Yamaha CS1x Manual

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  • Page 2 BLUE BOOK authors who spent 3 months analysing the CS1x in every detail to give you, the user, all the real-world application tips, tricks and examples you need to help fully exploit all the possibilities the CS1x has to offer.
  • Page 3 This is how the “BLUE BOOK” came about, a special kind of workbook that will give you an easy start into using the CS1x and provide an overview of this innovative synthesizer‘s countless possibili- ties.
  • Page 4: Table Of Contents

    Contents Introduction Song Production: An Easy Start First steps – Songs in Performance Mode: Listening to the Preset sounds and Demos Six steps to success . . 27 At a glance . The traditional approach: Multi settings at the machine .
  • Page 6: Introduction

    fi rst contact with your piano, organ or string sounds, don‘t panic – here, too the CS1x is at home. After all, it contains all the GM/XG sounds. new synthesizer. Naturally you will want If you have not yet come across these sounds, why not press the MULTI key.
  • Page 7: Sound Organisation

    Layers of these Performances. Take a look at possible. This is an area in particular where the CS1x has a this extract from the table below: lot to offer.
  • Page 8: Performance Storage And Management

    Extra Performance “Pf. Wurlitza”. The sound is now initially mention of bank Pre 12 in the last X-PERIMENT. This little held in the working memory of the CS1x, and can now be riddle is easily solved by looking at the DATA LIST on page saved to the USER memory of your choice using STORE.
  • Page 10: Analogue Workshop

    0. If the fancy takes you, you may even transpose an oscil- Our tips and tricks can be applied not only to analogue syn- lator or CS1x Layer by a whole 4 Octaves! With a bit of luck thesis, but all kinds of tone generation. Naturally, we can't you can program some impressive sounds using this feature.
  • Page 11: The Filters - Tastebuds For Your Ears

    The solution here is a little trick: opens the doors to the delectable ‘sync sounds’, two exam- ples of which exist as ROM samples in the CS1x’s memory use the resonance as a kind of ‘pseudo enhancer’, a psycho- (TP010/011).
  • Page 12 In short, the interplay between will pay off in the long run, especially as every synthesizer, the fi lter and amplitude envelopes is vital. A few examples. including the CS1x, reacts to parameter changes in its own unique way. PERIMENT: Vary the decay time of Performance TP017 to see how quickly fi...
  • Page 13: Helper Motors - The Lfos

    A M P L E : jumps. Dig deeper in the CS1x’s bag of tricks though and you will fi nd the ingenious arpeggiator, which will produce stylish Obvious examples are brass sounds (TP028). Here the ini- rhythmic musical phrases for you. After all, the overworked tial ‘tearing’...
  • Page 14: About The Little Things

    LFO’s gen- eral phase setting. All of the CS1x Low Frequency Oscillators can be synchronised to each key press using the ”Retrigger” option. When this is set, a sound’s modulation begins exactly...
  • Page 15: Résumé

    Bar 54 introduces an extra classy analogue sound: no, you‘re not listening to the CS1x effects here, these echo effects are part of the sound! This is done with the aid of the Amplitude LFO, here using the sawtooth LFO waveform to imitate this effect.
  • Page 16: Arpeggiator

    1/24, 1/12 and 1/ With the aid of the Arpeggiator Split function you can limit 6. But wait, there‘s more, the CS1x also offers 3 further divi- the Arpeggio key range to notes below the C3 key (see sec- sions (3/23, 3/16, 3/8).
  • Page 17: First Steps

    “Random” fi rst. These are by no means unique to the the beats’. Perhaps you have already come across this phe- CS1x, but can be found on many a synthesizer and therefore nomenon when working with other Arpeggiators or testing serve well as an introduction as to the how Areggiators auto- some of the CS1x factory sounds.
  • Page 18: Fun To The Power Of 15

    If all this leaves you cold, you clearly haven‘t heard the chord note variations. Let‘s spend a little time on these CS1x‘s 15 special Arpeggio types! First a quick note: all spe- ‘dynamic’ changes. cial types don‘t lend themselves well to triplet rhythms. The best results are achieved with a 4/4 beat and a resolution of 1/16, 1/8 or 1/32.
  • Page 19: Effects - Used In A Different Way

    The last SFX Arpeggio is a percussive sequence which can many different results, and when used with especially fl exi- be applied universally. Particularly nice here is Pan Position ble instruments like the CS1x they open up a whole world of modulation. possibilities.
  • Page 20: Keeping In Line

    Hard Chord Work A M P L E : The Performances TP083/084 are really quite traditional. With the fi rst you will hear a two bar Clavinet sequence. You should keep your triggering chords held down for at least Furthermore you can use the integrated Arpeggiator for four beats on account of the daring downward octave jump various chord...
  • Page 21: Let's Groove

    Please note: when playing these fi les, sound data for the mind edit the grooves themselves. Performances used is transmitted to the CS1x. This means that unlike the sound examples you don‘t have to transmit the Tuto- How about triggering a drum kit with the Arpeggiator – is rial bank or any other bank manually.
  • Page 22: Performance Mode

    Initially, both Scene settings are stored in the (P093), but as you can already alter the Filter‘s frequency working memory of the CS1x. You will need to save your with knob 5, using Scenes may seem a little awkward. How-...
  • Page 23: Why Scenes

    (FEGAt- tions for two or more partial tones. With the CS1x this, the kTime=+32). Scene1‘s settings result in intense fi ltering and simplest and easiest method, is achieved with the aid of a very drawn-out fade-in time.
  • Page 24 (A) Delay does. Next to Reverb and Chorus, Delay is one of the most important effect types. The CS1x offers a choice of several types. Each program delays the output signal in its own par- (C) Flanger ticular way.
  • Page 25: Live Application

    This effect too is a typical guitar effect. It essentially imi- (TP113). tates the sound of an amplifi er combo. The CS1x even allows you to choose between different amp characteristics (Tran- sistor/Valve). On top of this there‘s a low-pass fi lter and the parameter “Drive”...
  • Page 26: Split Performances

    61 keys aren‘t always enough to fully exploit a piano‘s tonal possibilities. To begin with you can work with the CS1x‘s Shift and PART/LAYER keys to trans- pose an entire octave by up to +/-3 octaves. Once again, this...
  • Page 27: Pulling Out All The Stops

    We is the spontaneous control of the drawbar positions, an need to improvise a little however as the CS1x is limited to effect which thanks to the wide control possibilities of the four Layers.
  • Page 28: Song Production: An Easy Start

    MIDI Thru function (“MIDI THRU = on”) and Setup File set your CS1x to Local Off in Utility mode. You can now choose which CS1x Part is to be used by selecting your Load fi le “SETUPPF.MID” from the Tutorial disk into your sequencer track‘s MIDI Channel.
  • Page 29: The Traditional Approach: Multi Settings At The Machine

    Important: use a slow tempo, around 40 to 60bpm. Start it can be programmed extensively and enabled/disabled for recording. If everything works as planned, the CS1x will now each Layer. receive a Request command for each Part, and in turn will send all Part settings using a System Exclusive data block.
  • Page 30 doing so would disable any ASSIGN settings in your Perfor- mance. The “KNOBPFM.MID” fi le can be used to return all Knob assignments to their factory presets. Another small tip for tinkerers: If you decide to use the above alternative Controller assignments as standard for your song productions, it may be wise to label each Knob with little stickers for reference, e.g.
  • Page 32: Song Production: The Basics

    Performances’ Layers, which can be selected with spe- cifi c Bank and Program Change commands. If you are planning to use the CS1x to play back or record Is doesn‘t really matter whether you choose the Multi or sequencer songs, you should already have heard something Performance mode for song production –...
  • Page 33: Where Is The Multi Setup

    The most important event used in the Setup Data is the Parts 5 – 16 are fully XG compatible. You can change modes MIDI Controller. Here the CS1x is ahead of the crowd, as all as often as you like as long as you restrict yourself to these...
  • Page 34: Decisions, Decisions: Banks And Programs

    Tutti 040–042 040/41/42 The fi rst row of the table lists the CS1x Bank Changes. The remaining rows contain Bank Changes for Material Voice XG Voice bank 043 Velo-Switch Banks 00 – 12. All Material voices can be used as indepen- dent sounds for Performance Parts 5 –...
  • Page 35: Who Is Controlling Whom

    Analog Kit 026 (025) A closer look at UTILITY function “Assign Ctrl No” reveals where the CS1x gets its “Control Synthesizer” name. Here Jazz Kit 033 (032) you can use any Knob (1 – 6) and the Mod wheel to modify...
  • Page 36: Everything Under Control: Nprn And Rpn

    Vibrato Rate Vibrato Depth Vibrato Delay A M P L E : EG Decay Time Let‘s say you want to control another YAMAHA synthe- Drum Cutoff Freq. note number 20 note number sizer‘s VARITAION Effect Send Level on MIDI channel 16.
  • Page 37 A M P L E : Drum Pitch Coarse Key E1 (Analog Snare H): Control 099 024 Control 098 040 Control 006 066 Control 099 calls up drum parameter PITCH COARSE, Control 098 sets the NOTE NUMBER (40 = E1) and Control 006 increases the sound‘s initial pitch by two semi-tones, resulting in the snare‘s higher tuning.
  • Page 38: Exclusive: Sys-Ex Messages

    Sys-Ex can be With this combination of different Controllers and fun! You will need to use the CS1x XG mode for the following Sys-Ex data the XG system opens the door to unimagined examples, so press the MULTI key.
  • Page 39 A M P L E : (F0) 43 10 4B 50 00 17 03 (F7) = hexadecimal (240) 67 16 75 80 0 23 03 (247) = decimal Reverb Return The byte 8 value indicates that both Scenes are to be switched on.
  • Page 40: Song Production: More Tips And Tricks

    XG drum kits, even in Performance mode, but The Variation Effect settings should be of particular inter- not with the additional CS1x kits (Banks MSB 063 / LSB 12, est. To make things a little easier we have compiled a table Prg 001 to 006).
  • Page 41: Still More Performances

    + 00.4 this trick you can. - 00.5 + 00.5 You will have learned from section “ About the CS1x -00.6 +00.6 Sound Structure” that a Performance‘s Layers can be called up individually as Material Voices in Multi Parts 5 – 16.
  • Page 42: Split Performances - Used To Great Effect

    Parts. This function can Part 16 = Chord 2 (Pad) be useful especially when the CS1x is only a part of a MIDI equipment setup. In this scenario the CS1x should usually only receive information on a few specifi c MIDI channels.
  • Page 43 This is as simple to realise as it is effective with the CS1X “Random Pan” function. This function is available in all of the CS1x‘s modes: with Performance Layers set the Pan parameter to Rndm (one step below -63), with the Multi Parts use the following Sys-Ex message: (F0) 43 10 4C 08 nn 0E 00 (F7).
  • Page 44: Song Practice: A View Behind The Scenes

    CS1x and you don‘t have to program them have saved the modifi ed Performance using a BULK DUMP manually.
  • Page 45 Arpeggiator uselessly waits for external timing signals. You also should always take care that the CS1x is set to Performance mode and not Edit mode, at least during play- back of the Setup bar, otherwise the Controller and Sys-Ex messages for Multi Parts 5 –...
  • Page 46: Example 2: "Blue Fuzz

    The Master Volume is now set to a very low level. You decide to end the session to work on it later. Suddenly you won‘t believe your ears; the CS1x has become extremely Please load the Tutorial Disk song: BLUE quiet, and you suspect a malfunction of some kind.
  • Page 47: Example 3: "Tekk It

    Drums (Ch.8 11) Example 3: “Tekk it” The Part mode Sys-Ex settings are particularly important for MIDI channels 8 and 10. This allows the usage of differ- ent drum sets. Part 8 requires the “Standard Kit” HiHat. Part This example will demonstrate: Mode 01 (“Drum”) is set for this.
  • Page 48: Appendix

    Appendix Summary of “Tutorial Disk” Files ARPDEMO1.MID (Sound example for Arpeggiator practice, Tempo: 143 bpm) Activate your sequencer‘s MIDI Clock before playback! ARPDEMO2MID (Sound example for Arpeggiator practice, Tempo: 125 bpm) Activate your sequencer‘s MIDI Clock before playback! ARPDEMO3MID (Sound example for Arpeggiator practice, Tempo: 165 bpm) Activate your sequencer‘s MIDI Clock before playback! SWEEPRUN.MID (Sound example for Song practice, Tempo: 148 bpm)
  • Page 49 Performance List CS1x: Performance List CS1x: ") EXTRA Bank ("Additions TUTORIAL Bank (BlueBook) No. Cat. Perf. Name Ele. No. Cat. Perf. Name Ele. No. Cat. Perf.- Name Ele. No. Cat. Perf. Name Ele. Wurlitza Goldlox XPER-Det XPR-VCF1 Radio Washout 1VCOsaw1...
  • Page 50: The Little Trouble Shooter

    Are the Performance mode Multi Part MIDI channels set correctly? Please check in UTILITY – RCV CH. Is the CS1x currently in EDIT mode? If so, the correct set- tings for Multi Parts cannot be received. Use the Perfor- mance key to switch into PLAY mode.
  • Page 52: Index

    Sample&Hold 12 Sawtooth Waves 9 Index Scene morphing 21 Noise Generator 10 FB Lvl 24 Scene switches 5 Note Limit 25 FC Vari EF 23 Setup Data 27, 32 Note off 32 FEG 10 Sine Wave 10 Note on 32 Filter Envelope 10 Single Trigger 14 Note Shift 40...
  • Page 53 YAMAHA Europa GmbH Siemensstraße 22–34 25462 Rellingen, Germany YAMAHA Musique France BP 70-77312 Marne-la-Valée Cedex 2 France YAMAHA Musica Italia S.P.A. Viale Italia 88 20020 Lainate (Milano), Italy YAMAHA-Hazen Electronica Musical, S.A. Jorge Juan 30 28001 Madrid, Spain YAMAHA Music Belgium, Keiberg...

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