effect number used for this effect) via the program controller setup display. The phase is reset when a corresponding MIDI control change message is received, regardless of the control change value.
92: TEMPO PHASER

1 2 3 4 5 6 7 @8 9 10 11 12 13 Dry/Wet Balance LFO frequency LFO depth phase shift offset feedback level stage LFO phase difference LFO Init Phase EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain LFO Reset (Ctrl) D63>W D=W D<W63 32nd note 1/4 note x 16 0 127 0 127 -63 +63 3, 4, 5, 6 -180deg +180deg 0deg, 90deg, 180deg, 270deg 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB Balance of the dry sound and effect sound Phase modulation frequency specied by note length Depth of phase modulation Phase shift offset value Level at which phaser output will be returned to the input (negative values invert the phase) Number of phaser shifter stages L/R phase difference in the modulation waveform (no difference at 0 deg) Sets the initial phase of the LFO waveform Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range Reset to initial phase (for MIDI control)
268
93: TEMPO AUTO WAH

1 2 3 4 @5 6 7 8 9 10 11 LFO Depth LFO Frequency Cutoff Freq Offset Resonance LFO Init Phase EQ Low Frequency EQ Low Gain EQ High Frequency EQ High Gain Dry/Wet Balance LFO Reset (Ctrl) 0 127 32nd note 1/4 note x 16 0 127 1 12.0 0deg, 90deg, 180deg, 270deg 32Hz 2.0kHz -12dB +12dB 500Hz 16.0kHz -12dB +12dB D63>W D=W D<W63 Wow lter control depth Wow lter control frequency (specied by note length) Wow lter control frequency offset Wow lter bandwidth Sets the initial phase of the LFO waveform Frequency at which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the low range Frequency at which the EQ will boost/cut the high range Gain with which the EQ will boost/cut the high range Balance of the dry sound and effect sound Reset to initial phase (for MIDI control)
94: TEMPO DIGITAL SCRATCH

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Input Level Initial Delay Scratch Speed Scratch Depth Scrch LFO Init Phase Auto Pan Speed Auto Pan Depth Pan LFO Init Phase EQ Frequency EQ Gain EQ Width HPF Frequency Dry/Wet Balance Scrch LFO Reset (Ctrl) Pan LFO Reset (Ctrl) 0 127 0.1 460.0ms 32nd note 1/4 note x 16 0 127 0deg, 90deg, 180deg, 270deg 32nd note 1/4 note x 16 0 127 0deg, 90deg, 180deg, 270deg 100Hz 10.0kHz -12 +12dB 1.0 12.0 thru, 20Hz 8.0kHz D63>W D=W D<W63 The degree of scratch effect Delay time Scratch modulation frequency (specied by note length) Scratch modulation depth Initial phase setting (Scratch LFO) Auto-pan frequency (specied by note length) Auto-pan depth Initial phase setting (Pan LFO) Frequency at which the EQ will boost/cut the mid range Gain with which the EQ will boost/cut the mid range Width of the mid range area which the EQ will boost/cut Frequency at which the high pass lter will cut the low range Balance of the dry sound and effect sound Reset to initial phase (for MIDI control) Reset to initial phase (for MIDI control)
Synchronizes to external MIDI clock when Program LFO sync is set to MIDI, and to the Program LFO tempo when set to Manual. The initial phase of the LFO modulation and pan waveforms can be reset from a MIDI controller. In order to do this the controller to be used must be assigned to E*-14 or E*-15 (* is the effect number used for this effect) via the program controller setup display. The phase is reset when a corresponding MIDI control change message is received, regardless of the control change value.
95: TEMPO AUTO SYNTH

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Mod Speed Mod Wave Type Mod Depth Mod Depth Ofst R LPF Frequency HPF Frequency Delay Time Delay Time Ofst R Feedback Level Delay Level AM Speed AM Wave AM Depth AM Inverse R AM Init Phase AM Reset (Ctrl) 0 127 TypeA,TypeB,TypeC,TypeD 0 127 -63 +63 1.0kHz 18.0kHz,thru thru,22Hz 8.0kHz 0.1 370.0ms 0 -884 -63 +63 0 127 32nd note 1/4 note x 16 tri,sine,saw up,saw down 0 127 normal,inverse 0deg, 90deg, 180deg, 270deg Modulation speed Modulation type Modulation depth Modulation depth in relation to right-channel offset Frequency at which the low pass lter will cut the high range Frequency at which the high pass lter will cut the low range Delay time Offset of R ch delay time Feedback amount Delay level Modulation frequency specied by note length Modulation waveform Amplitude modulation depth Inverts the phase of the left and right channels of the modulation waveform Sets the initial phase of the modulation waveform Reset to initial phase (for MIDI control)
96: TEMPO FLANGING PAN

1 2 3 4 5 6 7 @8 9 10 11 12 13 14 15 16 Dry/Wet Balance Flanger&Pan Speed Flanger Depth Flanger Delay Flanger Feedback FlgPan Delay FlgPan Feedback LFO Init Phase LPF Frequency Delay Time Delay Feedback Delay Level AM Speed AM Depth AM Init Phase LFO Reset (Ctrl) D63>W D=W D<W63 32nd note 1/4 note x 16 0 127 0.1 180.0ms -63 +63 0.1 180.0ms -63 +63 0deg, 90deg, 180deg, 270deg 1.0kHz 18.0kHz,thru 32th note 1/4 note -63 +63 0 127 32nd note 1/4 note x 16 0 127 0deg, 90deg, 180deg, 270deg Balance of the dry sound and effect sound Delay modulation frequency specied by note length Delay modulation depth Delay time Feedback amount Delay time Feedback amount Sets the initial phase of the LFO waveform Frequency at which the low pass lter will cut the high range Delay time specied by note length Feedback amount Delay level Amplitude modulation frequency specied by note length Amplitude modulation depth Sets the initial phase of the modulation waveform Reset to initial phase (for MIDI control)
Appendix
269
Control Change Number List
Control Change Number List

A list of the control change numbers used by many MIDI devices (synthesizers, MIDI controllers, MIDI tone generators etc.) is given below. You may nd it useful to refer to this when making controller settings for programs or samples. In the table, the Controller or function column lists only the application that is most widely used in Yamaha products and other MIDI devices, and does not indicate that the effect that the controller will have on the sound of the A5000/A4000.
Control change number 000 001 002 003 004 005 006 007 008 009 010 011 012 031 032 033 037 038 039 063 064 065 066 067 068 120 Controller or function Bank select MSB Modulation wheel Breath controller Unused Foot controller Portamento time Data entry MSB Volume control Unused Panpot Expression Unused Bank select LSB Unused Data entry LSB Unused Hold 1 Portamento switch Unused Soft pedal Unused
270
Troubleshooting
Troubleshooting
If you experience problems such as no sound or incorrect pitch, refer to this section and make sure that the A5000/A4000 and your other equipment has the correct settings.
No sound
Is the power of the A5000/A4000 and your external equipment turned on? Are MIDI cables and audio cables connected correctly between the A5000/A4000 and the external equipment? (page 20 26) Is the MASTER VOL knob raised? (page 10)
When there is a problem with the program settings

Is the program setting RchASSIGN set to other than off for the desired sample in memory? (page 94) In the EASY EDIT settings, have you modied the sample keyboard range or velocity range. (page 99 100) Are the effect settings Input Level or Output Level set to 0? (page 104) Is Program Level set to 0? (page 90) If an external controller has been set to control program level, is that controller in the 0 position? (page 110)
When there is a problem with the sample settings

Are the key range settings Low and High set correctly? (page 127) Are the velocity range settings Low and High set correctly? (page 131) Is Sample Level set to 0? (page 127) Is a setting other than off selected for Output1 or Output2? (page 129) Is the Output Leve1 or Output Level2 parameter set to 0? (page 129) For some samples, strongly applying a lter may mean that the sound cannot be heard at all. (page 133) Is the AEG Attack Rate set to an extremely low value? (page 137) Is the MIDI receive channel of the sample set correctly? (page 145) If an external controller has been set to control sample level, is that controller in the 0 position? (page 146)
Pitch is incorrect
Has the pitch bend wheel of an external MIDI device been moved?
When there is a problem with the program settings

Is Transpose set to a value other than 0? (page 90) If you are using a sample for which portamento is =Pgm, is the portamento Rate set extremely low (or is the Time extremely high)? (page 92)
When there is a problem with the sample settings

Is Original Key set correctly? (page 128) Are Pitch Coarse and Pitch Fine set correctly? (page 129) Is Fixed Pitch turned on? (page 130) Is Random Pitch set to a setting other than 0? (page 130) Is the Pitch EG set? (page 140) If an external controller has been set to control the Pitch Bias of a sample, is that controller raised (or lowered) ? (page 146) 271
Appendix
Troubleshooting
When there is a problem with the utility settings

Are the master tuning parameters Coarse and Fine set correctly? (page 195) Is the MIDI parameter Transpose set to other than 0? (page 200)
Cannot record
If you are recording an analog signal, is the REC VOL knob turned up? (page 10) Is there free memory? To create contiguous free space, execute the Optimize operation. (page 151) Is the Input selected correctly? (page 155)
Cannot save data

Is the write protect tab of the oppy disk, MO disk, or other in the Protect position? Is the oppy disk or hard disk formatted correctly? (page 177 180) Is the hard disk mounted correctly? (page 173)
Other problems
Cannot use the AD input function
Is the programs AD Input setting turned on? (page 107) Is the AD input Output1 or Output2 set to other than off? (page 108) Is the AD input Output Level1 or Output Level2 set to 0? (page 108)
Cannot make ne adjustments to the sample addresses

Is Auto set to other than off? (page 123)
Cannot play chords

Is the sample parameter or easy edit parameter Poly/Mono set to Mono? (page 69, 127) Does the sample parameter or easy edit parameter Alternate Group have a setting other than off? (page 101, 145)
Volume or tone differs depending on the pitch

Is level scaling specied for the sample? (page 132) Is lter scaling specied for the sample? (page 135)
Tone, pitch or volume changes cyclically

Is the samples LFO parameter Cutoff Mod Depth set to 1 or more? (page 144) Is the samples LFO parameter Pitch Mod Depth set to 1 or more? (page 144) Is the samples LFO parameter Amp Mod Depth set to 1 or more? (page 144) If an external controller has been set to control the Cutoff Mod Depth, Pitch Mod Depth or Amp Mod Depth of a sample, is that controller raised (or lowered) ? (page 144)
Of the incoming MIDI messages, only specic MIDI messages are not received
In the utility setting, are any of the settings Program Change, Control Change, After Touch or Pitch Bend set to disable? (page 200 201)
272
Error Messages
Error Messages
Here is a list of the error messages that will appear when an incorrect operation is performed or when a setting is incorrect.
Audio CD is required. Audition requires more memory. Bulk data error. Bulk protect switch is ON. Cannot copy Volume to FD. Cannot create sample (>16MW). Cannot nd associated le. Cannot nd disk. Cannot nd CD-R. Cannot nd le. Cannot nd SCSI or IDE disk. Cannot revert this sample. Cannot write to this disk. CD-R size overow. DIG or OPT signal input is required. Disk drive is not ready. Disk is duplicated in list. Disk is not formatted. Disk is write protected. Disk read/write error. File is being accessed. MIDI buffer is full. MIDI is busy. MIDI receive error. Name already exists. Non-existent track or index. Not enough disk area or too many items. Param memory full or too many samples. Please set device number. Sample Bank is selected in list. Sample processing failed. SIMM conguration error. SCSI terminator or device error. Some samples are copy protected. Too many samples. An audio CD is not loaded into the external CD-ROM drive. There is not enough wave memory available to use the AUDITION function. Direct playback from the disk is not possible. Processing of a bulk dump failed. Bulk data or a SCSI message was received when the bulk protect switch was on. Cannot copy a volume unit to a oppy disk. An attempt was made to create a sample larger than 16 Mwords (32 megabytes). The voice le associated with the voice data could not be located. Not ready for disk operation. Cannot prepare the CD-ROM drive for operation. The specied le does not exist. SCSI or IDE disk could not be found. The revert function cannot be used with newly created samples which have not been saved or imported samples. An attempt has been made to write to an unwriteable CD-ROM or other disk. The data to be written exceeds the capacity of the CD-R disk. No digital signal is present at the DIGITAL IN or OPTICAL IN terminal. The disk is not ready for saving or loading. Duplicate backup source disks have been specied. The disk is not formatted for the A5000/A4000. The disk is write protected, and writing could not be performed. An error occurred while reading or writing to/from disk. You attempted to access a le which was undergoing some type of processing. The A5000/A4000s processing was not able to keep up with MIDI input. You attempted to execute a bulk dump from the front panel while a bulk dump or parameter change etc. was being processed. A MIDI receive error occurred. A le on disk or in memory with the specied name already exists. The audio CD loaded into the external CD-ROM drive does not have the specied track number or index number. There is not enough disk space to complete the operation, or the total number of samples/sample banks which can be saved to disk has been exceeded. The operation cannot be completed because not enough parameter memory is available, or the number of samples, sample banks, etc., which can be retained in memory has been exceeded. Transmission or reception of bulk data was attempted with the device number turned off. Sample banks cannot be written to an audio CD. When executing a waveform processing command, the specied command could not be executed due to insufcient free space in the work area of wave memory, or for some other reason. The A5000/A4000 was not able to start up, due to the fact that expansion SIMMs are not installed in pairs, or because the usage order of the expansion slots is incorrect etc. A SCSI error has occurred. Check terminators and connections and try again. You have attempted to export or write copy-protected samples to an audio CD. The operation cannot be completed because the number of target samples is too great. Up to 128 samples can be arranged at one time, and the maximum number of samples that can be contained in a sample bank is 127. The sample could not be created, either because the maximum number of 64 was exceeded when consecutively recording with New+, or because an identically-named sample already exists. Logical formatting failed. Try physical formatting. Either the contents of the le have been damaged, or it is the wrong format. The le is corrupted, or has an unsupported format. The le name could not be detected by the A5000/A4000. Samples that do not have a 44.1 kHz sampling rate cannot be written to an audio CD. A verication error occurred while writing to disk. An error occurred in wave memory. The specied command could not be executed due to insufcient free space in wave memory.
Too many takes. Try physical format. Unknown disk or le format. Unsupported le format. Unsupported le name. Unsupported sampling frequency. Verication error. Wave memory error. Wave memory full.
Appendix
273
MIDI Data Format
MIDI Data Format

1. MIDI reception/transmission conditions block diagram
< MIDI reception conditions > 1/3 n ..............MIDI receive channel SW ..........disable SW. Program LFO Sync < SW > Manual/MIDI (*2) < MIDI reception conditions > 3/3 SW .......... BULK protect SW. nn ............ Device Number Bulk Protect < SW > enable/ disable
$F8 Timing Clock $FA Start $FB Continue $FC Stop $FE Active Sensing $8n Note Off $9n Note On/Off
MIDI (*1)
$F0,$7E,$nn,$01
Dump Header
$F0,$7E,$nn,$02 $F0,$7E,$nn,$03 $F0,$7E,$nn,$7C $F0,$7E,$nn,$7D $F0,$7E,$nn,$7E $F0,$7E,$nn,$7F $F0,$7E,$nn,$05,$01 $F0,$7E,$nn,$05,$02 $F0,$7E,$nn,$06,$01
Data Packet Dump Request Wait Cancel NAK ACK Loop Point Transmission Loop Points Request Identity Request Identity Reply
Control Change < SW > enable/disable MIDI (*1)
$Bn,$00 Control Change $Bn,$78 $Cn,$00 Program Change $Cn,$7F $Dn After Touch
Program Change < SW > enable/disable
$F0,$7E,$nn,$06,$02 (*1) For the A5000 one of the A/B inputs can be selected.
After Touch < SW > enable/disable Pitch Bend < SW > enable/disable
< MIDI transmission conditions > Note Off
$En Pitch Bend
Note On/Off Control Change Program Change
(*1) For the A5000 the same applies to both A/B inputs. (*2) For the A5000 one of the A/B inputs can be selected.
< MIDI reception conditions > 2/3 SW ...........BULK protect SW. n ...............Device Number MIDI (*1) $F0,$43,$10,$58,$7F,$00,$00,$F7 Test Entry $F0,$43,$1n,$58,$00 $F0,$43,$1n,$58,$01 $F0,$43,$1n,$58,$02 $F0,$43,$1n,$58,$03 $F0,$43,$1n,$58,$04 $F0,$43,$3n,$58,$01 $F0,$43,$3n,$58,$02 $F0,$43,$3n,$58,$04 $F0,$43,$2n,$7A Bulk Protect < SW > enable/disable $F0,$43,$0n,$7A (LM__0474SY) (*2) $F0,$43,$0n,$7A (LM__0474PG) (*2) $F0,$43,$0n,$7A (LM__0474SB) (*2) $F0,$43,$0n,$7A (LM__0474SP) (*2) $F0,$43,$0n,$7A (LM__0474WD) (*2) $F0,$43,$0n,$7A (LM__0474SQ) (*2) (*1) For the A5000 one of the A/B inputs can be selected. (*2) For the A5000 each is LM 0475**. Paramter Change (object select) Paramter Change (object edit) Paramter Change (system parameter) Paramter Change (switch remote) Paramter Change (object link) Paramter Value Request (object) Paramter Value Request (system parameter) Paramter Value Request (object link) Dump Request
After Touch Pitch Bend Dump Header Dump Packet ACK NAK Cancel Wait Loop Point Transmission Identity Reply System Parameter Bulk Program Bulk Sample Bank Bulk Sample Bulk Wave Data Bulk Sequence Bulk System Parameter Bulk Program Bulk Sample Bank Bulk Sample Bulk Wave Data Bulk Sequence Bulk Object List Bulk Parameter Change <Device Number> 1-16; in the case of All, 1 MIDI
274
Appendix
MIDI Data Format
2. Channel messages
Channel messages are received as follows. When Program Mode = Single and Omni SW is on, The Note ON/OFF, Control Change, Pitch Bend, After Touch, and Program Change channels have no meaning. When Program Change SW is enabled and Program Mode = Single the Basic Receive Channel is used; when Program Mode = Multi the Part 1 receive channel is used. No program change occurs when off. However, when a program change is received during internal MIDI sequencer recording, the program change is not recorded even if the Program Change SW is off. Transmission is performed when the internal MIDI sequencer is playing, and when the KNOB Control function and FKey Play function are being used. When the MIDI sequencer is playing, the MIDI events that are played back are transmitted to the internal tone generator, and also simultaneously transmitted via MIDI OUT. When Knob control used, a value related to the number of rotations is transmitted for the selected Ch and Control#. When the FKey Play function is used, Note On/Off messages will be transmitted on the specied channel with the specied note number and velocity. The velocity used when transmitting a Note Off message is xed. Note Off messages will have a velocity of 0 if the form $8n is used, and if the form $9n is used the velocity will be determined case by case. 2.1. Reception 2.1.1. Note off Note range = Velocity range = 2.1.2. Note on/off Note range = Velocity range = C-2 G8 0 127 C-2 G8 ignored
Parameters which function for each MIDI channel of a program cntrl# 7 10 64 65 66 parameter Volume(Level) Pan Sustain Portament ON/OFF Sostenute data range 0 127 0 127 0 127 0 127 0 127
Parameters which function for samples or sample banks cntrl# 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 parameter Pitch Mod Depth Amp Mod Depth Cutoff Mod Depth Cutoff Bias Filter Q/Width Pan Bias Pitch Bias Sample Level LFO Speed LFO Delay AEG Attack AEG Decay AEG Sustain Level AEG Release PEG Attack PEG Decay PEG Release PEG Init Level PEG Sustain Level FEG Attack FEG Decay FEG Release FEG Init Level FEG Sustain Level FEG Level Pitch Bend Wave Start Address Cutoff Distance Filter Gain Sample Portamento Rate/Time Sample Control 1 Range Sample Control 2 Range Sample Control 3 Range Sample Control 4 Range Sample Control 5 Range Sample Control 6 Range data range 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
2.1.3. Polyphonic aftertouch Not received. 2.1.4. Control changes The following parameters can be controlled. Parameters which function for each program. cntrl# 5 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 0-120 parameter Program Portamento Time Program Portamento Rate/Time LFO S/H Speed AD Input Pan AD Input Level AD Input L Pan AD Input R Pan AD Input L Level AD Input R Level Program Level EF1 Level EF1 Pan EF1 Width EF1 Parameter 1 16 EF2 Level EF2 Pan EF2 Width EF2 Parameter 1 16 EF3 Level EF3 Pan EF3 Width EF3 Parameter 1 16 EF4 Level EF4 Pan EF4 Width EF4 Parameter 1 16 EF5 Level EF5 Pan EF5 Width EF5 Parameter 1 16 EF6 Level EF6 Pan EF6 Width EF6 Parameter 1 16 Program LFO Depth Control 1 Range Control 2 Range Control 3 Range Control 4 Range data range 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127 0 127
* * * * * * * * * * * * * * * * * * * * * * (A5000 only) * (A5000 only) * (A5000 only) * (A5000 only) * (A5000 only) * (A5000 only) * (A5000 only) * (A5000 only) * (A5000 only) * (A5000 only) * (A5000 only) * (A5000 only) * * * * *
Parameters marked by "*" depend on the Sample Control settings. 2.1.5. Mode messages Messages which function always cntrl# 120 121 123 parameter All sound off Reset all controllers All notes off data range 0 127 0 127 0 127
Messages which function for samples or sample banks cntrl# 126 127 parameter mono mode poly mode data range 0 127 0 127
2.1.6. Program changes When a program change message is received, the corresponding program is selected for playback and editing. Nothing occurs if the Program Change SW is disabled (even when internal sequencer recording is off). If Program Mode = Single, program change is received via the Basic Receive Channel (any receive channel when Omni is on). When Program Mode = Multi the Part 1 receive channel is used. 2.1.7. Pitch bend The 7 bits of the MSB are used. For functions marked * indicates Program (or Sample) control in Control Change of 3.1.4, pitch bend can be used for ctrl#. 2.1.8. Channel aftertouch Received. For functions marked * indicates Program (or Sample) control in Control Change of 2.1.4, channel aftertouch can be used for ctrl#.
Parameters marked by "*" depend on the Program Control settings.
Appendix
275
MIDI Data Format
3. Realtime messages
3.1. Reception 3.1.1. Active sensing Once active sensing is received, monitoring will begin, and if no MIDI input appears for an interval longer than approximately 400 msec, the MIDI receive buffer will be cleared, and the tone generator will be damped. 3.1.2 Timing Clock, Start, Continue, Stop When Program LFO Sync is set to MIDI, the LFO frequency and phase, the frequency of temposynchronized effects, and other time settings can be controlled via reception of Timing Clock ($F8), Start ($FA), CONTINUE ($FB) and STOP ($FC) messages.
4.1.6. Dump Header 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 11110000 01111110 0nnnnnnn 00000001 0sssssss 0sssssss 0eeeeeee 0fffffff 0fffffff 0fffffff 0ggggggg 0ggggggg 0ggggggg 0hhhhhhh 0hhhhhhh 0hhhhhhh 0iiiiiii 0iiiiiii 0iiiiiii 0ppppppp 11110111 $F0 $7E nnnnnnn $01 sssssss sssssss eeeeeee fffffff fffffff fffffff ggggggg ggggggg ggggggg hhhhhhh hhhhhhh hhhhhhh iiiiiii iiiiiii iiiiiii ppppppp $F7
= Channel Number = = = = = = = = = = = = = = = = Sample number(LSB first) Sample format Sample period(LSB first)
Sample length(LSB first)
4. UNIVERSAL SYSTEM EXCLUSIVE

4.1. SAMPLE DUMP STANDARD Transmission occurs when sample bulk dump is carried out using Format=SDS#nnnn or a Sample Dump Request is received. The A5000/A4000 will automatically detect whether the MIDI connections are an open loop or a closed loop, and will automatically switch to use or not use hand shaking. When the channel number and device number matches for each message that message is effective. The message is processed regardless of the device number when the received channel number is $7F. The sample number is in the range of 0-1024 (displayed as 1-1025), and samples will automatically be assigned to sample objects. For transmission, these numbers or the specied number will be used. For reception, sample numbers in the range of 0-16383 will be recognized, and the sample will be kept as"MIDI nnnnn" where sample number nnnnn is added to the name. 4.1.1. Dump Request 0 1 2 3 4 5 6 11110000 01111110 0nnnnnnn 00000011 0sssssss 0sssssss 01110111 $F0 $7E nnnnnnn = Channel Number $03 sssssss = Sample number(LSB first) sssssss = $F7
Sustain loop start point(LSB first)
Sustain loop end point(LSB first)
Loop type
This is the header portion of a dump. Name Sample format Sample period Sample length Sustain Loop start point Sustain Loop end point Loop type Range 8 28 0 2097151 0 2097151 0 2097151 0 2097151 $00/$01/$7F $00=forward only, $01=backward/forward, $7F=Loop off Contents Number of bits in one sample word Sample rate (nSec units) Amount of data (word units) Loop start address (word units) Loop end address (word units) Loop type
When this message is received, the A5000/A4000 will search for the correspondingly-numbered sample, and if that sample exists, a dump header will be transmitted. If the corresponding sample does not exist, processing will be terminated. This message is not transmitted. 4.1.2. ACK 0 1 2 3 4 5 01110000 01111110 0nnnnnnn 01111111 0ppppppp 01110111 $F0 $7E nnnnnnn = Channel Number $7F ppppppp = Packet number $F7
This message is transmitted and received. 4.1.7. Data Packet 0 1 2 3 4 5 124 125 126 11110000 01111110 0nnnnnnn 00000010 0ppppppp 0ddddddd 0ddddddd 0lllllll 11110111 $F0 $7E nnnnnnn $02 ppppppp ddddddd ddddddd lllllll $F7
= Channel Number = Packet number Sample data(120byte) = Checksum
This message indicates that the receiving device correctly received a packet. "Packet number" indicates the number of the packet which was received correctly. This message is transmitted and received. 4.1.3. NAK 0 1 2 3 4 5 01110000 01111110 0nnnnnnn 01111110 0ppppppp 01110111 $F0 $7E nnnnnnn = Channel Number $7E ppppppp = Packet number $F7
This is the data portion of a dump. This message is transmitted and received. 4.2. MULTIPLE LOOP POINT MESSAGES 4.2.1. Loop Point Transmission 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 01110000 01111110 0nnnnnnn 00000101 00000001 0sssssss 0sssssss 0bbbbbbb 0bbbbbbb 0ccccccc 0ttttttt 0ttttttt 0ttttttt 0eeeeeee 0eeeeeee 0eeeeeee 11110111 $F0 $7E nnnnnnn $05 $01 sssssss sssssss bbbbbbb bbbbbbb ccccccc ttttttt ttttttt ttttttt eeeeeee eeeeeee eeeeeee $F7
= Channel Number
This message indicates that the receiving device received a packet incorrectly. "Packet number" indicates the number of the packet which was received incorrectly. This message is transmitted and received. 4.1.4. Cancel 0 1 2 3 4 5 01110000 01111110 0nnnnnnn 01111101 0ppppppp 01110111 $F0 $7E nnnnnnn = Channel Number $7D ppppppp = Packet number $F7
This message indicates that a dump is to be terminated. "Packet number" indicates the packet which was terminated. This message is transmitted and received. 4.1.5. Wait 0 1 2 3 4 5 01110000 01111110 0nnnnnnn 01111100 0ppppppp 01110111 $F0 $7E nnnnnnn = Channel Number $7C ppppppp = Packet number $F7
= = = = = = = = = = =
Sample number(LSB first) Loop number(LSB first) Loop type Loop start address(LSB first)
Loop end address(LSB first)
This is loop point data. Name Loop number Loop type Range 0 16383 Contents Loop number 16383 ($7F, $7F) means to delete all loops $00/$01/$7F Loop type $00=forward only, $01=backward/forward, $7F=Loop off Loop start address (word units) Loop end address (word units)
This message indicates a pause during a dump. This message is transmitted and received.
Loop start address Loop end address
0 2097151 0 2097151
276
MIDI Data Format
If the sample contains a release loop, this message is transmitted after the sample dump. Alternatively, this message is transmitted in reply to a Loop Point Request message. 4.2.2. Loop Point Request 0 1 2 3 4 5 6 7 8 9 01110000 01111110 0nnnnnnn 00000101 00000010 0sssssss 0sssssss 0bbbbbbb 0bbbbbbb 01110111 $F0 $7E nnnnnnn $05 $02 sssssss sssssss bbbbbbb bbbbbbb $F7
= Channel Number
13 14 15 16 31 32
= Sample number(LSB first) = = Loop number(LSB first) =
00110100 0mmmmmmm 0mmmmmmm 0ccccccc 0ccccccc 0ddddddd 0sssssss 11110111
$34(ASCII"4") (*1) mmmmmmm = data format name ending mmmmmmm = data format name ending object name(ASCII 16byte) ddddddd = data sssssss = check_sum $F7
(*1) 00110101 $35(ASCII5) for the A5000. The data format name ending in bytes 14 and 15 species the type of bulk data, as follows. mm Data type "SY" System parameter bulk dump "PG" Program bulk dump "SB" Sample bank bulk dump "SP" Sample bulk dump "WD" Wave data bulk dump "SQ" Sequence bulk dump "OL" Object list bulk dump Note) mm is ASCII code object name is a 16-character name for each object. Program object names are the program number of each program (example: 001 ). System parameters and object lists are always SystemParameters and Object List , respectively. The data section is divided into byte 1, which is the upper nibble, and byte 2, which is the lower nibble. See chart 1 for details. The byte is all data between the byte count and checksum. The checksum is the exclusive-or value of all bytes between the byte count and checksum. For each bulk dump, the number of transmitted bytes between the byte count and checksum is less than 4096. When the amount of data to be transmitted is greater than this, it is divided into 4096 byte blocks transmitted between byte count and checksum data. F7 is transmitted when all data has been transmitted. From the second block onward the header from byte 6 to byte 31 is not included. 5.2. Dump request Bulk dump transmission is performed when a dump request is received. 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 29 30 01110000 01000011 0010nnnn 01111010 01001100 01001101 00100000 00100000 00110000 00110100 00110111 00110100 0mmmmmmm 0mmmmmmm 0ccccccc 0ccccccc 11110111 $F0 $43 nnnn = Device Number $7A $4C(ASCII"L") $4D(ASCII"M") $20(ASCII" ") $20(ASCII" ") $30(ASCII"0") $34(ASCII"4") $37(ASCII"7") $34(ASCII"4") (*1) mmmmmmm = data format name ending mmmmmmm = data format name ending object name(ASCII 16byte) $F7
This message requests loop points. Name Loop number Range 0 16383 Contents Loop number 16383($7F,$7F)Loop number 16383 ($7F, $7F) requests all loops
This message is only received. 4.3. INQUIRY MESSAGE 4.3.1. Identity Request 0 1 2 3 4 5 01110000 01111110 0nnnnnnn 00000110 00000001 01110111 $F0 $7E nnnnnnn = Channel Number $06 $01 $F7
This message requests device-specic information. This message is only received. 4.3.2. Identity Reply 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 11110000 01111110 0nnnnnnn 00000110 00000010 01000011 0fffffff 0fffffff 0ddddddd 0ddddddd 0vvvvvvv 0vvvvvvv 0vvvvvvv 0vvvvvvv 11110111 $F0 $7E nnnnnnn = Channel Number $06 $02 $43 = Manufacturers System Exclusive ID code fffffff = Device family code(LSB first) fffffff = ddddddd = Device family number code(LSB first) ddddddd = vvvvvvv = Software revision level. Format device specific vvvvvvv = (LSB first) vvvvvvv = vvvvvvv = $F7
This message is returned in response to an Identity Request message asking for device-specic information. Name Range Contents Device family code $0041 LM Device family number code $01DA #0474 (*1) Software revision level $nnnn A5000/A4000 software version (*1) For the A5000 the range is $01DB, and the content is #0475. This message is only transmitted in response to an Identity Request message.
(*1) 00110101 $35(ASCII5) for the A5000. The data format name ending in bytes 12 and 13 species the type of transmitted data, as follows. mm Data type "SY" System parameter bulk dump "PG" Program bulk dump "SB" Sample bank bulk dump "SP" Sample bulk dump "WD" Wave data bulk dump "SQ" Sequence bulk dump "OL" Object list bulk dump Note) mm is ASCII code object name is a 16-character name for each object. Program object names are the program number of each program (example: 001 ). System parameters and object lists do not have an object name, and are recognized by their data format name. 5.3. Parameter change For changes to the value of an object parameter, rst the object is selected via parameter change (object select) reception, then the value is changed via parameter change (object edit) reception. The object selection remains effective until the next object select is received, thus a number of changes to the value of the same object can be carried through successive object edit reception. Transmitted when a parameter value request is received.
5. YAMAHA SYSTEM EXCLUSIVE

5.1. Bulk dump Transmission occurs when a bulk dump transmit command is executed or a dump request is received. This message can be received if bulk protect is off. Data format 0 1 2 3 4 5 6 7 8 9 10 11 12 01110000 01000011 0000nnnn 01111010 0bbbbbbb 0bbbbbbb 01001100 01001101 00100000 00100000 00110000 00110100 00110111 $F0 $43 nnnn = Device Number $7A byte count $4C(ASCII"L") $4D(ASCII"M") $20(ASCII" ") $20(ASCII" ") $30(ASCII"0") $34(ASCII"4") $37(ASCII"7")
Appendix
277
MIDI Data Format
5.3.1. Parameter change (object select) 0 1 2 3 4 5 20 22 21 01110000 01000011 0001nnnn 01011000 00000000 0ccccccc 0ccccccc 0ttttttt 11110111 $F0 $43 nnnn = Device Number $58 g=22,h=0 $00 object name(ASCII 16byte) object type $F7
5.3.5. Parameter request (object) 0 1 2 3 4 5 10 11 11110000 01000011 0011nnnn 01011000 00000001 0ppppppp 0ppppppp 11110111 $F0 $43 nnnn = Device Number $58 g=22,h=0 $01 parameter number P1-P6 (6byte) $F7
Functions as an object select message. This message species the object. object name is a 16-character name for each object. Program object names are the program number of each program (example: 001 ). The object type is shown in the following table. t 20($14) 17($11) 16($10) 2($02) 19($13) Data type Program Sample Bank Sample Wave data Sequence
This message requests transmission of the parameter of the specied object as a parameter change. The parameters comply with P1, P2 P6 in chart 2. This message is received only. 5.3.6. Parameter request (system parameter) 0 1 2 3 4 5 10 11 11110000 01000011 0011nnnn 01011000 00000010 0ppppppp 0ppppppp 11110111 $F0 $43 nnnn = Device Number $58 g=22,h=0 $02 parameter number P1-P6 (6byte) $F7
5.3.2. Parameter change (object edit) 0 1 2 3 4 5 10 11 11110000 01000011 0001nnnn 01011000 00000001 0ppppppp 0ppppppp 0ddddddd 0ddddddd 11110111 $F0 $43 nnnn = Device Number $58 g=22,h=0 $01 parameter number P1-P6(6byte) data $F7
This message requests transmission of a system parameter as a parameter change. The parameters comply with P1, P2 P6 in chart 2. This message is received only. 5.3.7. Object Link Change 0 1 2 3 4 5 20 21 22 37 38 39 40 11110000 01000011 0001nnnn 01011000 00000100 0ccccccc 0ccccccc 0ttttttt 0ccccccc 0ccccccc 0ttttttt 0ddddddd 11110111 $F0 $43 nnnn = Device Number $58 g=22,h=0 $04 upper object name(ASCII 16byte) upper object type lower object name(ASCII 16byte) lower object type data (0:link off, 1:link on) $F7
Changes the value of the object parameter specied by object select. The parameters comply with P1, P2 P6 in chart 2. The number of data bytes depends on the parameter. The data section is divided into byte 1, which is the upper nibble, and byte 2, which is the lower nibble. See chart 2 for details. 5.3.3. Parameter change (system parameter) 0 1 2 3 4 5 10 11 11110000 01000011 0001nnnn 01011000 00000010 0ppppppp 0ppppppp 0ddddddd 0ddddddd 01110111 $F0 $43 nnnn = Device Number $58 g=22,h=0 $02 parameter number P1-P6 (6byte) data $F7
Changes the link condition between specied objects (between Program and Sample/Sample Bank Program is upper, and between Sample Bank and Sample is upper). Nothing occurs when an object is selected which is not changeable, or which requires samples to be copied. object name is a 16-character name for each object. Program object names are the program number of each program (example: 001 ). The object type is shown in the following table. t 20($14) 17($11) 16($10) Data type Program Sample Bank Sample
This message is a parameter change for system parameters. The parameters comply with P1, P2 P6 in chart 2. The number of data bytes depends on the parameter. The data section is divided into byte 1, which is the upper nibble, and byte 2, which is the lower nibble. See chart 2 for details. 5.3.4. Parameter change (switch remote) 0 1 2 3 4 5 6 10 11 27 11110000 01000011 0001nnnn 01011000 00000011 0ppppppp 00000000 00000000 0ddddddd 11110111 $F0 $43 nnnn = Device Number $58 g=22,h=0 $03 switch number $00 $00 data $F7
5.3.8. Object Link Request 0 1 2 3 4 5 20 21 22 37 38 39 40 11110000 01000011 0011nnnn 01011000 00000100 0ccccccc 0ccccccc 0ttttttt 0ccccccc 0ccccccc 0ttttttt 0ddddddd 11110111 $F0 $43 nnnn = Device Number $58 g=22,h=0 $04 upper object name(ASCII 16byte) upper object type lower object name(ASCII 16byte) lower object type data (0:link off, 1:link on) $F7
This message performs remote control of switches. For the switch numbers, refer to table 2. With the exception of switch numbers 123-127, data of $00-$3F turns the switch off, and data of $40-$7F turns the switch on. For switch numbers 123-127 (knob encoders), a value of 64 less than the data species the number of pulses which correspond to rotation (30 pulses per rotation). Positive numbers are rotation toward the right, and negative numbers are rotation toward the left. This message is received only.
When received the link condition between specied objects (between Program and Sample/Sample Bank Program is upper, and between Sample Bank and Sample is upper) is transmitted in object link change format. This message is receive only. The object type is shown in the following table. t 20($14) 17($11) 16($10) Data type Program Sample Bank Sample
278
MIDI Data Format
Table1 Bulk Dump

Item offset Type decimal UC SC US data size SS UL SL *n c value b name [ ] Description Address offset 1 byte (unsigned 8 bit) 1 byte (signed 8 bit, 2s complement) 2 byte (unsigned 16 bit) 2 byte (signed 16 bit, 2s complement) 4 byte (unsigned 32 bit) 4 byte (signed 32 bit, 2s complement) n bytes of each data type All displayable ASCII codes except Bitmap type Refer to the name column for bit position Unused or internal use only (0 not appropriate) Parameter block Refer to each parameter block for details 1st b7-b0 sign,b6-b0 b15-b8 sign,b14-b8 b31-b24 sign,b30-b24 data byte 2nd b7-b0 b7-b0 b23-16 b23-16 3rd b15-b8 b15-b8 4th b7-b0 b7-b0
0398 0399 0408
UC 9byte 56*n byte
b2-0:total steps of step wave, b4-3:step wave slope reserved [Easy Edit Parameter]*(number of samples)
(*1) Number of samples/sample banks for which ToPgm is on. (*2) -2:off, -1:AUDITION, 0-15:A01-16, 16:basic receive channel, 17-32:B01-16(A5000 only) (*3) -1:all (*4) Refer to *8 of 2.1.1 Program Parameters. s 1.1.2 Sample Bank Bulk Dump 312+20*(number of samples)byte offset 0000 0064 0288 0292 0296 0300 0304 0305 0312 data size 64byte 224byte UL UL UL UL UC UC*7 20*n byte value name [Common] [Sample Parameter] sample bank value enable (*1) sample bank value enable (*2) sample bank value enable (*3) reserved number of assigned samples reserved [Sample Bank Member]*(number of samples)
b b b 0-127
Each data byte is divided into the upper and lower 4 bits and received/transmitted as 2 bytes of MIDI data. original data byte 1st byte MIDI data 2nd byte b7,b6,b5,b4,b3,b2,b1,b0 0,0,0,0,b7,b6,b5,b4 0,0,0,0,b3,b2,b1,b0
(*1) b31(MSB) b0(LSB):P2=31 0 (*2) b31(MSB) b0(LSB):P2=63 32 (*3) b31(MSB) b0(LSB):P2=95 64 P2, above, applies to P2 = 0-88 of the Sample Parameter block of 2.1.4 Parameter Block. s 1.1.3 Sample Bulk Dump 336byte offset 0000 0064 0080 0096 0104 0112 data size 64byte UC*16 UC*16 UL*2 UL*2 224byte value c c name [Common] linked wave object name L (*1) linked wave object name R (*1) reserved reserved [Sample Parameter]
1.1 Voice Parameter Bulk Dump s 1.1.1 Program Bulk Dump 408+56*(number of samples)byte offset 0000 0064 0072 0073 0074 0076 0078 0079 0080 0081 0082 0083 0084 0085 0086 0087 0088 0089 0090 0091 0092 0093 0094 0096 0216 0232 0352 0368 0370 data size 64byte UC*8 UC UC US US SC UC UC UC UC UC SC SC SC SC UC UC UC UC UC SC US 120byte 16byte 120byte 16byte US US value c b b b b 63 0-127 127 -2,-1,0-32 0-3 0-127 0-127 0-127 25-250 -1,0-127 0-999 name [Common] program name b0:AD in on, b2-1:AD in source, b5-3:effect1-3 connection, b7-6:program LFO sync b2-0:program LFO cycle, b5-3:program LFO wave, b7-6:program LFO initial phase b0:MIDI channelA01 controller reset... b15:MIDI channelA16 controller reset b0:MIDI channelA01 note on normal/toggle... b15:MIDI channelA16 note on normal/toggle AD in (L) pan reserved reserved reserved reserved program level reserved reserved program transpose program LFO reset MIDI channel (*2) program portamento type program portamento rate program portamento time S/H speed program LFO tempo program LFO reset note (*2) number of assigned samples (*1) [Effect Parameter]*3 (effect1-3) reserved [Effect Parameter]*3 (effect4-6) (A5000 only) [Control]*4 (program control1-4) b0:MIDI channel B01 controller reset... b15:MIDI channel B16 controller reset (A5000 only) b0:MIDI channel B01 note on normal/toggle... b15:MIDI channel B16 note on normal/toggle (A5000 only) b2-0:effect4-6 connection (A5000 only) AD in (L) output1 (*4) AD in (L) level1 AD in (L) output2 (*4) AD in (L) level2 AD in R pan AD in R output1 (*4) AD in R level1 AD in R output2 (*4) AD in R level2 program LFO step wave value1-16
(*1) No assignment when the rst byte is $00. s 1.1.4 Wave Data Bulk Dump 72+2*(wave data word size)byte offset 0000 0064 0066 0068 0070 0072 data size 64byte SS US US US US*n value name [Common] reserved reserved reserved reserved wave data (n='size' in [Common])
s 1.1.5 Sequence Bulk Dump 72+(sequence data byte size)byte offset 0000 0064 0066 0068 0070 0072 data size 64byte US US US US UC*n value 50-250 name [Common] original tempo reserved reserved reserved sequence data (n='size' in [Common])
s 1.1.6 Object List Bulk Dump 17*(number of all objects)byte offset data size value name 0000 UC object type (*1) 0001 UC*16 c name : Repeat for all objects saved in memory, from obj type to name. : (*1) sample:16, sample bank:17, sequence:19, program:20" s 1.1.7 Parameter Block [Common] 64byte offset 0000 0001 0002 0018 0020 0024 0040 0056 0057 0060 data size UC UC UC*16 UC*2 UL UC*16 UC*16 UC UC*3 UL value c name object type (*1) reserved name reserved size (*2) reserved reserved reserved reserved reserved
b b
0372 0373 0374 0375 0376 0377 0378 0379 0380 0381 0382
UC UC UC UC UC SC UC UC UC UC UC*16
b 0-12 0-127 0-12 0-127 63 0-12 0-127 0-12 0-127 0-127
(*1) sample:16, sample bank:17, sequence:19, program:20 (*2) wave data word size for wave data bulk dump, sequence data word size for sequence bulk dump, 0 in all other cases.
Appendix
279
MIDI Data Format
[Control] 4byte offset 0000 0001 0002 0003 data size UC UC UC SC value 0-126 0-m 0-3 63 name control device control function (*1) control type control range
(*1) program:m=71(A4000),128(A5000), sample:m=36 Refer to *9 or 2.1.1. Program Parameters, *11 of 2.1.4 Parametere Block. [Sample Parameter] 224byte offset 0000 0024 0028 0032 0036 0040 0041 data size 24byte UL UL UL UL UC UC value b b b b b b name reserved b0:linked to program001 b31:program032 b0:linked to program033 b31:program064 b0:linked to program065 b31:program096 b0:linked to program097 b31:program128 b0:sample bank member (*8), b1:mono sample, b2:expanded (*1) b0:reserved, b1:mono mode, b2:key x-fade on, b3:reserved, b4:fixed pitch on, b7-6:EQ type MIDI receive channel (*5) pitch bend type pitch bend range coarse tune original key L original key R (*7) sampling frequency L sampling frequency R (*7) fine tune L fine tune R (*7) reserved key range high ( >=low) (*2) key range low ( <=high) (*3) reserved loop mode loop tempo 80.00-159.99 wave start address L wave start address R (*7) wave length L wave length R (*7) loop start address L loop start address R (*7) loop length L (end - start +1) loop length R (end - start +1) (*7) start address velocity sensitivity filter type (*9) filter cutoff frequency filter Q/width cutoff key scaling break point 1 ( <=2) cutoff key scaling break point 2 ( >=1) cutoff key scaling level 1 cutoff key scaling level 2 cutoff velocity sensitivity (*4) Q/width velocity sensitivity (*4) detune dephase expand width random pitch sample level pan (*10) velocity low limit velocity offset velocity range high ( >=low) velocity range low ( <=high) level key scaling break point 1 ( <=2) level key scaling break point 2 ( >=1) level key scaling level 1 level key scaling level 2 velocity sensitivity alternate group number EQ frequency EQ gain EQ width cutoff distance FEG attack rate FEG decay rate FEG release rate
0042 0043 0044 0045 0046 0047 0048 0050 0052 0053 0054 0058 0059 0060 0061 0062 0064 0068 0072 0076 0080 0084 0088 0092 0096 0097 0098 0099 0100 0101 0102 0103 0104 0105 0106 0107 0108 0109 0110 0111 0112 0113 0114 0115 0116 0117 0118 0119 0120 0121 0122 0123 0124 0125 0126 0127 0128
UC UC UC SC UC UC US US SC SC SS*2 UC SC UC UC US UL UL UL UL UL UL UL UL SC UC UC UC UC UC SC SC SC SC SC SC SC UC UC SC UC UC UC UC UC UC UC UC SC UC UC SC UC SC UC UC UC
0-32 0-13 0-24 127 0-127 0-127 1-65535 1-65535 63 63 0-127,128 -1,0-127 0-5 8000-15999 0-16777215 0-16777215 0-16777215 0-16777215 0-16777215 0-16777215 0-16777215 0-16777215 63 0-16 0-127 0-127 0-127 0-127 127 127 63,64-68 63,64-68 7 63 63 0-63 0-127 -64, 63 0-127 127 0-127 0-127 0-127 0-127 0-127 0-127 127 0-16 4-58 52-76 10-120 63 0-127 0-127 0-127
0129 0130 0131 0132 0133 0134 0135 0136 0137 0138 0139 0140 0141 0142 0143 0144 0145 0146 0147 0148 0149 0150 0151 0153 0154 0155 0156 0157 0158 0159 0160 0161 0162 0163 0164 0165 0169 0170 0180 0184 0188 0212 0213 0214 0215 0216 0217 0218 0219 0220 0221
SC SC SC SC SC SC SC SC UC UC UC SC SC SC SC SC SC SC UC UC UC UC UC*2 UC UC UC SC SC UC UC UC UC UC UC UC UC*4 SC US*5 UL UL 24byte UC UC UC UC UC UC UC UC UC UC*3
127 127 127 127 7 63 63 63 0-127 0-127 0-127 127 127 127 127 7 63 63 63 0-127 0-127 0-127 0-127 0-2 7 63 0-3 0-127 0-127 b 0-127 0-127 0-127 31 0-16777215 0-16777215 0-127 0-127 0-12 0-127 0-12 0-127 0-5 0-127 0-127
FEG init level FEG attack level FEG sustain level FEG release level FEG rate key scaling FEG rate velocity sensitivity FEG attack level velocity sensitivity FEG level velocity sensitivity PEG attack rate PEG decay rate PEG release rate PEG init level PEG attack level PEG sustain level PEG release level PEG rate key scaling PEG rate velocity sensitivity PEG level velocity sensitivity PEG range AEG attack rate AEG decay rate AEG release rate reserved AEG sustain level reserved AEG attack mode AEG rate key scaling AEG rate velocity sensitivity LFO wave LFO speed LFO delay time b0:LFO sync on, b1:cutoff mod phase invert on, b2:pitch mod phase invert on cutoff mod depth pitch mod depth amplitude mod depth reserved filter gain reserved wave end address loop end address [Control]*6 (sample control1-6) velocity x-fade high velocity x-fade low output1 output1 level output2 output2 level sample portamento type sample portamento rate sample portamento time reserved
(*1) 1 for mono samples when detune or dephase is not +/-0. (*2) 128:"=Orig" (*3) -1:"=Orig" (*4) 64-68:"Rnd1"-"Rnd5" (*5) 0-15:A01-16, 16:basic receive channel, 17-32:B01-16(A5000 only) (*6) -64:"Rnd" (*7) R=L (*8) 1: depends on any sample bank. (*9) Refer to *7 or 2.1.4 Parameter Block. [Sample Bank Member] 20byte offset 0000 0016 data size UC*16 UL value c name assigned sample name reserved
[Easy Edit Parameter] 56byte offset 0000 0016 0020 0021 0022 0023 0024 0025 0026 0027 data size UC*16 UL UC SC SC SC SC SC SC SC value c -1,0-32 127 127 127 127 127 127 name assigned sample(bank) name reserved assigned object type (*1) MIDI receive channel assign (*4) level offset velocity sensitivity pan offset velocity x-fade high offset fine tune offset velocity x-fade low offset
280
MIDI Data Format
0028 0029 0030 0031 0032 0033 0034 0035
SC SC UC UC SC UC UC UC
127 -1,0-12 0-127 0-127 127 0-127 0-127 b
0036 SC -1,0-16 0037 SC 127 0038 SC 127 0039 SC 127 0040 SC -1,0-12 0041 SC 127 0042 SC 63 0043 SC 31 0044 SC 127 0045 SC 0046 SC 0047 SC 127 0048 SC 0049 SC 0050 SC 127 0051 UC 0-1 0052 UC 0053 UC*3 (*1) sample:16, sample bank:17 (*2) -1:"=sample" (*3) Each bn and bn+1 is 1:=sample. (*4) -1:"=sample", 0-15:A01-A16, 16:basic receive channel, 17-32:B01-16(A5000 only) (*5) -1:"=sample", Refer to *8 of 2.1.1 Program Parameters. [Effect Parameter] 40byte offset 0000 0001 0002 0003 0004 0005 0006 0007 0008 data size UC UC UC SC UC SC UC UC US*16 value 0-1 0-127 0-127 63 0-5 -126-0 0-96 name bypass input level output level output pan output width effect type reserved effect parameter1-16
coarse tune offset output1 (*5) key limit high ( >=low) key limit low ( <=high) key range shift velocity limit high ( >=low) velocity limit low ( <=high) b0:portamento, b2:mono mode, b4:key x-fade on, b6:reserved (*3) alternate group number (*2) AEG attack rate offset AEG decay rate offset AEG release rate offset output2 (*5) filter cutoff offset filter gain offset filter Q/width offset cutoff distance offset reserved reserved output1 level offset reserved reserved output2 level offset MIDI control on reserved reserved
0042 0043 0044 0045 0046 0047 0048 0049 0050 0051 0052 0053 0054 0055 0056 0057 0058 0059 0060 0061 0062 0063
1.2. System Parameter Bulk Dump s 1.2.1 System Parameter Bulk Dump 4064byte offset data size value name 0000 UC*16 reserved ----------------------------------------------------------------0016 SC 63 master fine tune 0017 SC 127 master coarse tune 0018 SC 127 master transpose 0019 UC 0-17 velocity curve 0020 UC 0-31 MIDI basic receive channel 0021 UC 0-5 stereo to assignable out 0022 UC b b0:omni on, b1:program change enable, b2:wave address auto length lock, b3:auto zero, b4:auto snap, b5:audition with easy edit, b6:audition with effect, b7:play&load 0023 UC -1,0-32 knob2 control MIDI transmit channel (*3) 0024 UC -1,0-32 knob3 control MIDI transmit channel (*3) 0025 UC -1,0-32 knob4 control MIDI transmit channel (*3) 0026 UC -1,0-32 knob5 control MIDI transmit channel (*3) 0027 UC 0-120 knob2 control device 0028 UC 0-120 knob3 control device 0029 UC 0-120 knob4 control device 0030 UC 0-120 knob5 control device 0030 UC 0-32 fkey1 play MIDI transmit channel 0032 UC 0-32 fkey2 play MIDI transmit channel 0033 UC 0-32 fkey3 play MIDI transmit channel 0034 UC 0-32 fkey4 play MIDI transmit channel 0035 UC 0-32 fkey5 play MIDI transmit channel 0036 UC 0-32 fkey6 play MIDI transmit channel 0037 UC 0-127 fkey1 play note number 0038 UC 0-127 fkey2 play note number 0039 UC 0-127 fkey3 play note number 0040 UC 0-127 fkey4 play note number 0041 UC 0-127 fkey5 play note number
fkey6 play note number fkey1 play velocity fkey2 play velocity fkey3 play velocity fkey4 play velocity fkey5 play velocity fkey6 play velocity stereo output level offset total EQ low boost frequency total EQ low boost gain b3-0:loop remix variation, b7-4:loop remix type total EQ low frequency total EQ low gain total EQ low width total EQ mid frequency total EQ mid gain total EQ mid width total EQ high frequency total EQ high gain total EQ high width program mode b0:loop remix auto audition, b1:knob control MIDI out, b2:fkey play MIDI out 0064 UC*32 0-127 multi part A01-B16 program number1-128 0096 360byte loop remix registered data 0456 UC 0-7 loop remix zone start point 0457 UC 1-8 loop remix zone end point ( >start) 0458 UC 0-4 assignable L&R output level offset 0459 UC 0-4 assignable 1&2 output level offset 0460 UC 0-4 assignable 3&4 output level offset 0461 UC 0-4 assignable 5&6 output level offset 0462 UC 0-4 DIG&OPT output level offset 0463 UC reserved ----------------------------------------------------------------0464 UC 0-7 self SCSI ID 0465 UC*3 reserved 0468 UL b b9:IDE save mount on b8:IDE master mount on b7-0:SCSI ID7-0 mount on 0472 UL reserved 0473 UC 0-98 top partition 1-99 0474 UC*6 reserved ----------------------------------------------------------------0480 US reserved 0482 US b b15-12:effect type1 favorite parameter1 b11-8:effect type1 favorite parameter2 b7-4:effect type1 favorite parameter3 b3-0:effect type1 favorite parameter4 0484 US*95 b effect type2-96 favorite parameters 0674 US*31 reserved ----------------------------------------------------------------0736 UC reserved 0737 UC 0-1 effect edit type 0738 UC 0-4 knob2 control type 0739 UC 0-4 knob3 control type 0740 UC 0-4 knob4 control type 0741 UC 0-4 knob5 control type 0742 UC 0-5 assignable key function 0743 UC 0-1 audition key function 0744 UC 0-1 page mode at mode change 0745 UC 0-1 page mode at function change 0746 UC 0-1 note display type 0747 UC*4 reserved 0751 UC 0-3 end address display type 0752 UC 0-3 import view 0753 UC 0-1 knob1 type 0754 UC*4 reserved 0758 UC 0-2 sort type at sample select page 0759 UC 0-2 sort type at tree view page 0760 UC 0-2 sort type at samplebank page 0761 UC 0-7 CD-R SCSI ID 0762 UC 0-4 CD-R write speed 0763 UC*37 reserved 0800 120byte [Effect Parameter]*3 (rec effect1-3) 0920 UC 0-3 record type 0921 UC 0-1 record sample mono/stereo 0922 UC 0-4 record input 0923 UC 0-3 record frequency (*1) 0924 UC 0-5 pre trigger time
UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC
0-127 1-127 1-127 1-127 1-127 1-127 1-127 0-4 4-40 52-76 b 4-40 52-76 10-120 4-58 52-76 10-120 28-58 52-76 10-120 0-1 b
Appendix
281
MIDI Data Format
0925 UC 0-1 start trigger type 0926 UC 0-1 stop trigger type 0927 UC 0-63 start edge level 0928 UC 0-63 stop edge level 0929 SC 0-2 record map to 0930 UC -1,0-127 record key range low (*4) 0931 UC 0-127,128 record key range high (*5) 0932 SC 0-127 record original key 0933 UC 0-1 auto normalize on 0934 SC -1,0-7 external control SCSI ID (*2) 0935 UC 1-99 external control start track 0936 UC 1-99 external control start index 0937 UC 0-5 monitor output 0938 UC 0-127 monitor level 0939 UC 0-127 click level 0940 US 8000-15999 click tempo 80.00-159.99 0942 UC 1-15 click beat 0943 UC 0-1 monitor on 0944 UC 0-1 record map manual/auto 0945 UC 0-127 record map auto original key 0946 UC 0-1 record map key white/all 0947 UC*8 reserved 0955 UC*16 reserved 0971 UC 0-1 AD input gain line/mic 0972 UC*3 reserved 0975 UC*5 reserved ----------------------------------------------------------------0980 UC*8 reserved ----------------------------------------------------------------0988 UC*2 reserved 0990 UC 0-1 bulk protect 0991 UC 0-1 after touch disable 0992 UC 0-1 control change disable 0993 UC 0-1 pitch bend disable 0994 UC reserved 0995 UC 0-17 MIDI device number 0996 UC 0-1 SysEx receive port (reserved in A4000) 0997 UC*7 reserved -----Regist. Parameters-------------------1004 224byte [Sample Parameter] 1228 120byte [Effect Parameter]*3 (effect1-3) 1348 16byte reserved 1364 120byte [Effect Parameter]*3 (effect4-6) (A5000 only) 1484 16byte [Control]*4 (program control1-4) 1500 US b b0:MIDI channel B01 controller reset... b15:MIDI channel B16 controller reset (A5000 only) 1502 US b b0:MIDI channel B01 note on normal/toggle... b15:MIDI channel B16 note on normal/toggle (A5000 only) 1504 UC b b2-0:effect connect (effect4-6) 1505 UC 0-12 AD in (L) output1 1506 UC 0-127 AD in (L) level1 1507 UC 0-12 AD in (L) output2 1508 UC 0-127 AD in (L) level2 1509 SC +/ - 63 AD in R pan 1510 UC 0-12 AD in R output1 1511 UC 0-127 AD in R level1 1512 UC 0-12 AD in R output2 1513 UC 0-127 AD in R level2 1514 UC*16 0-127 program LFO step wave value1-16 1530 UC b b2-0: step wave total steps, b4-3:step wave slope 1531 UC*9 reserved 1540 UC*8 reserved 1548 UC b b0:AD in on, b2-1:AD in source, b5-3:effect connection(effect1-3), b7-6:program LFO sync 1549 UC b b2-0:program LFO cycle, b5-3:program LFO wave, b7-6:program LFO initial phase 1550 US b b0:MIDI channel A01 controller reset... b15:MIDI channel A16 controller reset 1552 US b b0:MIDI channel A01 note on normal/toggle... b15:MIDI channel A16 note on normal/toggle 1554 SC 63 AD in (L) pan 1555 UC reserved 1556 UC reserved 1557 UC reserved 1558 UC reserved 1559 UC 0-127 program level 1560 SC reserved
1561 SC reserved 1562 SC 127 program transpose 1563 SC -2,-1,0-32 program LFO reset MIDI channel (*6) 1564 UC 0-3 program portamento type 1565 UC 0-127 program portamento rate 1566 UC 0-127 program portamento time 1567 UC 0-127 S/H speed 1568 UC 25-250 program LFO tempo 1569 SC -1,0-127 program LFO reset note (*7) 1570 UC*10 reserved ----------------------------------------------------------------1580 UC 0-1 sequence MIDI port B/A 1581 UC*15 reserved 1596 UC 0-1 DIG&OPT output 20bit/24bit UC*2467 reserved 1597 (*1) In relation to 44.1 kHz for analog in, for digital in the rates are 0:x1, 1:x1/2, 2:x1/4, 3:x1/8. (*2) -1:off (*3) -1:AUDITION (*4) 128:"=Orig" (*5) -1:"=Orig" (*6) -2:off, -1:AUDITION, 0-15:A01-A16, 16:basic receive channel, 17-32:B01-16 (A5000 only) (* 7) -1:all
Table 2 Parameter Change

Item P1 P6 Type decimal UC SC US data size SS UL SL *n c value b name [ ] Description Parameter Number don't care 1 byte (unsigned 8 bit) 1 byte (signed 8 bit, 2s complement) 2 byte (unsigned 16 bit) 2 byte (signed 16 bit, 2s complement) 4 byte (unsigned 32 bit) 4 byte (signed 32 bit, 2s complement) n bytes of each data type All displayable ASCII codes except Bitmap type Refer to the name column for bit position Unused or internal use only (0 not appropriate) Parameter block Refer to each parameter block for details 1st data byte 2nd

3rd
4th
b7-b0 sign,b6-b0 b15-b8 sign,b14-b8 b31-b24 sign,b30-b24
b7-b0 b7-b0 b23-16 b23-16
b15-b8 b15-b8
b7-b0 b7-b0
2.1 Object Edit Each data byte is divided into the upper and lower 4 bits and received/transmitted as 2 bytes of MIDI data.
original data byte 1st byte 2nd byte b7,b6,b5,b4,b3,b2,b1,b0 0,0,0,0,b7,b6,b5,b4 0,0,0,0,b3,b2,b1,b0
MIDI data
s 2.1.1 Program Parameter P1 0 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 P2 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 P3 0-31 0-31 P4 P5 P6 data size UC*8 UC UC UC UC SC UC UC UC UC UC UC UC SC UC UC UC UC UC UC US data value c 0,1 0,1 0,1 0-2 63 0-12 0-127 0-12 0-127 0-127 0-6 0,1 127 25-250 0-6 0-3 1-127 1-127 0-127 0-999 name [Common] program name (read only) controller reset for MIDI ch A01-B16 (*5) note on normal/toggle for MIDI ch A01-B16 (*5) AD in on AD in source AD in (L) pan AD in (L) output1 (*8) AD in (L) output1 level AD in (L) output2 (*8) AD in (L) output2 level program level program LFO cycle program LFO sync program transpose program LFO tempo program LFO wave program portamento type program portamento rate program portamento time S/H speed number of assigned samples
282
MIDI Data Format
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
21 21 21 21 21 21 21 21 22 22 22 22 23 24 25 26 27 28 29 30 31 32 33 34 35
0-5 0-5 0-5 0-5 0-5 0-5 0-5 0-5 0-3 0-3 0-3 0-3 0-15
0 1 2 3 4 5 6 7 0 1 2 3
0-15
UC UC UC SC UC SS UC SC UC UC UC SC UC UC UC UC SC UC UC UC UC UC UC UC UC
0,1 0-127 0-127 63 0-87 0-5 -126-0 0-126 0-128 0-3 63 0-4 0-3 -2,-1,0-32 -1,0-127 63 0-12 0-127 0-12 0-127 0-4 0-6 0-3 0-127
effect1-6 bypass (*6) effect1-6 input level (*6) effect1-6 output level (*6) effect1-6 output pan (*6) effect1-6 type (*6) effect1-6 parameter1-16 (*6) effect1-6 output (*6) effect1-6 width (*6) program control device 1-4 progam control function 1-4 (*9) program control type 1-4 program control range 1-4 effect1-3 connection program LFO initial phase program LFO reset MIDI channel (*2) program LFO reset note (*3) AD in R pan AD in R output1 (*8) AD in R output1 level AD in R output2 (*8) AD in R output2 level effect4-6 connection (A5000 only) total steps of program LFO step wave program LFO step wave slope program LFO step wave value1-16
3 4 5 6 7 8 9 10 11 12 (*9) value 0 1 2 3 4 5 6 7 8 ... 23 24 25 26 ... 41 42 43 44 ... 59 60 61 62 63 64 65 66 67 68 ... 71 72 ... 87 88 89 90 91 ... 106 107 108 109 110 ... 125 126 127
effect2 effect3 assignL&R assign1&2 assign3&4 assign5&6 DIG&OPT effect4 effect5 effect6
assign3&4 assign5&6 DIG&OPT stereo out effect1 effect2 effect3 effect4 effect5 effect6
(A5000 only) (A5000 only) (A5000 only)
Easy Edit Parameters P2 x 100 + P3 is the number of the sample (bank) assigned to the program. P3 = 0-98 only when P2 = 9. assigned sample(bank) name 2 0-9 0-99 0 UC*16 c (read only) (*10) 2 0-9 0-99 1 reserved MIDI receive channel assign 2 0-9 0-99 2 SC -1,0-32 (*7) 2 0-9 0-99 3 0 SC 127 level offset 2 0-9 0-99 4 0 SC 127 pan offset 2 0-9 0-99 5 0 SC 127 fine tune offset 2 0-9 0-99 6 0 SC 127 coarse tune offset 2 0-9 0-99 7 UC 0-127 key limit high ( >=low) 2 0-9 0-99 8 UC 0-127 key limit low ( <=high) 2 0-9 0-99 9 UC 127 key range shift 2 0-9 0-99 10 UC 0-127 velocity limit high ( >=low) 2 0-9 0-99 11 UC 0-127 velocity limit low ( <=high) 2 0-9 0-99 12 SC -1,0,1 portamento (*4) 2 0-9 0-99 13 SC -1,0,1 mono mode (*1) 2 0-9 0-99 14 SC -1,0,1 key x-fade on (*1) 2 0-9 0-99 15 reserved 2 0-9 0-99 16 SC -1,0-16 alternate group number (*1) 2 0-9 0-99 17 0 SC 127 AEG attack rate offset 2 0-9 0-99 18 0 SC 127 AEG release rate offset 2 0-9 0-99 19 0 SC 127 filter cutoff offset 2 0-9 0-99 20 0 SC 31 filter Q/width offset 2 0-9 0-99 21 SC -1,0-12 output1 (*8) 2 0-9 0-99 22 0 SC 127 output1 level offset 2 0-9 0-99 23 SC -1,0-12 output2 (*8) 2 0-9 0-99 24 0 SC 127 output2 level offset 2 0-9 0-99 25 UC 0,1 MIDI control on 2 0-9 0-99 26 reserved 2 0-9 0-99 27 0 SC 127 AEG decay rate offset 2 0-9 0-99 28 0 SC 63 filter gain offset 2 0-9 0-99 29 0 SC 127 cutoff distance offset 2 0-9 0-99 30 0 SC 127 velocity x-fade low offset 2 0-9 0-99 31 0 SC 127 velocity x-fade high offset 2 0-9 0-99 32 0 SC 127 velocity sensitivity 2 0-9 0-99 33 UC reserved (*1) -1:"=sample" (*2) -2:off, -1:AUDITION, 0-15:A01-16, 16:basic receive channel, 17-32:B01-16 (A5000 only) (*3) -1:all (*4) -1:"=sample", 0:off, 1:"=program" (*5) A4000, P3=0-15 (*6) A4000, P3=0-2 (*7) -1:"=sample", 0-15:A01-A16, 16:basic receive channel, 17-32:B01-16 (A5000 only) (*8) value -1 0 1 2 output1 =sample off stereo out effect1 output2 =sample off assignL&R assign1&2 (Easy Edit only)
function off portamento rate/time LFO S/H speed AD in L&R pan AD in L&R level program level effect1 output level effect1 pan effect1-parameter1 ... effect1-parameter16 effect2 output level effect2 pan effect2-parameter1 ... effect2-parameter16 effect3 output level effect3 pan effect3-parameter1 ... effect3-parameter16 effect1 width effect2 width effect3 width program LFO depth AD in L pan AD in R pan AD in L level AD in R level program control1 range ... program control4 range effect4-parameter1 ... effect4-parameter16 effect4 output level effect4 pan effect4 width effect5-parameter1 ... effect5-parameter16 effect5 output level effect5 pan effect5 width effect6-parameter1 ... effect6-parameter16 effect6 output level effect6 pan
(A5000 only) (A5000 only) (A5000 only) (A5000 only) (A5000 only) (A5000 only) (A5000 only) (A5000 only) (A5000 only) (A5000 only) (A5000 only) (A5000 only) (A5000 only) (A5000 only) (A5000 only) (A5000 only) (A5000 only)
(*10) No assignment when the rst byte is $00. s 2.1.2 Sample Bank Parameter P1 0 1 1 1 1 1 2 P2 0 1 2 P3 0-126 P4 P5 P6 data size UL*4 UC UC*16 UL UC data value 0-127 c 0,1 name [Common] reserved number of assigned samples assigned sample name (read only) (*2) reserved sample bank value enable (*1) [Sample Parameter]
3 0-126 4 0-88
(*1) 0-88 of P3 refers to P2 of the Sample Parameter block. (*2) No assignment when the rst byte is $00.
Appendix
283
MIDI Data Format
s 2.1.3 Sample Parameter P1 0 1 1 1 2 P2 0 1 2 P3 0-1 0-1 0-1 P4 P5 P6 data size UC*16 UL UL data value c name [Common] linked wave object name L,R (read only) (*1) reserved reserved [Sample Parameter]
2 2 2 2 2 2 2 2 2 2
50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 66 66 67 68 69 70 71 72 73 74 75
0-2 0-3 0-2 0-3 0-2 0-1 2 3
SC UC SC UC SC SC SC SC SC UC SC SC SC SC SC UC UC SC SC UC UC UC UC UC UC UC
52-76 10-120 63 0-127 127 7 63 63 63 0-127 127 7 63 63 63 0-127 0-127 7 63 0-2 0-3 0-127 0-127 0,1 0,1 0,1
(*1) No assignment when the rst byte is $00. s 2.1.4 Parameter Block [Common] P1 0 0 0 0 0 P2 0 1 2 3 4 P3 P4 P5 P6 data size UC UC UC*16 UC UL data value 16,17,20 c name object type (*1) (read only) reserved name (read only) reserved reserved
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
(*1) sample:16, sample bank:17, program:20 [Sample Parameter] P1 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 P2 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 P3 0-127 0-1 0-1 0-1 0 0 0-1 0-1 0-1 0-1 P4 P5 P6 data size UC UC UC UC UC UC UC US SC SC UC SC UC UL UL UL UL UL UL SC US UC UC UC SC SC SC SC UC SC SC SC UC UC SC UC SC UC UC UC UC SC UC UC UC UC UC UC UC data value 0,1 0,1 0-2 0-32 0-13 0-24 0-127 1-65535 63 127 0-127,128 -1,0-127 0-5 0-16777215 0-16777215 0-16777215 0-16777215 0-16777215 0-16777215 63 8000-15999 0-16 0-127 0-31 0-127 0 127 63,64-68 63,64-68 0,1 7 63 63 0-63 0-127 -64,63 0-127 127 0-127 0-127 0-127 0-127 127 0-5 0,1 0,1 0-127 0-127 0-16 4-58 name linked to program1-128 (read only) sample bank member (*5) (read only) 0:stereo,1:mono,2:expanded (*1) (read only) MIDI receive channel (*6) pitch bend type pitch bend range original key L,R sampling frequency L,R (Hz) fine tune L,R coarse tune key range high ( >=low) (*2) key range low ( <=high) (*3) loop mode wave start address wave length (end - start +1) wave end address ( > start) loop start address loop length (end -start +1) loop end address ( > start) start address velocity sensitivity loop tempo 80.00-159.99 filter type (*7) filter cutoff frequency filter Q/width cutoff key scaling break point 1,2 (1<=2) cutoff key scaling level 1,2 cutoff velocity sensitivity (*4) Q/width velocity sensitivity (*4) fixed pitch on detune dephase expand width random pitch sample level pan (*10) velocity low limit velocity offset velocity range high ( >=low) velocity range low ( <=high) level key scaling break point 1,2 (1<=2) level key scaling level 1,2 velocity sensitivity sample portamento type mono mode key x-fade on reserved velocity x-fade low velocity x-fade high alternate group number (*8) EQ frequency
2 76 UC 0-127 2 77 UC 0-127 2 78 UC 0-127 2 79 UC 0-12 2 80 UC 0-127 2 81 UC 0-12 2 82 UC 0-127 2 83 0-5 0 UC 0-126 2 83 0-5 1 UC 0-36 2 83 0-5 2 UC 0-3 2 83 0-5 3 SC 63 2 84 SC 31 2 85 UC 0-2 2 86 2 87 UC 1-127 2 88 UC 1-127 (*1) mono samples for which 2:detune or dephase is not +/-0. (*2) 128:"=Orig" (*3) -1:"=Orig" (*4) 64-68:"Rnd1"-"Rnd5" (*5) 1: depends on any sample bank. (*6) 0-15:A01-16, 16:basic receive channel, 17-32:B01-16 (A5000 only) (*7) value 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 filter type Bypass LowPass1 LowPass2 HiPass1 HiPass2 BandPass BandElim LowPass3 Peak1 Peak2 2Peaks 2Dips DualLPFs LPF+Peak DualHPFs HPF+Peak LPF+HP
EQ gain EQ width cutoff distance FEG rate attack,decay, release FEG level init,attack, sustain,release FEG rate key scaling FEG rate velocity sensitivity FEG attack level velocity sensitivity FEG level velocity sensitivity PEG rate attack,decay, release PEG level init,attack, sustain,release PEG rate key scaling PEG rate velocity sensitivity PEG level velocity sensitivity PEG range AEG rate attack,decay, release reserved AEG sustain level reserved AEG rate key scaling AEG rate velocity sensitivity AEG attack mode LFO wave LFO speed LFO delay time LFO sync on LFO pitch mod phase invert on LFO cutoff mod phase invert on cutoff mod depth pitch mod depth amplitude mod depth output1 (*9) output1 level output2 (*9) output2 level control device 1-6 control function 1-6 (*11) control type 1-6 control range 1-6 filter gain EQ Type reserved sample portamento rate sample portamento time
284
MIDI Data Format
(Note 8) 0:off (Note 9) value 0 1 2 3 4 5 6 7 8 9 10 11 12 output1 off stereo out effect1 effect2 effect3 assignL&R assign1&2 assign3&4 assign5&6 DIG&OPT effect4 effect5 effect6 output2 off assignL&R assign1&2 assign3&4 assign5&6 DIG&OPT stereo out effect1 effect2 effect3 effect4 effect5 effect6
(A5000 only) (A5000 only) (A5000 only)
(Note 10) -64:"Rnd" (Note 11) value 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 ... 36 function off pitch mod depth amp mod depth cutoff mod depth cutoff bias filter Q/width pan bias pitch bias level LFO speed LFO delay AEG attack rate AEG release rate PEG attack rate PEG release rate FEG attck rate FEG release rate pitch bend start address FEG level cutoff distance filter gain portamento rate/time AEG decay rate AEG sustain level FEG decay rate FEG init level FEG sustain level PEG decay rate PEG init level PEG sustain level sample control1 range ... sample control6 range
fkey1-6 play velocity total EQ low boost gain total EQ low boost frequency total EQ low gain total EQ low frequency total EQ low width total EQ mid gain total EQ mid frequency total EQ mid width total EQ high gain total EQ high frequency total EQ high width stereo to assignable out wave address auto length lock 1 1 24 UC 0,1 (*2) 1 1 25 UC 0,1 wave address auto zero (*2) 1 1 26 UC 0,1 wave address auto snap (*2) 1 1 27 UC 0-4 stereo output level offset 1 1 28 UC 0,1 audition with easy edit 1 1 29 UC 0,1 audition with effect 1 1 30 UC 0-9 loop remix type 1 1 31 UC 0-7 loop remix variation 1 1 32 - UC 0,1 play&load 1 1 33 UC 0,1 progam mode multi part A01-B16 program 1 1 34 0-31 UC 0-127 number1-128 (*5) 1 1 35 UC 0,1 loop remix auto audition 1 1 36 UC 0-7 loop remix zone start point loop remix zone end point 1 1 37 UC 1-8 ( >start) assignable output level offset 1 1 38 0-4 UC 0-4 (*6) 1 1 39 UC 0,1 knob control MIDI out 1 1 40 UC 0,1 fkey play MIDI out (*1) -1:AUDIRION, 0-15:A01-16, 16:basic receive channel, 17-32:B01-16(A5000 only) (*2) Of the three, several will not sound simultaneously. (*3) 0-15:A01-A16, 16-31:B01-B16 (A5000 only) (*4) 0-15:A01-A16, 16:basic receive channel, 17-32:B01-16(A5000 only) (*5) A4000, P4=0-15 (*6) 4000, P4=0-1
1 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1 1 1 1 1 1
11 12 13 14 15 16 17 18 19 20 21 22 23
0-5
UC SC UC SC UC UC SC UC UC SC UC UC UC
0-127 52-76 4-40 52-76 4-40 10-120 52-76 4-58 10-120 52-76 28-58 10-120 0-5
2.3 Switch Remote

Data bytes are not divided, but are received as 1 byte of MIDI data. s 2.3.1 Switch Remote P1 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 20 21 123 124 125 126 127 P2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 P3 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 P4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 P5 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 P6 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 data size UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC UC data value 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 0-127 name FKEY1 (*1) FKEY2 (*1) FKEY3 (*1) FKEY4 (*1) FKEY5 (*1) FKEY6 (*1) [COMMAND/EXIT] (*1) [ASSIGNABLE] (*1) [AUDITION] (*1) [PLAY] (*1) [EDIT] (*1) [REC] (*1) [DISK] (*1) [UTILITY] (*1) KNOB1 SW (*1) KNOB2 SW (*1) KNOB3 SW (*1) KNOB4 SW (*1) KNOB5 SW (*1) [COMMAND/EXIT]+ [ASSIGNABLE] (*1) [COMMAND/EXIT]+ [AUDITION] (*1) KNOB1 ENCODER KNOB2 ENCODER KNOB3 ENCODER KNOB4 ENCODER KNOB5 ENCODER
2.2 System Parameter Each data byte is divided into the upper and lower 4 bits and received/transmitted as 2 bytes of MIDI data. original data byte 1st byte 2nd byte b7,b6,b5,b4,b3,b2,b1,b0 0,0,0,0,b7,b6,b5,b4 0,0,0,0,b3,b2,b1,b0
MIDI data
s 2.2.1 System Parameter P1 P2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 P3 0 1 2 3 4 5 6 7 8 9 10 P4 0-3 0-3 0-5 0-5 P5 P6 data size SC SC SC UC UC UC UC UC UC UC UC data value 63 127 127 0-17 0-31 0,1 0,1 -1,0-32 0-120 0-32 0-127 name master fine tune master coarse tune master transpose velocity curve MIDI basic receive channel (*3) MIDI basic channel omni on MIDI program change receive enable knob2-5 control MIDI transmit channel (*1) knob2-5 control device fkey1-6 play MIDI transmit channel (*4) fkey1-6 play note number
(Note 1) 0-63: Switch off, 64-127: Switch on
Appendix
285
YAMAHA MIDI Data Format
[ Professional Sampler ] Model A5000/A4000 MIDI Implementation Chart Transmitted Recognized
Date:14-SEP-1999 Version : 1.0 Remarks
Function... Basic Channel Mode

Note Number Velocity After Touch
Default Changed Default Messages Altered
1 - 16 1 - 16 x x **************
1 - 16 1 - 16 1,2,3,4 POLY,MONO(M=1) x
0 - 127 0 - 127 o v=1-127 x x o o o o o o o o o *1 *1 *1 *1 *1 *1 *1 *1
memorized memorized
0 - 127 : True voice ************** Note ON Note OFF Key's Ch's o v=1-127 x x o o 5 7 10 64 65 66 0-120 o o o o o o o
Pitch Bender
7 bit resolution portamento time volume pan sustain portamento sostenuto (assignable)
Control Change
Prog Change
: True #
x ************** o x x x x x x x x x x x
o 0 - 127 o 0 - 127 o x x x o o o o x o o x
*1
System Exclusive : Song Pos. : Song Sel. : Tune
*2
object etc.
Common
System : Clock Real Time: Commands Aux :All Sound OFF :Reset All Cntrls :Local ON/OFF :All Notes OFF Mes- :Active Sense sages:Reset Notes:
*3 *3
*1 receive if each receive filter = enable. *2 receive if device No is not off. *3 receive if program LFO sync = MIDI Mode 2 : OMNI ON ,MONO Mode 4 : OMNI OFF,MONO o : Yes x : No
Mode 1 : OMNI ON , POLY Mode 3 : OMNI OFF, POLY

286
INDEX
INDEX
A
AC Inlet .........................................................................................12 Accuracy.....................................................................................223 AD Input......................................................................................107 AD Input Feature ..........................................................................85 AD Input Gain .............................................................................158 AD Input on/off............................................................................107 AD Input Source .........................................................................107 AD Input-L Pan ...........................................................................107 AD Input-R Pan...........................................................................108 Add ...............................................................................................95 ADInput-L Output Level1 ............................................................108 ADInput-L Output Level2 ............................................................108 ADInput-L Output1......................................................................108 ADInput-L Output2......................................................................108 ADInput-R Output Level1............................................................109 ADInput-R Output Level2............................................................109 ADInput-R Output1 .....................................................................108 ADInput-R Output2 .....................................................................109 AEG Attack Mode .......................................................................138 AEG Attack Rate ..................................................................99, 137 AEG Decay Rate ..................................................................99, 137 AEG Rate Scaling.......................................................................138 AEG Rate Velocity Sensitivity .....................................................138 AEG Release Rate ...............................................................99, 137 AEG Sustain Level......................................................................137 After Touch..................................................................................201 AIEB1 I/O Expansion Board .................................................14, 237 AIFF............................................................................................228 All Delete (ALLDEL) ...................................................................151 Alternate Group ..................................................................101, 145 Amplitude EG .......................................................................99, 137 Amplitude Modulation Depth ......................................................144 Arrange.......................................................................................211 Arrange Type ..............................................................................211 ASSIGNABLE Button .............................................................11, 86 ASSIGNABLE Key Function .......................................................197 ASSIGNABLE OUT 1 6............................................................13 ASSIGNABLE OUT L, R...............................................................12 Audio Input Connections ..............................................................23 Audio Output Connections............................................................20 Audition.......................................................................................222 AUDITION Button .........................................................................86 AUDITION Key EasyEdit ............................................................197 AUDITION Key Effect .................................................................197 AUDITION Key Trigger Mode......................................................198 Auto ............................................................................................122 Auto Audition ..............................................................................126 Auto Normalize ...........................................................................157 Auto Snap ...................................................................................123 Auto Zero ....................................................................................123
B
Backup ....................................................................................... 182 Backup Number (Backup #)....................................................... 183 Basic Receive Channel................................................................ 89 Breakpoint1................................................................................ 132 Breakpoint2................................................................................ 132 Bulk Dump ................................................................................. 216 Bulk Protect ............................................................................... 201 Bulk Type.................................................................................... 216
C
Calculate ............................................................................ 124, 223 CD-DA........................................................................................ 184 CD-DA Control (CDDACtrl) ........................................................ 161 CD-ROM Drive ID ...................................................................... 161 CDR DriveID .............................................................................. 183 Center ........................................................................................ 191 Channel ..................................................................................... 200 Channel Message ...................................................................... 200 Channel Setup (ChSetup).......................................................... 112 Character Entry............................................................................ 81 Click Beat................................................................................... 163 Click Level.................................................................................. 163 Click on/off ................................................................................. 164 Click Tempo................................................................................ 163 Coaxial Input/Output .................................................................... 22 Command .......................................................................... 177, 204 Command Execution.......................................................... 177, 206 Command Selection .......................................................... 177, 206 COMMAND/EXIT Button ............................................................. 86 Control ............................................................................... 101, 110 Control Change.................................................................. 191, 201 Control Change Number List ..................................................... 270 Control Type ............................................................................... 192 Controller Reset ......................................................................... 112 Controller Section ........................................................................ 64 Copy........................................................................................... 206 Copy Type .......................................................................... 181, 206 Copy Volume .............................................................................. 181 Create ........................................................................................ 126 Create Oscillator (CREATE OSC).............................................. 227 Crossfade................................................................................... 100 Crossfade (Xfade) ...................................................................... 100 Crossfade Area .......................................................................... 220 Curve ......................................................................................... 219 Custom ...................................................................................... 198 Cutoff ................................................................................... 98, 134 Cutoff Distance .................................................................... 98, 134 Cutoff Modulation Depth ............................................................ 144 Cutoff Modulation Phase Invert.................................................. 144 Cutoff Velocity Sensitivity ........................................................... 134
Appendix
287
Appendix
INDEX
D
Delete ...........................................................94, 169, 185, 194, 208 Delete Type.................................................................................208 Device.........................................................................110, 147, 192 Device Number (Device#)...........................................................201 Digital Input & Output Terminals ...................................................13 Directory .....................................................................................176 Disk.....................................................166, 167, 173, 181, 182, 210 Disk Commands .........................................................................177 Disk Mode...................................................................................166 Disk Select..................................................................................173 Disk Setup ..................................................................................173 Display ..........................................................................................10 Division .......................................................................................221 Down ..........................................................................................176 Drive .............................................................................................66 Drive ID...............................................................................173, 179 Duplicate.......................................................................................94
Extract........................................................................................ 121
F
Factory Reset............................................................................... 86 Fade ........................................................................................... 218 Fade In ....................................................................................... 219 Fade Out .................................................................................... 219 Fade Type .................................................................................. 219 FEG Attack Level ....................................................................... 139 FEG Attack Level Velocity Sensitivity......................................... 140 FEG Attack Rate ........................................................................ 139 FEG Decay Rate........................................................................ 139 FEG Init Level ............................................................................ 139 FEG Level Velocity Sensitivity.................................................... 140 FEG Rate Scaling ...................................................................... 140 FEG Rate Velocity Sensitivity..................................................... 140 FEG Release Level .................................................................... 139 FEG Release Rate..................................................................... 139 FEG Sustain Level ..................................................................... 139 File ............................................................................................. 176 Filter ..................................................................................... 98, 133 Filter & Equalizer (Fltr&EQ) ....................................................... 133 Filter EG..................................................................................... 138 Filter Gain ............................................................................ 97, 134 Filter Scaling (FltrScal)............................................................... 135 Filter Scaling Breakpoint1 .......................................................... 136 Filter Scaling Breakpoint2 .......................................................... 136 Filter Scaling Cutoff1 ................................................................. 135 Filter Scaling Cutoff2 ................................................................. 136 Filter Type................................................................................... 133 Filter Type List ............................................................................ 133 Fixed Pitch ................................................................................. 130 Floppy Disk .................................................................................. 15 Floppy Disk Drive......................................................................... 11 Focus ........................................................................................... 95 Format........................................................................................ 177 Format Type ............................................................................... 178 Free Memory................................................................................ 89 Freeze ........................................................................................ 212 Freeze Type................................................................................ 213 Frequency .................................................................................. 155 From Disk................................................................................... 181 From Effect................................................................................. 207 From length/beat/time ................................................................ 223 From Pitch.................................................................................. 224 From Program ............................................................ 207, 214, 226 From Sample ............................................................................. 207 From SampleBank ............................................................. 214, 227 From Tempo ............................................................................... 223 From Volume .............................................................................. 181 Function ............................................................................. 147, 198 Function Buttons .......................................................................... 11 Function Key Number (Function Key#) ...................................... 193 Function Key Setup (FkeySet) ................................................... 192 Function Tree ............................................................................... 73
E
Easy Edit ......................................................................................96 Edit .............................................................................................118 Effect ..................................................................................102, 160 Effect Edit (EfEdit) ..............................................................104, 160 Effect Edit Type ...........................................................................105 Effect Number (Effect#) ..............................................................105 Effect Output.......................................................................102, 104 Effect Parameter List ..................................................................258 Effect Section ...............................................................................63 Effect Setup (EfSetup) ................................................................160 Effect Setup A (EfSetupA) ..........................................................102 Effect Setup B (EfSetupB) ..........................................................104 Effect Type ..........................................................................102, 104 Effect Type List ...........................................................................256 Effect1 BYPASS .........................................................................102 Effect1 3 Connect ..........................................................102, 104 Effect2 BYPASS .........................................................................103 Effect3 BYPASS .........................................................................103 Effect4 BYPASS .........................................................................104 Effect4 6 Connect ..........................................................103, 104 Effect5 BYPASS .........................................................................104 Effect6 BYPASS .........................................................................104 EG ..............................................................................................137 End Type.....................................................................................124 Error Messages ..........................................................................273 Expand & Velocity Range (Exp&Vel) ..........................................131 Expand Dephase ........................................................................131 Expand Detune...........................................................................131 Expand Width .............................................................................131 Expansion Memory.......................................................................14 Expansion Memory, Installing.....................................................234 EXPORT .....................................................................................228 Export Type.................................................................................228 External Control (EXT CTRL) .....................................................161 External Interface Section ............................................................65
288
INDEX
G
Go...............................................................................................151
H
Hard Disk Installation..........................................................240, 244 Headphone Jack...........................................................................10 High Frequency ..........................................................................190 High Gain....................................................................................189 High Key .............................................................................128, 154 High Width ..................................................................................190
I
I/O Expansion Board (AIEB1).......................................................14 Import .........................................................................................175 Index ...........................................................................................287 Init Type ......................................................................................217 Initialize.......................................................................................217 InitTo ...........................................................................................217 Input............................................................................................155 INPUT L, R Connectors................................................................10 Insert ..........................................................................................185
LFO Wave .................................................................................. 143 Load ................................................................... 167, 169, 171, 172 Load All ...................................................................... 167, 169, 171 Load OS..................................................................................... 185 Load To Program........................................................................ 168 Loop Crossfade (LoopXfade) ..................................................... 220 Loop Divide (LOOPDIV) ............................................................ 221 Loop End Address ..................................................................... 122 Loop Mode ......................................................................... 123, 214 Loop Monitor .............................................................................. 124 Loop Remix (LoopRmx) ............................................................. 125 Loop Start Address .................................................................... 121 Loop Tempo ............................................................................... 124 Low Boost Frequency ................................................................ 190 Low Boost Gain.......................................................................... 189 Low Frequency........................................................................... 190 Low Gain.................................................................................... 189 Low Key ............................................................................. 128, 154 Low Width .................................................................................. 190
M
Map From........................................................................... 212, 222 Map Key ..................................................................... 155, 212, 222 Map/Out ..................................................................................... 127 MapTo ........................................................................................ 153 Master ........................................................................................ 195 Master Volume Control................................................................. 10 Maximum Polyphony.................................................................... 62 Middle Frequency ...................................................................... 190 Middle Gain................................................................................ 189 Middle Width .............................................................................. 190 MIDI ........................................................................................... 200 MIDI Ch...................................................................................... 112 MIDI Channel ............................................................................. 192 MIDI Connections ........................................................................ 25 MIDI Connectors .......................................................................... 12 MIDI Control............................................................................... 101 MIDI Input .................................................................................... 82 MIDI Out .................................................................................... 191 MIDI/CTRL ................................................................................. 145 MIDISample........................................................................ 84, 90 MIDISample Layer Selection .................................................. 198 Minus Side Gain......................................................................... 219 Mix ............................................................................................... 96 Mix & Key Rangfe (Mix&key)...................................................... 127 Mode Buttons............................................................................... 10 Monitor ....................................................................................... 151 Monitor & Click (Mon&Click) ...................................................... 163 Monitor Level ............................................................................. 163 Monitor Output ........................................................................... 163 Mount ......................................................................................... 173 Move .......................................................................................... 226 Move Type.................................................................................. 226 Multiple Floppy Disk Save/Load................................................. 211
K
Key................................................................................................99 Key Crossfade ....................................................................100, 128 Key High Limit...............................................................................99 Key Low Limit ...............................................................................99 Key Map......................................................................................154 Key Range Shift............................................................................99 Key Setup (KeysSet)...................................................................197 Knob .............................................................................................10 Knob 1 Type (KNOB1TYPE).........................................................84 Knob Controller (KnobCtrl) .........................................................191 Knob Controller Setup (KnobSet) ...............................................191 Knob Number (Knob#)................................................................192
L
LCD Contrast Control ...................................................................10 LengLock ....................................................................................122 length..........................................................................................220 Length.........................................................................................221 length %......................................................................................220 length % / beat % / time % .........................................................223 Level .............................................................................................96 Level Offset.................................................................................196 Level Scaling (LvlScal) ...............................................................132 Level1 .........................................................................................132 Level2 .........................................................................................132 LFO.............................................................................................143 LFO Delay ..................................................................................143 LFO Key On Sync.......................................................................144 LFO Speed .................................................................................143
Appendix
289
INDEX
N
New Bank .....................................................................................94 New Sequence (NEW_SEQ)......................................................194 New Volume (NEW VOL) ............................................................172 Normalize ...........................................................................121, 218 Note ............................................................................................193 Note Display Type .......................................................................198 Note Number ..............................................................................193 Note On Type..............................................................................112 Number of Partition.....................................................................179
O
Omni ...........................................................................................200 Open/Close.............................................................................84, 93 Optical Input/Output................................................................13, 22 Optimize .....................................................................................151 Optional Equipment, Installing....................................................232 Original Key ........................................................................128, 154 Original Length/Beat/Time..........................................................223 Original Sample Pitch .................................................................224 Original Tempo............................................................................223 OS File Type ...............................................................................185 Out&Gain......................................................................................97 Output.........................................................................................195 Output Level1 .......................................................................97, 129 Output Level2 .......................................................................97, 129 Output1.................................................................................97, 129 Output2.................................................................................97, 129
P
Page ...........................................................................................199 Pan ...............................................................................................96 Panel Play...................................................................................191 Parameter Number (Parameter#) ...............................................105 Part .........................................................................................91, 92 PEG Attack Level........................................................................141 PEG Attack Rate ........................................................................140 PEG Decay Rate ........................................................................141 PEG Initial Level .........................................................................141 PEG Level Velocity Sensitivity ....................................................142 PEG Range ................................................................................142 PEG Rate Scaling.......................................................................141 PEG Rate Velocity Sensitivity .....................................................141 PEG Release Level ....................................................................141 PEG Release Rate .....................................................................141 PEG Sustain Level......................................................................141 Phones .........................................................................................10 Pitch......................................................................................98, 129 Pitch Bend ..................................................................................201 Pitch Bend Range.......................................................................146 Pitch Bend Type..........................................................................145 Pitch Coarse .........................................................................98, 129 Pitch Convert ..............................................................................222 Pitch EG .....................................................................................140
Pitch Fine ............................................................................. 98, 130 Pitch Modulation Depth.............................................................. 144 Pitch Modulation Phase Invert ................................................... 144 Play Mode .................................................................................... 88 Play & Load................................................................................ 174 Play/ Pause/ Continue........................................................ 161, 194 Playable Area............................................................................... 85 Playback Speed ......................................................................... 194 Plus Side Gain ........................................................................... 219 Poly/Mono ............................................................................ 96, 127 Portamento .................................................................................. 98 Power Connection........................................................................ 19 Power ON/OFF ............................................................................ 27 Power Switch ............................................................................... 11 Pre Trigger ................................................................................. 156 Process .............................................................................. 157, 218 Process Type.............................................................................. 218 Program ............................................................... 89, 167, 211, 216 Program Change........................................................................ 200 Program Control Function.......................................................... 110 Program Controller A/B (PgmCtrlA/B)........................................ 110 Program Level.............................................................................. 90 Program LFO (PgmLFO) ........................................................... 113 Program LFO Cycle ................................................................... 114 Program LFO Initial Phase......................................................... 114 Program LFO Phase Reset Ch .................................................. 114 Program LFO Phase Reset Note ............................................... 114 Program LFO Sync .................................................................... 113 Program LFO Tempo.................................................................. 114 Program LFO Wave ................................................................... 113 Program Load (PgmLoad) ......................................................... 167 Program Mix (PgmMix) ................................................................ 90 Program Mode ....................................................................... 92, 89 Program Portamento.................................................................... 91 Program Portamento Mode.......................................................... 92 Program Portamento Rate/Time .................................................. 92 Program Portamto (PgmPorta) .................................................... 91 Program Select (PgmSel) ............................................................ 89 Program Transpose...................................................................... 91
Q
Q/Width ................................................................................ 98, 134 Q/Width Velocity Sensitivity........................................................ 134 Quick Entry .................................................................................. 83
R
Random Pitch ............................................................................ 130 Range ................................................................................ 111, 148 Rec Effect on/off ........................................................................ 160 Receive Channel (Rch)........................................................ 85, 145 Receive Channel Assign (RchASSIGN) ...................................... 94 Receive Port .............................................................................. 202 Record ....................................................................................... 151 Record Level Control ................................................................... 10
290
INDEX
Record Mode (REC) ...................................................................150 Record Type................................................................................153 Record/ Stop...............................................................................194 Recording Effect Edit ..................................................................160 Recording Effect ON/OFF ..........................................................160 Recording Effect Setup...............................................................160 Recording Setup (RecSetup)......................................................153 RecPort& PlayChannel ...............................................................194 Register ..............................................................................126, 214 Register Source..........................................................................215 Register Source Control .............................................................215 Register Source Effect................................................................215 Register Source Setup ...............................................................215 Register Type..............................................................................215 Remain .......................................................................................151 Remix .........................................................................................125 Remix Type .................................................................................125 Remix Type Variation ..................................................................125 Remix Zone End.........................................................................126 Remix Zone Start .......................................................................126 Remove ........................................................................................95 Resample ...................................................................................222 Resample Type ...........................................................................222 Reserve ........................................................................................94 Reverse ......................................................................................218 Revert .........................................................................................230 RW-Erase ...................................................................................183
S
Sample ...........................................................84, 93, 153, 169, 217 Sample & Hold Speed (S/Hspeed) .............................................107 Sample/Sequence ......................................................................210 Sample Bank ................................................................................95 Sample Controller A/B (SmpCtrlA/B)..........................................146 Sample EQ Frequency ...............................................................135 Sample EQ Gain.........................................................................135 Sample EQ Type.........................................................................135 Sample EQ Width .......................................................................135 Sample Information (SmpInfo)....................................................124 Sample Level ..............................................................................127 Sample Load (SmpLoad)............................................................169 Sample Pan ................................................................................127 Sample Portamento Mode..........................................................130 Sample Portamento Rate/Time ..................................................130 Sample Select (SmpSel) ..............................................................93 Sample Solo .................................................................................93 Sample/Sequence ......................................................................208 SampleBank ...............................................................................211 SampleBank Selection .................................................................95 Sampling Tone Generator.............................................................59 Save....................................................................................194, 208 Save Type ...................................................................................209 Save/Load...................................................................................182 SCSI Connector............................................................................12 SCSI Devices, Installing .............................................................251
Self ID ........................................................................................ 173 Sequence........................................................................... 171, 194 Sequence Data ............................................................................ 65 Sequence Load (SeqLoad) ........................................................ 171 Sequencer Section ...................................................................... 64 Setup ......................................................................... 107, 153, 173 Shortcut Commands .................................................................... 86 SIMM ........................................................................................... 14 SIMM Installation ....................................................................... 234 Snap .......................................................................................... 123 Solo.............................................................................................. 89 Sort .............................................................................................. 93 Sound Check ............................................................................... 28 Source Program......................................................................... 215 Source Sample .......................................................................... 216 Specications............................................................................. 254 Start Edge Level ........................................................................ 158 Start Trigger ............................................................................... 158 Step ........................................................................................... 121 Step Number (Step #) ................................................................ 115 Step Wave Slope........................................................................ 115 Step Wave Total Step ................................................................. 115 Stereo Level ............................................................................... 156 STEREO OUT L/MONO, R Connectors ...................................... 12 Stereo Out To Assignable Out.................................................... 195 Stereo/Mono .............................................................................. 155 StereoMono............................................................................ 225 StereoMono Type ................................................................... 225 Stop ........................................................................................... 161 Stop Edge Level......................................................................... 159 Stop Trigger................................................................................ 159 Supplied Accessories .................................................................... 4 System ....................................................................................... 197 System Exclusive (SysEx) ......................................................... 201 System File ................................................................................ 182 System Parameters ..................................................................... 65
T
Target Area ................................................................................ 212 Target Channel........................................................................... 212 Test .................................................................................... 183, 184 Time Stretch .............................................................................. 222 To Disk ....................................................................................... 181 To Effect ..................................................................................... 207 To length/beat/time..................................................................... 223 To Pitch Coarse.......................................................................... 224 To Pitch Fine .............................................................................. 224 To Program ........................................................................ 207, 227 To Sample .......................................................................... 207, 213 To SampleBank.......................................................................... 227 To Tempo.................................................................................... 223 To Type....................................................................................... 213 To Volume .................................................................................. 181 Top Cover Removal & Replacement .................................. 232, 233 Top Partition ............................................................................... 174
Appendix
291
INDEX
Total ............................................................................................121 Total EQ (ToalEQ).......................................................................189 Track Number (Track #) ..............................................................185 Transpose ...................................................................................200 Tree View ......................................................................................83 Trigger.........................................................................................158 Trim/Loop....................................................................................120 Tuning .........................................................................................195 Tuning Coarse ............................................................................195 Tuning Fine .................................................................................195 Type ....................................................................................111, 148
U
Up ...............................................................................................175 Utility Mode.................................................................................188
V
Value...........................................................................................115 Velocity ...............................................................................100, 193 Velocity Curve.............................................................................200 Velocity High Crossfade......................................................100, 132 Velocity High Limit ......................................................................100 Velocity High Range ...................................................................132 Velocity Low Crossfade ......................................................100, 131 Velocity Low Limit ...............................................................100, 146 Velocity Low Range ....................................................................131 Velocity Offset.............................................................................146 Velocity Sensitivity ..............................................................100, 127 View....................................................................................121, 176 Viewed ........................................................................................121 Volume................................................................167, 172, 185, 209 Volume Select.............................................................................172
W
WAV............................................................................................228 Wave End Address .....................................................................120 Wave Start Address....................................................................120 Wave Start Address Velocity Sensitivity .....................................124 Waveform ...................................................................................120 Waveform Display.......................................................................121 Width ..........................................................................................220 With Related/Format...................................................................216 Write Speed........................................................................183, 184
Z
Zero ............................................................................................123 ZIP Drive Installation ..................................................................247 Zone Monitor ..............................................................................125 Zoom In ......................................................................................120 Zoom Out....................................................................................120
292
FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class B digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit OFF and ON, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line lter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.
(class B)
IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord
WARNING: THIS APPARATUS MUST BE EARTHED IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: GREEN-AND-YELLOW : EARTH BLUE : NEUTRAL BROWN : LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: The wire which is coloured GREEN-and-YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or colored GREEN or GREEN-and-YELLOW. The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd.
(3 wires)
IMPORTANT SAFETY INSTRUCTIONS

INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK, AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.
WARNING- When using any electrical or electronic product, basic precautions should always be followed. These precautions include, but are not limited to, the following:
8.
This product was NOT designed for use in wet/damp locations and should not be used near water or exposed to rain. Examples of wet /damp locations are; near a swimming pool, spa, tub, sink, or wet basement.
1.
Read all Safety Instructions, Installation Instructions, Special Message Section items, and any Assembly Instructions found in this manual BEFORE making any connections, including connection to the main supply.
9.
This product should be used only with the components supplied or; a cart ,rack, or stand that is recommended by the manufacturer. If a cart, rack, or stand is used, please observe all safety markings and instructions that accompany the accessory product.
2. 3.
Do not attempt to service this product beyond that described in the user-maintenance instructions. All other servicing should be referred to qualied service personnel.
10.
Main Power Supply Verication: Yamaha products are manufactured specically for the supply voltage in the area where they are to be sold. If you should move, or if any doubt exists about the supply voltage in your area, please contact your dealer for supply voltage verication and (if applicable) instructions. The required supply voltage is printed on the name plate. For name plate location, please refer to the graphic found in the Special Message Section of this manual.
The power supply cord (plug) should be disconnected from the outlet when electronic products are to be left unused for extended periods of time. Cords should also be disconnected when there is a high probability of lightening and/or electrical storm activity.
11. 12.
Care should be taken that objects do not fall and liquids are not spilled into the enclosure through any openings that may exist.
4.
DANGER-Grounding Instructions: This product must be grounded and therefore has been equipped with a three pin attachment plug. If this product should malfunction, the ground pin provides a path of low resistance for electrical current, reducing the risk of electrical shock. If your wall socket will not accommodate this type plug, contact an electrician to have the outlet replaced in accordance with local electrical codes. Do NOT modify the plug or change the plug to a different type!
Electrical/electronic products should be serviced by a qualied service person when: a. The power supply cord has been damaged; or b. Objects have fallen, been inserted, or liquids have been spilled into the enclosure through openings; or c. The product has been exposed to rain; or d. The product does not operate, exhibits a marked change in performance; or e. The product has been dropped, or the enclosure of the product has been damaged.
5.
13.
WARNING: Do not place this product or any other objects on the power cord or place it in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire size for a 25' cord (or less) is 18 AWG. NOTE: The smaller the AWG number, the larger the current handling capacity. For longer extension cords, consult a local electrician.
This product, either alone or in combination with an amplier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs.
6.
14.
Ventilation: Electronic products, unless specically designed for enclosed installations, should be placed in locations that do not interfere with proper ventilation. If instructions for enclosed installations are not provided, it must be assumed that unobstructed ventilation is required.
Some Yamaha products may have benches and/or accessory mounting xtures that are either supplied as a part of the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional xtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended.
7.
Temperature considerations: Electronic products should be installed in locations that do not seriously contribute to their operating temperature. Placement of this product close to heat sources such as; radiators, heat registers etc., should be avoided.
PLEASE KEEP THIS MANUAL

92-469-3
For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de dtails sur les produits, veuillez-vous adresser Yamaha ou au distributeur le plus proche de vous gurant dans la liste suivante.
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgefhrten Niederlassung und bei Yamaha Vertragshndlern in den jeweiligen Bestimmungslndern erhltlich. Para detalles sobre productos, contacte su tienda Yamaha ms cercana o el distribuidor autorizado que se lista debajo.
NORTH AMERICA
CANADA
Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311
ITALY
Yamaha Musica Italia S.P.A., Combo Division Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771
ASIA
HONG KONG
Tom Lee Music Co., Ltd. 11/F., Silvercord Tower 1, 30 Canton Road, Tsimshatsui, Kowloon, Hong Kong Tel: 2737-7688
SPAIN/PORTUGAL
Yamaha-Hazen Electronica Musical, S.A. Ctra. de la Coruna km. 17, 200, 28230 Las Rozas (Madrid) Spain Tel: 91-201-0700
U.S.A.
Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011
INDONESIA
PT. Yamaha Music Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 21-520-2577
GREECE
Philippe Nakas S.A. Navarinou Street 13, P.Code 10680, Athens, Greece Tel: 01-364-7111
CENTRAL & SOUTH AMERICA

MEXICO
Yamaha de Mexico S.A. De C.V., Departamento de ventas Javier Rojo Gomez No.1149, Col. Gpe Del Moral, Deleg. Iztapalapa, 09300 Mexico, D.F. Tel: 686-00-33
KOREA
Cosmos Corporation 1461-9, Seocho Dong, Seocho Gu, Seoul, Korea Tel: 02-3486-0011
SWEDEN
Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-400 43 Gteborg, Sweden Tel: 031 89 34 00
MALAYSIA
Yamaha Music Malaysia, Sdn., Bhd. Lot 8, Jalan Perbandaran, 47301 Kelana Jaya, Petaling Jaya, Selangor, Malaysia Tel: 3-703-0900
BRAZIL
Yamaha Musical do Brasil LTDA. Av. Rebouas 2636, So Paulo, Brasil Tel: 011-853-1377
DENMARK
YS Copenhagen Liaison Ofce Generatorvej 8B DK-2730 Herlev, Denmark Tel: 44 92 49 00
PHILIPPINES
Yupangco Music Corporation 339 Gil J. Puyat Avenue, P.O. Box 885 MCPO, Makati, Metro Manila, Philippines Tel: 819-7551
ARGENTINA
Yamaha Music Argentina S.A. Viamonte 1145 Piso2-B 1053, Buenos Aires, Argentina Tel: 1-371-7021
FINLAND
F-Musiikki Oy Kluuvikatu 6, P.O. Box 260, SF-00101 Helsinki, Finland Tel: 09 618511
SINGAPORE
Yamaha Music Asia Pte., Ltd. 11 Ubi Road #06-00, Meiban Industrial Building, Singapore Tel: 65-747-4374
PANAMA AND OTHER LATIN AMERICAN COUNTRIES/ CARIBBEAN COUNTRIES

Yamaha de Panama S.A. Torre Banco General, Piso 7, Urbanizacin Marbella, Calle 47 y Aquilino de la Guardia, Ciudad de Panam, Panam Tel: 507-269-5311
NORWAY
Norsk lial av Yamaha Scandinavia AB Grini Nringspark 1 N-1345 sters, Norway Tel: 67 16 77 70
TAIWAN
Yamaha KHS Music Co., Ltd. 10F, 150, Tun-Hwa Northroad, Taipei, Taiwan, R.O.C. Tel: 02-2713-8999
ICELAND
Skifan HF Skeifan 17 P.O. Box 8120 IS-128 Reykjavik, Iceland Tel: 525 5000
EUROPE
THE UNITED KINGDOM
Yamaha-Kemble Music (U.K.) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700
THAILAND
Siam Music Yamaha Co., Ltd. 121/60-61 RS Tower 17th Floor, Ratchadaphisek RD., Dindaeng, Bangkok 10320, Thailand Tel: 02-641-2951
OTHER EUROPEAN COUNTRIES

Yamaha Europa GmbH. Siemensstrae 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030
IRELAND
Danfay Ltd. 61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin Tel: 01-2859177
THE PEOPLES REPUBLIC OF CHINA AND OTHER ASIAN COUNTRIES

Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2317
AFRICA
Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2312
GERMANY/SWITZERLAND
OCEANIA
AUSTRALIA
Yamaha Music Australia Pty. Ltd. 17-33 Market Street, South Melbourne, Vic. 3205, Australia Tel: 3-699-2388
MIDDLE EAST
TURKEY/CYPRUS
AUSTRIA
Yamaha Music Austria Schleiergasse 20, A-1100 Wien Austria Tel: 01-60203900
NEW ZEALAND
Music Houses of N.Z. Ltd. 146/148 Captain Springs Road, Te Papapa, Auckland, New Zealand Tel: 9-634-0099
THE NETHERLANDS
Yamaha Music Nederland Kanaalweg 18G, 3526KL, Utrecht, The Netherlands Tel: 030-2828411
OTHER COUNTRIES
Yamaha Music Gulf FZE LB21-128 Jebel Ali Freezone P.O.Box 17328, Dubai, U.A.E. Tel: 971-4-81-5868
BELGIUM
Yamaha Music Belgium Keiberg Imperiastraat 8, 1930 Zaventem, Belgium Tel: 02-7258220
COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN

Yamaha Corporation, International Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2312
FRANCE
Yamaha Musique France, Division Professionnelle BP 70-77312 Marne-la-Valle Cedex 2, France Tel: 01-64-61-4000
HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2445
SY21

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SPECIAL MESSAGE SECTION

Model Serial No. Purchase Date

s SAVING USER DATA

s Handling and Installation of Options

Power Cable for Internal Hard Disk (long)

Power Cable for ZIP Drive (short)

SCSI Cable for Internal Hard Disk

IDE Cable for Internal Hard Disk

Advanced Built-in Effect System

Fast, Efcient Operation

Compatibility with a Wide Range of Sample Formats

A Wide Selection of Sample Data Included

Using the Manual

Using the Manual

Finding Information You Need

The Table of Contents

Controls & Connectors

The A5000/A4000 Function Tree

Using the Manual

Flip Through the Pages

Chapter 3 The A5000/A4000 System & Features

Chapter 5 EDIT Mode

Chapter 6 RECORD Mode

Chapter 7 DISK Mode

Chapter 8 UTILITY Mode

Panel and Connector Arrangement

Panel and Connector Arrangement

q MASTER VOL (Master Volume)

r INPUT L, INPUT R jacks

w REC VOL (Recording Volume)

y LCD Contrast Control

Panel and Connector Arrangement

o [F1] [F6] Function buttons

Panel and Connector Arrangement

r STEREO OUT jacks

e ASSIGNABLE OUT jacks

Panel and Connector Arrangement

s Rear Panel (with optional AIEB1 board installed)

q OPTICAL IN, OUT connectors

w DIGITAL IN, OUT connectors

e ASSIGNABLE OUT jacks (AS1 to AS6)

Expansion Memory (SIMMs)

The I/O Expansion Board (AIEB1 Board)

Handling the Floppy Disk Drive(FDD) and Floppy Disk

Handling the Floppy Disk Drive(FDD) and Floppy Disk

Inserting/Ejecting Floppy Disks

To eject a oppy disk:

Handling the Floppy Disk Drive(FDD) and Floppy Disk

Cleaning the Disk Drive Read/Write Head

About the Floppy Disks

To protect your data (Write-protect Tab):

Connecting the Power

Connecting the A5000/A4000 Outputs

Connecting the Audio Inputs

Chapter 1 Setting Up A5000/A4000 q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q

Connecting the Cord

Audio Output Connections

Audio Output Connections

Connecting the Analog Outputs

For monaural output: