Yamaha AN1x Owner's Manual
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Yamaha AN1x Owner's Manual

Control synthesizer analog physical modeling
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  • Page 3: Table Of Contents

    Contents PRECAUTIONS ...4 INTRODUCTION How To Use This Manual ...5 Main Features...5 The AN1x At A Glance ...6 The Making Of A Modern Classic ...8 What Is A Voice? ...9 AN1x Memory Structure ...9 ANALOG PHYSICAL MODELING SYNTHESIS AN1x Tone Generator ...10 GETTING STARTED System Examples ...12...

  • Page 4: Precautions

    SAVING USER DATA • Save all data to an external device such as the Yamaha MIDI Data Filer MDF2, in order to help prevent the loss of important data due to a malfunction or user operating error.

  • Page 5: Introduction

    Congratulations! And thank you for choosing Yamaha. You are now the proud owner of the AN1x Control Synthesizer, a fully-professional digital keyboard with powerful sound and versatile real-time control features. The AN1x is a modern music dynamo capable of faithfully delivering the warm, fat, punchy sounds of the legendary analog synths—with the same familiar oscillator, filter and other sound creation elements and intuitive, "hands on"...

  • Page 6: The An1X At A Glance

    AN1x or MIDI data storage device. [OUT] is for output of MIDI data, including data dumps to another AN1x or MIDI data storage device. [THRU] is for “daisy- chain” connection of additional MIDI instruments, as the MIDI data received at the AN1x’s [IN] terminal is passed along unchanged to...

  • Page 7: Portamento Switch

    When using a mono system, connect it to the [L/MONO] jack. 8 [PHONES] jack The [PHONES] jack lets you connect a set of stereo headphones to the AN1x for private listening. Synthesis Block Diagram The Analog Physical Modeling synthesis...

  • Page 8: The Making Of A Modern Classic

    Arpeggiator and Step Sequencer for generating pattern loops at the press of a key. What’s much more, however, is that the AN1x incorporates features that vintage synths could only dream about—like three on- board programmable digital multi-effects units and a 3-band stereo EQ, a multiple controller-to-parameter assignment architecture, a 4-track Free EG for “hand drawing”...

  • Page 9: What Is A Voice

    “patch”, and in others a “program”. With the AN1x, a voice is a configuration of all tone generator and other parameter settings, including effects setups and data for a single Voice Pattern, but excluding system settings or the bank of Step Sequencer User Patterns.

  • Page 10: An1X Tone Generator

    With the AN1x, these three elements are termed the VCO (voltage controlled oscillator), the VCF (voltage controlled filter), and the VCA (voltage controlled amplifier).
  • Page 11 After Touch, and more, including MIDI Control Change messages received at the MIDI [IN] terminal. The AN1x’s Control Matrix and UTILITY SETUP Control Assign function work together flexibly to give you complete authority over which on-board or external controller controls which individual internal or external parameter.

  • Page 12: System Examples

    PHONES To avoid possible damage to the speakers or other connected electronic devices, before switching on the power of any device, make sure the AN1x’s [VOLUME] level and the volume levels of the connected equipment are set to minimum positions.

  • Page 13: Switching On The Power

    Connecting The AN1x To A MIDI Data Storage Device You can connect the AN1x to a MIDI data storage device, such as the Yamaha MDF2 MIDI Data Filer, in order to “bulk dump”, or save AN1x voice, Step Sequencer and other data to floppy disks. This lets you...

  • Page 14: Basic Operation

    Not only are these voices first-rate and highly useful in their own right, they form a dynamic living example of the AN1x’s vast sonic range and power, as well as provide an excellent basis for study of how voices are constructed.

  • Page 15: Using The Controllers

    Voice Recall function. For more information, see page 96. Using The Controllers The AN1x has various on-board controllers which let you control specific parameters in real-time as you play. Besides keyboard Initial and After Touch, these include...

  • Page 16: Control Knobs And Parameter Groups

    For more information about the CONTROL knobs, see page 16. For information about the Step Sequencer, see page 37. Foot Controllers The AN1x features [FOOT CONTROLLER], [FOOT VOLUME], and [FOOTSWITCH] jacks for connecting various foot pedals, each of which can be assigned to control one of many types of available on-board and external parameters.

  • Page 17: An1X Quick Tour

    Taking the time to systematically explore various aspects of the 128 factory-set voices is an excellent way to get a thorough understanding of the AN1x’s sonic range and power. It’s also a natural way to quickly familiarize yourself with some of the fundamental operations you’ll use during performance as well as in voice, Arpeggiator, Step Sequencer and Free EG creation...
  • Page 18 4 Turn the CONTROL knobs. Press a KNOB PARAMETER GROUP switch and turn each CONTROL knob as you play each Scene to hear how it affects the sound. There are eight different groups of parameters assigned to the knobs at the factory. These let you edit the tone generator parameters as printed on the panel beside each knob.

  • Page 19: Selecting Scenes And Scene Morphing

    For more information about controllers, see Using The Control Features, page 49. Selecting Scenes And Scene Morphing The AN1x’s Scene select and play functions offer an exciting range of sophisticated and convenient real-time sound control options that let you express yourself musically in completely unique ways.

  • Page 20: Scene Control

    Scene Edit Buffers When you select a voice, the two Scenes are loaded into the Scene edit buffers. Since each Scene has its own buffer, you can “work” on each Scene separately. For example, if [SCENE 1] is selected and you edit its parameters by turning the knobs, this data will be maintained in Scene 1 even if you select [SCENE 2] and start editing it.

  • Page 21: Scene Store Function

    Depending on how different each Scene is, a considerable number of parameters may get changed simultaneously as you do the cross-fade. As such, you have an enormous palette of sound textures available which you can apply in real-time as you play. Also, you can select KNOB PARAMETER GROUP switches and turn the CONTROL knobs to edit the data during the Scene Control.

  • Page 22: Scene Load Function

    SINGLE This is the normal play mode for a voice. The sound is determined by the data of the currently selected Scene. In this mode the AN1x plays with maximum 10 notes polyphony. UNISON This mode is great for getting those “fat” analog-type sounds of the legendary vintage synths.

  • Page 23: Dual Unison

    Plays Scene 1 sound Plays Scene 2 sound SPLIT POINT In SPLIT mode the AN1x is capable of multitimbral play (max. 2 sounds). External sequencer Two incoming MIDI signals play each scene independently over a...

  • Page 24: Portamento Play

    Key pressed Portamento The portamento is applied not only to the AN1x’s voice as audio output from the internal tone generator, portamento data is also output from the MIDI [OUT] terminal, which means it can affect a voice of an external tone generator...

  • Page 25: Setting Portamento Time

    CTRL LFO2 VCO1 SYNC MASTER SLAVE VCO2 For details about assigning parameters to CONTROL knobs, see page 95. For information about the AN1x’s tone generator, see page 10. KNOB PARAMETER GROUP SYNC/FM PEG/ LFO VCO1 VCO2 MIX /VCF ASSIGN LFO1...

  • Page 26: Using The Control Knobs

    AN1x in real-time. They also let you access and edit the individual events in each step of the Step Sequencer (when the [EDIT ROTARY] switch is set to the SEQ EDIT/SETUP menu).

  • Page 27: Assigning Parameters To Knobs

    Assigning Parameters To Knobs You can assign one of many available Control Change parameters to each knob. After pressing the [ASSIGN] switch, these parameters will be available for edit in real- time using the CONTROL knobs. Knob assignments are made using the Control function (Device and Control Number) parameters located in the UTILITY SETUP menu.

  • Page 28: Using The Panel Edit Matrix

    Using The Panel Edit Matrix The AN1x’s panel matrix of Edit menus gives you quick and easy access to hundreds of parameter settings. All you have to do is set the [EDIT ROTARY] switch to one of the six menus...

  • Page 29: Editing Voices

    AN1x creates and enhances sound, as well as how the various controls work to manipulate the many features.

  • Page 30: Creating Original Voices

    CREATING ORIGINAL VOICES Following is an overview of the key procedures required to build up your own voices from scratch. For step-by-step examples of how to create specific types of voices, including analog synth classics like Synth Bass and Synth Brass, as well as traditional Electronic Organ and Electric Piano voices and more, see page 101.
  • Page 31 Sync Algorithm Pressing the [SYNC/FM] KNOB PARAMETER GROUP switch lets you use the CONTROL knobs to access the parameters which affect the "master" and "slave" oscillators which are part of the VCO1, as well as configure how the FM (Frequency Modulation) signal is applied to the master and/or slave oscillators.

  • Page 32: Lfo Edit

    LFO to the VCO creates vibrato, applying it to the VCF creates wah, and applying it to the VCA creates tremolo. The AN1x has two separate LFOs which give you a wide range of control over modulation.

  • Page 33: Store Operations

    Store Operations The [STORE] switch is used for performing Voice Store operations. DEMO PORTAMENTO LAYER STORE ARPEGGIO/SEQ For information about performing a Voice Store operation, see page 98. For information about types of data stored in a voice, see page 9. For information about Scene-related Store functions, see page 21.

  • Page 34: Arpeggio Hold Function

    Arpeggiator in BPM (Beats Per Minute). If you want the clock of an external MIDI sequencer or drum machine to control the AN1x’s tempo, then set the Tempo to “MIDI” (the first value located before “40”) so that the two devices will play in synchronization with each other.

  • Page 35: Playing Arpeggiated Chords

    Playing Arpeggiated Chords Trying out the various arpeggios is a lot of fun. Turn on the Arpeggio Hold function, play an even-numbered note chord, and see how the different pattern Types and Subdivide settings react. Then play an odd-numbered note chord and repeat the process.
  • Page 36 Layer mode = SINGLE (Same as for “scne1” or “scne2”, page 35.) Arpeggio Pattern Length The length of an AN1x arpeggio pattern is determined by three factors which work together simultaneously: Arpeggio Type, Arpeggio Subdivide setting, and the total number of notes you play for an arpeggiated chord.

  • Page 37: Arpeggio Midi Output

    Play Effect Velocity Press the Play Effect Velocity [UP/DOWN] switch to set the ratio between the lower and higher velocity values of the Arpeggiator pattern, over a range between 1% and 200%. Common MIDI Arpeggio SceneSw Arp /SEQ Type/No KbdMode Hold Ptn Tx Ch Subdivide...

  • Page 38: Step Sequencer On/Off

    Bypass If you want the clock of an external MIDI sequencer or drum machine to control the AN1x’s tempo, then set the Tempo to “MIDI” (the first value located before “40”), so that the two devices will play in synchronization with each other.

  • Page 39: Voice Pattern And User Pattern Banks

    41, but first let’s take a look at the two main methods of Step Sequencer play—Single Pattern Play and Pattern Select Play—and see what’s happening inside the AN1x’s memory structure as you select, edit and store patterns. Single Pattern Play During Single Pattern Play, you can play a single Step Sequencer pattern from the keyboard.

  • Page 40: Playing Step Sequencer Patterns

    KbdMode must be set to “sel&norm” or “sel&shift”. (See page 85.) Playing Step Sequencer Patterns The AN1x comes with 128 Voice Patterns and 128 User Patterns ready to go. All patterns can be overwritten to store your own. Selecting Pattern Banks...
  • Page 41 norm (Normal): Lets you play the Voice Pattern of the currently selected voice at its base pitch from any key on the keyboard. You can play regular notes and chords across the keyboard while the sequence is looping. Triggers current Voice Pattern shift&norm (Shift &...
  • Page 42 Base Unit And Length The Base Unit parameter, together with the current Tempo setting (see page 77) designates and completes the timing resolution for the sequence pattern. Pattern Knob Event 1-8 / 9 -16 Step Hold Bank Base Unit Length LoopType Ctrl No The Length parameter setting determines the length of...

  • Page 43: Play Effects

    Play Effects The Play Effect (“Play EF”) parameters let you designate settings which can permit the Step Sequencer pattern to obtain a more human “feel”. (Or even a less one, if that’s what you’re going for!) There are three Play Effect parameters, Swing, Velocity and Gate Time.

  • Page 44: Step Sequencer Edit

    Step Sequencer Edit Creating your own Step Sequencer patterns is a simple and straightforward process. When the [EDIT ROTARY] switch is set to the SEQ EDIT/SETUP menu, each CONTROL knob is used to edit Note, Velocity, Gate Time and Control Change values for a single step. First decide the Base Unit and Length for the sequence pattern.
  • Page 45 Gate Time (1 ~ 200%): Lets you determine the note duration for the step. Control Change (0 ~ 127): Lets you set the value of the MIDI Control Change message to be output by the step. Control Change setting (off, CC1~95, After Touch) is determined by the Control No (Number) parameter in the SEQ EDIT/SETUP menu.

  • Page 46: Step Sequencer Midi Output

    Storing Step Sequences Depending on whether the Step Sequencer is in Single Pattern Play or Pattern Select Play status, you can do the following: • Perform a Voice Store operation to store the current Voice Pattern data in the Voice edit buffer as voice data (in Single Pattern Play status).

  • Page 47: Using The Free Eg

    Track Common Parameters Trigger: Determines how the track playback is triggered, either by pressing a key on the AN1x’s keyboard after selecting a voice (“free”), a Note On message from the keyboard or an external MIDI device (“kbd”), or by a Note On message from...
  • Page 48 Loop Type: Determines the type of loop for play of the Free EG sequence, either to play once but not loop (“off”), to loop forward from beginning to end (“fwd”), to loop forward from middle to end (“half”), to Alternate, i.e., loop from beginning to end then end to beginning (“...

  • Page 49: Using The Control Features

    These functions work together to give you sophisticated expressive control over the sound of both the AN1x itself as well as any connected MIDI instruments. Real-time Control The AN1x's real-time controllers include all on-board...

  • Page 50: Utility Control Assign Function

    For more information about each parameter, see the separate Data List book. For information about the procedure for assigning controllers, see page 95. Ctrl UTILITY Device Ctrl No SETUP AN1x Tone Generator VOICE SCENE SETUP Control Matrix MIDI IN MIDI OUT UTILITY SETUP Control CC...

  • Page 51: Control Matrix

    CONTROL knobs, [MODULATION] wheel, [FOOT CONTROLLER], [RIBBON] controller, etc.), as well as messages generated by external devices received at the MIDI [IN] terminal, are routed to the AN1x’s tone generator, as well as the depth range of control. Mode Ctrl Matrix...

  • Page 52: Voice Select

    This section provides a list of the many AN1x parameters and a description of each for reference purposes. Check the CONTENTS or INDEX to locate the page number of the parameter you need. Voice Select You can select a voice for play from among the 128 voices in memory.

  • Page 53: Knob Edit

    Knob Edit The eight CONTROL knobs let you edit various characteristics of each voice in real-time. Edited data of the selected voice can be stored to any voice memory (1 ~ 128). The function of each knob depends on which KNOB PARAMETER GROUP switch is selected.

  • Page 54: Knob Parameters

    (1 ~ 128). For details, see Voice Store, page 98. If you turn off the AN1x, or if the adaptor gets disconnected by accident, your edited data will still remain in memory when you turn the power back on. Always be sure to store important voice data.

  • Page 55: Peg Decay

    PEG Decay The PEG Decay setting determines the time required for a sound to reach its basic pitch from the PEG Depth level while the key is held. The following graph shows how the decay changes when a key is pressed if a positive PEG Decay value is set.

  • Page 56: Lfo1 Wave

    Port Time (Portamento Time) Portamento is an effect commonly used in singing or when playing a bowed instrument, where the sound is carried in a continuous glide from one note (or more) to the next, through all the intermediate pitches. The Portamento Time setting determines the time it takes for the pitch to reach the subsequent note played.
  • Page 57 Tri (Triangle) Wave Triangle Triangle Triangle Triangle180 Triangle180 Squ (Square) Wave Square Square Square180 Saw (Sawtooth) Wave Saw down Saw down Saw up Saw up...

  • Page 58: Sync/Fm

    Sync parameters are related to the synchronization status of the two VCO1 oscillators (master and slave), which are the fundamental waveform generating elements in the AN1x. A Frequency Modulation (FM) signal (“modulator”) can be applied to the VCO1 in one of several ways to change its frequency, in which case the output of the oscillator will become the modulated signal (“carrier”).

  • Page 59: Sync Pitch

    Algorithm The Algorithm setting determines how the two VCO1 oscillators (master and slave) are connected in relation to the FM signal. There are four types of connections, or “algorithms”, as shown in the diagrams below. Settings: only FM, Sync+FMbth, Sync+FMmst, Sync+FMslv only FM (Sync is disabled) VCO1 Master of VCO1...

  • Page 60: Fm Depth

    Depth. Settings: -64 ~ 0 ~ +63 This is a different type of parameter than that used in the Yamaha DX-series FM synthesizers. Too deep of a setting will change the pitch of the voice. Adjust the pitch using the VCO1 Pitch and Fine parameters (see pages 61, 62).

  • Page 61: Vco1

    VCO1 When KNOB PARAMETER GROUP switch [VCO1] is selected, the eight CONTROL knobs will access specific Voltage Controlled Oscillator 1-related parameters, including wave selection, pitch specification and wave control. For more information about VCO1, see pages 10, 30. Wave The Wave setting determines the VCO1 wave. Available waves depend on the current SYNC status (on/off).
  • Page 62 In general, pulse width is used to control the pulse wave; however, the AN1x can use PW with other waves as well, for a wider possible variety of sounds than usual. Pulse Width is...

  • Page 63: Vco2

    PWM Src (Pulse Width Modulation Source) The PWM source setting selects the source wave which changes the VCO1’s pulse width over time, thus determining the behavior of the pulse width. Settings: fixed, PEG, FEG, LFO1, LFO2, LFO2p, LFO2f When set to “fixed”, there is no change in modulation over time. The Low Frequency Oscillator 2 Phase (LFO2p) shifts the LFO2 wave later by 60 degrees.

  • Page 64: Vcf

    When KNOB PARAMETER GROUP switch [VCF] is selected, the eight CONTROL knobs will access specific Voltage Controlled Filter-related parameters. The VCF is a filter which permits a specific range of frequencies to pass, while cutting off the rest, thus giving you considerable control over many aspects of the timbre.

  • Page 65: Vcf Cutoff

    VCF Cutoff The VCF Cutoff setting determines the cutoff frequency of the VCF. The value set here is related to the assigned VCF Type in the MIX/VCF parameter group (see page 67). For example, when the filter type is set to Low Pass Filter, the lower frequencies are passed while higher frequencies are cut off.

  • Page 66: Mix/Vcf

    MIX/VCF (Mixer/VCF) When KNOB PARAMETER GROUP switch [MIX/VCF] is selected, the eight CONTROL knobs will access specific Mixer- and Voltage Controlled Filter-related parameters, including VCO1 and VCO2 signal level, Noise and Ring Modulator levels, VCF Type and HPF (High Pass Filter), and Key Track settings, and depth of frequency modulation.

  • Page 67: Vcf Type

    (High Pass Filter Cutoff) The HPF setting determines the cutoff frequency of the High Pass Filter. Frequencies above the setting are passed while those below are cut off. Turning the knob to the right increases the HPF Cutoff frequency, resulting in a brighter sound. Level Cutoff range Range passed...

  • Page 68: Vca

    Fmod Depth (Filter Modulation Depth) The Filter Modulation Depth setting determines the depth of the filter modulation of the VCF by the LFO1. Filter Modulation adds a cyclical change to the filter cutoff frequency to create a wah effect. Turning the knob to the right widens the range of the cutoff frequency change.
  • Page 69 Sustain The Sustain setting determines the level of sustain of the AEG, which is the level at which the volume will be maintained for as long as a key is held. Turning the knob to the right increases the Sustain level. Settings: 0 ~ 127 Release The Release setting determines the release time of the...

  • Page 70: Assign

    Amod Depth (Amplitude Modulation Depth) The Amplitude Modulation Depth setting determines the depth of the amplitude modulation of the VCA by the LFO1. Amplitude Modulation adds a cyclical change to the volume level to create a tremolo effect. Turning the knob to the right widens the range of the volume change.

  • Page 71: Panel Parameter Edit

    SEQ EDIT/SETUP: Includes Knob and Pattern parameters related to the Step Sequencer. UTILITY SETUP: Includes “global” parameters which affect the AN1x’s system, including MIDI settings, Control Change-related assignments and others. Utility parameter settings cannot be stored as voice data. For a blank chart of all available parameters which you can use when editing your own voices, see page 114.

  • Page 72: Edit Parameters

    [SCENE 1] or [SCENE 2] switch as you play. For more information about Scenes, see page 19. Mode Mode settings determine the way the AN1x’s tone generator responds as you play the keyboard. There are three groups of parameters, including Poly mode setting, Portamento characteristics, and LFO Reset setting.
  • Page 73 The Control Matrix gives you the freedom to configure sources and parameters for each voice. You can, for example, configure the AN1x to use After Touch to apply vibrato, or the Modulation Wheel to change the resonance while you play, determine the range for both Pitch Bend up and down, and much more.
  • Page 74 Convenient Parameter Control You can use the Control Matrix sets to assign a single controller to control more than one parameter, or multiple controllers to control the same parameter. [Ex. 1] One controller to control more than one parameter Param Source Depth VCF Cutoff...
  • Page 75 Control Matrix, where it can be rerouted at will before reaching the internal tone generator. External Control Change signals received at MIDI [IN] can be routed through the Control Matrix to control the AN1x tone generator parameter of your choice. Control Signal Flow...

  • Page 76: Unison Detune

    Layer Layer parameter settings apply to the selected Layer mode, and affect both Scenes. These settings are stored as voice data. There are three parameters, including Pan, Separate, and Unison Detune. For more information about Layer modes, see page 22. The Pan parameter sets the type of stereo panning, or the way the sound moves between the left and right speakers.

  • Page 77: Voice Common

    Arpeggiator and Step Sequencer play. Settings: MIDI, 40 ~ 240 When Tempo is set to “MIDI”, the AN1x’s clock can be controlled by the clock of an external MIDI device such as a music sequencer, connected to the MIDI [IN] terminal.

  • Page 78: Vari Ef Dry:wet

    Data The Data parameter lets you select the Variation Effect type and change data values of the selected effect or EQ Parameter. Settings: For information about each Parameter and available settings, see the Effect Type List in the separate Data List book. Setting the Variation Effect 1.
  • Page 79 Dly/Rev EF (Delay/Reverb Effect) Delay/Reverb Effect settings determine the Delay and Reverb effect types and data settings. There are two parameters available, Param (Parameter) and Data. The Delay and Reverb effects are located after the EQ output, and can be connected in series or parallel.
  • Page 80 EF Bypass (Effect Bypass) Effect Bypass settings let you bypass specific effects, which is convenient when creating an original voice. Bypassed effects will not be applied to the original sound, and when the EF Bypass is “off”, the signal will flow through all effects units.

  • Page 81: Voice Free Eg

    Naming A Voice 1. Press the lower area of the Cursor [UP/DOWN] switch to position the cursor at the voice Category field (the current cursor position will be flashing). 2. Press Char [UP/DOWN] to select the two-letter voice category code. # LCD Category No category...
  • Page 82 Triggering The Free EG With Patterns The Free EG can be used in conjunction with the Arpeggiator or Step Sequencer. When the Trigger is set to “kbd”, the Free EG will be applied to the pattern. Hold = “on” Motif Key On Key Off Key On...

  • Page 83: Track Job

    Track No (Track Number) The Track Number parameter lets you select the Free EG track. Settings: Trk1 ~ Trk4 The selected track will record knob movement data when Free EG recording is initiated. When the [EDIT ROTARY] switch is set to the VOICE FREE EG menu, an empty track will automatically be selected.

  • Page 84: Free Eg Recording Procedure

    Copy Procedure 1. Press Track No [UP/DOWN] to select the track to which you want to copy Free EG data to (destination). 2. Press Copy [UP/DOWN] to select the track from which you want to copy Free EG data (source). The Copy operation is completed.

  • Page 85: Voice Arpeggio/Seq

    VOICE ARPEGGIO/SEQ This menu includes common and specific parameters related to the Arpeggiator and Step Sequencer. Arpeggiator and Step Sequencer parameter settings are voice data saved in each voice. The Arpeggiator lets you play arpeggiated chord patterns at the press of a key. There are 30 Arpeggiator patterns to choose from for each voice, and Arpeggio Subdivide plus Play Effect parameters give you a wide range of control and customization over the arpeggio pattern.
  • Page 86 Settings: When Arp/SEQ is set to Arpeggio: Arp 01 ~ 30 You can select one Arpeggio pattern from the 30 available patterns. For a list of available patterns, see the Arpeggio Pattern List in the separate Data List book. When Arp/SEQ is set to Step Sequencer and KbdMode is set to "sel&norm"...
  • Page 87 Arpeggiator or Step Sequencer into an external MIDI sequencer, or have the AN1x’s pattern data trigger an external tone generator. (Since this setting is a system parameter, it cannot be stored as voice data, and therefore remains as set regardless of which voice is selected.)
  • Page 88 Arpeggio Subdivide The Arpeggio Subdivide parameter lets you designate the timing subdivision (resolution) value for the Arpeggiator pattern. When Arp/SEQ is set to “Step SEQ”, this parameter is not available. (For information about timing resolution for the Step Sequencer, see pages 42, 91.) When Arp/SEQ is set to “SEQ”, the Subdivide function cannot be accessed, and “–...

  • Page 89: Seq Edit/Setup

    SEQ EDIT/SETUP This menu includes parameters and settings related to creation and play of Step Sequencer patterns. You can create a Voice Pattern for each voice, as well as create and store a total of 128 User Patterns. Step Sequencer settings are stored as voice data.
  • Page 90 Pattern Pattern parameters let you designate which pattern to play by the Step Sequencer, as well as set timing resolution, sequence length, type of loop and event control number. There are six parameters available, including Bank, No (Number), Base Unit, Length, Loop Type and Control Number.

  • Page 91: Base Unit

    Base Unit The Base Unit parameter designates the timing resolution for the sequence pattern. This, together with the current Tempo setting (see page 77), determines the interval between steps. Settings: 3/8= , 1/4= , 3/16= , 1/6= 3/32= , 1/12= , 1/16= , 1/24= , 1/32= Length...

  • Page 92: Utility Setup

    Velocity). MstrTune (Master Tune) The Master Tune parameter determines the master tuning pitch for the AN1x's tone generator in approx. 0.3 cent values (100 cents = 1 semitone). Settings: -100 ~ 0 ~ +100 KbdTrans The Keyboard Transpose parameter determines the transposition setting for the keyboard in semitones.
  • Page 93 Sequencer pattern. Therefore, it is best to set each to a different channel number. Settings: 1 ~ 16, off The AN1x can play and control (and be controlled by) other MIDI devices such as tone generators, sequencers, and more. For information about MIDI, see page 109.

  • Page 94: Bulk Dump

    Before initiating a bulk dump operation, you must set up the external device for bulk dump send and/or receive. You’ll also need to match the Device Number of the AN1x and the external device. For information, see the owner’s manual which came with the external device.
  • Page 95 Receive Bulk Dump A Receive Bulk Dump operation lets you load data back into the AN1x from an external MIDI device. The type of data which can be received depends on the current mode. For more information, see the MIDI data format, in the separate Data List book.

  • Page 96: Voice Recall

    Change number as selected in step 2, above. Control Change Modes The AN1x has two Control Change modes. Mode 1 is the official MIDI standard, which is set at the factory. Mode 2 is a special list of Control Change parameter settings unique to the AN1x.

  • Page 97: Voice Initialize

    Voice Initialize The Voice Initialize function lets you "reset" a voice to its initial setting, which is handy when you want to create a voice from "scratch". The initialized setting loads into the edit buffer, so after performing the Voice Initialize operation, be sure to store the voice using the Voice Store operation.

  • Page 98: Store

    MIDI data storage device such as the Yamaha MDF2 MIDI Data Filer. You can recall all factory voices at any time (see page 100).

  • Page 99: Scene Store

    Scene Store Scene Store is handy for storing the knob position settings created during Scene Control to one of the [SCENE] switches. Scene Store loads the data into the Scene edit buffer, so you will need to perform a Voice Store operation to store the Scene parameters as voice data. The procedure is as follows: 1.

  • Page 100: Factory Settings

    Factory Settings You can recall all of the original voices, plus scene, Step Sequencer, system, MIDI, and other parameter settings which were programmed at the factory. This operation resets the settings in memory, so be sure to offload any important data first to a MIDI data storage device before execution.

  • Page 101: Voice Creation Examples

    Voice Creation Examples Following are examples for creating some of the most common synthesizer sounds, including Synth Bass, Strings, Electric Piano, Electronic Organ, Synth Brass and Synth Lead. Taking the time to work through the simple steps to create each will give you a deeper understanding of how the various tone generator parameters work together, as well as how to practically apply the Control Matrix.
  • Page 102 10. Apply vibrato to the voice. Press KNOB PARAMETER GROUP switch [VCO1] and press CONTROL knob 8 to display the Pmod Depth (Pitch Modulation Depth) parameter in the LCD. Turn the knob to set a value near “+20”. This applies the vibrato effect to the voice when you play.
  • Page 103 8. Set the velocity sensitivity of the VCA. Press KNOB PARAMETER GROUP switch [VCA], then press CONTROL knob 8 to display the Vel Sens (Velocity Sensitivity) parameter in the LCD. Turn the knob to set a value near “+15” to increase the sensitivity.
  • Page 104 Electric Piano First let’s create the fundamental sound… 1. Select a voice that you don't mind writing over. Perform a Type 1 (Normal) Voice Initialize operation. 2. Set up the basic characteristics of the electric piano. Press KNOB PARAMETER GROUP switch [VCO1], then press CONTROL knob 4 once to display the Edge parameter in the LCD.
  • Page 105 12. Use the Control Matrix to control the Sync Pitch by key tracking. With key tracking you can mellow out the Sync Pitch in the upper range and bring out the grit in the lower range. In the VOICE SCENE SETUP menu, perform the following operations: •...
  • Page 106 Next let’s tweak a few parameters to add extra control over and dimension to the sound… 5. Set up the [MODULATION] wheel to control the speed of the rotary speaker. Set the [EDIT ROTARY] switch to the VOICE SCENE SETUP menu. •...
  • Page 107 6. Apply vibrato to the voice. Press KNOB PARAMETER GROUP switch [VCO1] and press CONTROL knob 8 to display the Pmod Depth (Pitch Modulation Depth) parameter in the LCD. Turn the knob to set a value near “+20”. This applies the vibrato effect to the voice when you play.
  • Page 108 7. Thicken the sound with Unison play. Press the [LAYER] switch once to select the Unison mode. (“UNISON” appears accordingly in the right area of the LCD.) This produces a much thicker sound when you play, stacking up five sounds with each note. 8.

  • Page 109: About Midi

    Note, Control Change, Program Change and various other types of MIDI data, or messages. The AN1x can control a MIDI device by transmitting note related data and various types of controller data. The AN1x can be controlled by the incoming MIDI messages which automatically select MIDI channels, voices and effects, and change parameter values.
  • Page 110 Pan (Control #010) Messages which control the stereo panning position of each voice (for stereo output). Setting the value to 127 positions the sound to the far right and 0 positions the sound to the far left. Expression (Control #011) Messages which control intonation expression of each voice during performance.

  • Page 111: Channel Mode Messages

    Control Change Modes The AN1x has two Control Change modes. Mode 1 corresponds to the list of Control Change parameters according to the MIDI standard. Mode 2 is a special list of Control Change parameters unique to the AN1x.

  • Page 112: Error Messages

    The memory backup battery is low, and memory cannot be backed up. Store the necessary data to a MIDI data storage device and have the battery changed by your local Yamaha dealer or any other authorized Yamaha service personnel. Device No.=off Error Cannot send MIDI bulk data since the Device Number is set to off.

  • Page 113: Troubleshooting

    Troubleshooting Following is a list of troubleshooting hints and page references for some common problems you may encounter during operation. Usually, most problems are simply the result of incorrect settings. Before calling a professional service representative, refer to the throubleshooting advice below to see if you can identify and correct the cause of the problem.

  • Page 114: Blank Chart

    Blank Chart Common Layer Unison SCENE SELECT Separate Detune Variation Effect Type 3 Band Equalizer Effect Effect 3 Band Equalizer Type Type Param Data Param Low Freq Low Gain Mid Freq Mid Gain Mid Reso High Freq Dry:Wet High Gain Voice Free EG Track Common Trigger...
  • Page 115 Voice Scene Setup Mode Poly Port Scene Control Matrix Ctrl Matrix Set No Param Source Pitch Up Pitch Down Set 1 Set 2 Set 3 Set 4 Set 5 Set 6 Set 7 Set 8 Knob Parameter Type SYNC/FM Algorithm Sync Pitch Sync Pitch Depth Sync Pmod Sw...

  • Page 116: Specifications

    ACCESSORIES Specifications and descriptions in this owner’s manual are information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer.

  • Page 117: Index

    Index AEG ...32 Algorithm ...31, 59 Amod Depth (VCA) ...70 Amplifiers ...10 AN1x Quick Tour ...17 APPENDIX ...101 Arp/SEQ ...85 ARPEGGIO/SEQ...33 Arpeggiator ...33 Arpeggio Subdivide ...34, 88 ASSIGN ...70 Assigning Control Parameters ...95 Attack (VCA)...68 Attack (VCF) ...64 Bank ...90 Base Unit ...42, 91...
  • Page 118 Layer (VOICE SCENE SETUP) ...76 Layer Modes ...22 LAYER switch...22 LCD ...17 Length (Arpeggio) ...36 Length (Free EG) ...48, 82 Length (SEQ EDIT/SETUP) ...42, 91 LFO ...32 LFO Reset (Mode) ...73 LFO1 Delay ...58 LFO1 Speed ...58 LFO1 Wave ...56 LFO2 Speed ...58 Local ...94 LoopType (Free EG)...48, 82...
  • Page 119 Tempo ...77 Tone Generator ...10 Track ...48, 82 Track Common ...47, 81 Track Job ...49, 83 Track No ...48, 83 Triangle Wave (LFO1 Wave) ...57 Trigger...47, 81 Troubleshooting ...113 Type/No (Arpeggiator) ...34, 85 Type/No (Step Sequencer)...40, 85 Undo ...49, 84 UNISON ...22 Unison Detune...76 UTILITY SETUP ...92...
  • Page 120 For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd.
  • Page 121 If these corrective measures do not produce satisfactory results, please contact the your 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, CA 90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.
  • Page 122 This Product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that ac- company the accessory product.

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