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Yamaha Loopfactory AN200 Owner's Manual

Desktop control synthesizer / analog physical modeling
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  • Page 2: Special Message Section

    This product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product.
  • Page 3 • This apparatus contains a lithium battery for memory back-up. • Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdei- ing:...
  • Page 4 I SAVING USER DATA • Save all data to an external device such as the Yamaha MIDI Data Filer MDF3, in order to help prevent the loss of important data due to a malfunc- tion or user operating error.
  • Page 5 With eighteen knobs and umpteen switches, many of them “dedicated” — meaning that a con- trol does specifically and ONLY what its name indicates — the AN200 is a synthesizer control freak’s dream. Powering the incredibly rich and huge analog-like Voices of the AN200 is the Analog Physical Modeling synthesis system.

  • Page 6: Table Of Contents

    Contents Contents Contents ... 6 How to Use This Manual ... 8 Panel Controls ... 9 Quick Start Guide ... 11 Parameter Structure ... 12 Tone Generator Signal Flow & Effect Block Diagram ... 13 Chapter 1 Pattern Basics ... 15 Tip 1 Playing a Pattern ...
  • Page 7 Tip 78 Chord progressions with Pattern Assign ... 95 Chapter 18 Master Class 1 — Onstage...96 Tip 79 Sync the AN200 to your sequencer... 96 Tip 80 Changing the MIDI channels ... 97 Tip 81 Loopfactory setup — with the SU200 ... 98 Tip 82 Loopfactory sync system —...

  • Page 8: Contents

    How to USE a manual? Sounds a bit obvious, we admit. (“Open it and read it.”) But here goes: Go straight to the Quick Start Guide. This tells you simply and in no uncertain terms how to set up your new AN200 and get sound out of it. Work through the 92 Tips.

  • Page 9: Panel Controls

    Main Control Here’s a quick way to get familiar with your AN200! The front (or top) panel of the AN200 can be roughly divided into four sections: Main, Control, Voice, and Keyboard. Look through the controls here, and check out the Tips related to each of them for more information.
  • Page 10 Panel Controls These are the fundamental controls of the AN200 — for changing modes, adjusting values, exiting from func- tions, and so on. Display and indicators [SONG] ... Tips 8, 62 [PATTERN] ...Tip 1 [DATA] knob ... Tips 2, 68 [SHOW VALUE] ...

  • Page 11: Quick Start Guide

    Quick Start Guide Quick Start Guide Once that you’ve got the AN200 out of the box and checked that all included items were indeed included, it’s time to set everything up and get playing. 1 Turn the VOLUME control all the way down to the minimum.

  • Page 12: Parameter Structure

    This diagram shows the structure and hierarchy of the Songs, Patterns and Voices of the AN200. As you work with the AN200 and explore its various functions and features, refer back to this diagram to see how all the pieces of the puzzle fit together.

  • Page 13: Tone Generator Signal Flow & Effect Block Diagram

    Tone Generator Signal Flow & Effect Block Diagram Tone Generator Signal Flow & Effect Block Diagram Effect section Synth track Distortion Rhythm track 1 Rhythm track 2 Rhythm track 3 The EQ processing is accessible only with the AN200 Editor software.
  • Page 14 This is NOT an owner’s manual! This is NOT an owner’s manual! At least not an ordinary one. But, then again, the AN200 is no ordinary instrument. It’s packed with exciting, powerful, yet easy-to-use features that give you complete, hands-on sonic control — plus tons of dynamic real-time...

  • Page 15: Pattern Basics

    Patterns as well. (See page 68.) Exploring other Patterns The AN200 features a total of 256 specially pre-programmed Patterns. Try some of these out now. Use the [DATA] knob to select a different Pattern. Notice how the Pattern number in the display changes.

  • Page 16: Switching Patterns On The Fly

    Switching Patterns on the fly Try mixing it up now. The AN200 lets you change Patterns as easily as pressing a button... Thanks to the Pattern Select function, you can chain together Patterns in real time from the keyboard — as you perform.

  • Page 17: Playing It Backwards

    Now, that you’ve got a Pattern playing, try changing its speed. (This is also called “bpm” — beats per minute.) The AN200 gives you two ways to do this — tapping out the speed manually, or using the [DATA] knob to adjust it.

  • Page 18: Messing With The Beat

    Chapter 1 Pattern Basics Messing with the Beat There’s more than one way to mess with the rhythm. Actually, the AN200 gives you a truckload of ways you can disturb and deconstruct your beats. One of these is the (appropriately named) Beat function.

  • Page 19: Song Playback

    Chapter 2 Song Playback As we said before, the Patterns are the basic building blocks of the AN200. But what can you build with them? Songs! Our team of expert programmers has created a few Songs using the various Patterns of the AN200. Check these out and hear just how powerful and versa- tile the AN200 can be for recording your own material.

  • Page 20: The Keyboard

    Playing the keyboard The built-in keyboard is small — just one octave — but it lets you use all the features of the AN200 without having to connect a separate keyboard. Try it out now.

  • Page 21: Tip 11 Playing The Rhythm Track

    Playing the Rhythm track The AN200 also has a special Rhythm track (actually there are three.) that let you play and record drum, per- cussion, bass and other sounds — giving you the power to easily create your own ultra-hip beats. Naturally, you can play all these sounds straight from the built-in keyboard...

  • Page 22: Scene Basics

    Chapter 4 Scene Basics Scene is one of the most powerful and exciting features of the AN200. It lets you “morph” between two completely different sounds — in real time, as the Pattern is playing. Switching Scenes Here we’ll switch between Scenes, for instant sound changes.

  • Page 23: Effects

    Chapter 5 Effects The effects of the AN200 are more than just icing on the cake — they’re pow- erful tools you can use to completely transform the sound, and put your tracks over the top. What is an Effect? The Effects are the last element in the sound chain —...

  • Page 24: Tip 16 Playing With The Effects

    Chapter 5 Effects Playing with the Effects Let’s take a look at each of the Effects, and try applying them to the sound. Before you begin, set the [WET] knob up to about 2:00 or 3:00. Generally, you should keep the knob at this position. This ensures that you can properly hear the Effect.
  • Page 25 G Flanger (Flanger 1, 2) This modulation-based Effect produces a “swishing” or “tunneling” sound. Play a Pattern and select Flanger 1 (FLG1). Take the [PARAM] knob from minimum to maximum, and notice how the sound grows from a subtle sweep- ing, metallic sound —...

  • Page 26: Tip 17 Distortion

    Although not strictly part of the Effect section, Distortion is a strong effect in its own right. Compared to the warm Overdrive/Amp Effect types, it has more edge and bite. When applied to many of the AN200’s Voices, it is capable of creating very convincing guitar-like distortion effects.

  • Page 27: Filter (Vcf)

    Chapter 6 Filter (VCF) The VCF or Filter section is one of the most powerful and dynamic on the entire instrument. Used in the right way, the VCF controls are capable of transforming sterile, boring sounds into something really dynamic and excit- ing.

  • Page 28: Tip 19 Wild, Wild Filter Sweeps - Vcf Types

    Chapter 6 Filter (VCF) Wild, wild filter sweeps — VCF Types The enormous power and versatility of the Filter section continues with the VCF Types. These hidden varia- tions put some really heavy-duty sonic fireworks at your fingertips — just what you need to blow the crowd away.
  • Page 29 VCF Type Determines the filter type used for the VCF section. The filter passes only a specified range of frequencies while cutting off the rest. There are sev- eral completely different types, as well as a variety of filter slopes (see below).

  • Page 30: Tip 20 Feg Depth

    Chapter 6 Filter (VCF) FEG Depth Technically, the FEG Depth controls how the Filter works over time. This is even shown on the panel for you: With the the [CUTOFF] and [RESONANCE] knobs set respectively to 9:00 and 3:00 (see above), slowly turn the [FEG DEPTH] knob. Depending on the Pattern selected, negative settings (setting the knob left of 12:00) may result in little or no sound.

  • Page 31: Nuts And Bolts

    Let’s take a break from the fun and games for a moment. Check out the fol- lowing functions and familiarize yourself with them — they’re very useful, convenient tools you’ll need as you work with the AN200. Show Value Sometimes you’ll want to see what value a knob or button has been set to. Remember that when you call up different Patterns, the knobs won’t correspond to the settings, so just looking at the knobs won’t help.

  • Page 32: Tip 22 Original Value

    Chapter 7 Nuts and Bolts 3 Press the [EXIT] button to return to normal operation. • Trade Secrets Use Show Value to pick the brains of our programmers. Do you have a favorite Voice and would like to find out its settings? Just call up Show Value and take a peek behind the curtain. Original Value If you tweak and turn the knobs on a Voice for any length of time, you’re going to come up with a Voice that’s VERY different from the one you started out with.

  • Page 33: Tip 23 Panic! (Or "Uh-Oh

    Until you know exactly how the controls work and how they affect the sound, you’ll ocassionally find the AN200 to be an unpredictable, sometimes uncontrollable beast. Before you unplug it and try to stuff it back in its box, try these common-sense workarounds and solutions.

  • Page 34: Tip 24 Factory Reset

    G Do a Factory Reset operation. (See Tip 24.) Use this only if you suspect something is actually wrong with the AN200. (For the most part, many of the confusing things about the instrument may just be things that you don’t quite understand yet.) Remember, this will COMPLETELY ERASE any original work you’ve done or saved —...

  • Page 35: Pattern Playback

    Chapter 8 Pattern Playback We’re going to pick up where we left off in Chapter 1, and give you some more Pattern Tips. These are simple things you can do to change the sound, pitch, rhythmic feel, and other aspects of the Patterns — even the Patterns them- selves —...

  • Page 36: Tip 26 Transposing The Key

    Chapter 8 Pattern Playback Transposing the key The Transpose function lets you change the pitch or key of the Pattern as it plays back. With this, you can change chords on the fly, and create your own chord progressions — instantly, as you perform. Let’s try it out.

  • Page 37: Tip 27 Swing

    • When the Beat parameter (page 18) is set to “12,” Swing has no effect on the Pattern. Muting tracks The Patterns of the AN200 contain and play back up to four separate tracks — the Synth track and three Rhythm tracks. The convenient Track Mute feature lets you selectively mute these tracks — even during playback.

  • Page 38: Tip 29 Muting Notes During Playback

    Chapter 8 Pattern Playback Notice how buttons [1], [2], [3], and [4] light while you hold down [SHIFT] — this means all four tracks are on. Button [1] corresponds to the Synth track; when you press this, the Synth track cuts out. To bring the Synth track back in, simply hold down [SHIFT] and press [1] again.

  • Page 39: Tip 30 Mixer Controls - Pan And Volume

    Hear how the Synth sound fades in and out as you tweak the knob? Remember, this only affects the Synth track — unlike the master [VOLUME] knob, which controls the overall sound of the AN200. Chapter 8 Pattern Playback Step Mute Allows you to mute and unmute specific...

  • Page 40: Tip 31 Assigning Patterns To The Keyboard Buttons

    Chapter 8 Pattern Playback Assigning Patterns to the keyboard buttons Remember in Tip 3 how you selected Patterns on the fly, as they were playing? Here’s where you can set which Patterns are triggered by which keyboard buttons. Any Pattern — even the User Patterns — can go to any button.

  • Page 41: Lfo Modulation

    LFO applications — modulating volume. Used with some of the other sound shaping controls on the AN200, this is responsible for the machine gun effects, helicopter-like sounds and a slew of other industrial noises you hear in a lot of techno, electronica and dance music today.

  • Page 42: Tip 33 Modulating The Filter

    Chapter 9 LFO Modulation Modulating the Filter Now, let’s apply the LFO to the Filter — and create some interesting wah-wah effects. 1 Press [DETAIL] until “Fmd” (Filter Modulation Depth) appears briefly in the display. 2 Use the [DATA] knob to set the value to around “-34.” This is the Filter Modulation Depth setting.

  • Page 43: Tip 35 Changing The Lfo Wave

    If you’ve come to this Tip directly from the other LFO Tips above, you may want to hear the Pitch modulation by itself. To do this, set both Amplitude and Filter back to normal (0). • Double up Once you start working with VCO 2 (in Tip 57), experiment with the two independent Pitch Modulation Depth settings (PMD1 and PMD2) for even more interesting textures and pitch changes.
  • Page 44 Chapter 9 LFO Modulation Determines the LFO waveform. Settings G Sine (SinE), 2, 3, 4, 5 Sine Sine 2 Sine 3 Sine 4 Sine 5 Wave G Triangle (trGL), 2, 3, 4, 5 Triangle Triangle 2 Triangle 3 Triangle 4 Triangle 5...
  • Page 45 G Square (Squr), 2, 3 Square Square 2 Square 3 G Saw 1 (SAU1), 2, 3, 4 Saw 1 Saw 2 Saw 3 Saw 4 Chapter 9 LFO Modulation G Sample-and-hold 1 (S-H1), 2, 3, 4 S-H 1 S-H 2 S-H 3 S-H 4...

  • Page 46: Eg Basics

    One of the most important aspects in analog synthesizer sound is how that sound is controlled over time. The AN200 gives you some very powerful and flexible ways to do this. One of them is the EG section. EG stands for Envelope Generator — “envelope” here being the control that shapes the sound as it evolves over time.
  • Page 47 5 Next, play with the [DECAY] knob and hear how that affects the sound. Make sure to reset [SUSTAIN] to around 10:00 or 11:00 — if Sustain is too high, Decay won’t work! Experiment with the [DECAY] knob. Depending on the Voice and the other EG settings, a short Decay value (knob around 9:00) may result in a weak, percussive sound.
  • Page 48 Chapter 10 EG Basics • Tweak them together When you start out tweaking the EG, you may want to set [SELECT] to both FEG and AEG. This eliminates a lot of confusion about which EG is doing what. For example, if you have sep- arate settings and the FEG opens up long after the AEG has already shut down, you’ll probably not hear much of the sound.

  • Page 49: Tip 37 Using Eg To Control The Filter (Feg)

    Using EG to control the Filter (FEG) In Tip 36 above, we introduced you to the EG and showed you how it works with volume (Amplitude). Now, let’s take a look at what the EG can do with the Filter. These specific FEG setting examples will get you started, and give you a definite feel for how to use EG to change the tonal quality of the sound.

  • Page 50: Tip 38 More About Feg Depth

    Chapter 10 EG Basics 7 Just for good measure, play around with the [DECAY] knob a bit. As with the other controls, tweak this to various settings as you play the keys. Finally, set this to around 1:00 or 2:00 (80 - 90). 8 You’re on your own now! With the above settings as a starting point, go back to each of the EG knobs and play around with them some more.

  • Page 51: Tip 39 Going Negative - With Feg Depth

    Going negative — with FEG Depth As we promised in the last Tip, here’s a sound-creating pointer that takes advantage of the negative values of FEG Depth. Try these settings out — and hear what it’s like on the “minus” side of the sound. 1 First, get everything set up with the following settings: EG [SELECT]...

  • Page 52: Advanced Sound Shaping Controls

    You’ve learned about the Patterns, the Scenes, Effects, the Filter, LFO, EG, and so on — but your education’s not over yet. The AN200 has actually got quite few more sonic tricks up its sleeve. Let’s try some of them out now...

  • Page 53: Tip 41 Metallic Sounds And More - With Fm Depth

    Metallic sounds and more — with FM Depth Like the vintage synthesizers of the past, the AN200 is absolutely loaded with modulation options — giving you the power to mangle the sound in wild and unique ways. Yet it also gives you some intriguing digital twists —...

  • Page 54: Tip 42 Balancing The Waves - Vco 1 And 2

    Balancing the waves — VCO 1 and 2 One of the easiest knobs on the AN200 to understand, VCO 1/2 is a simple balance control. It lets you adjust the relative volume of the two oscillators, VCO 1 and VCO 2. However, the simplicity is deceiving — there’s a whole lot of power here, too.

  • Page 55: Tip 43 Noise Level

    [NOISE LEVEL] knob to hear how different degrees of noise affect the sound. Making waves — VCO 1 and VCO 2 Here’s where the sound begins. All of the awesome, amazing sonic stuff on the AN200 starts with the waves — generated by VCOs 1 and 2.
  • Page 56 Sync Mode setting is. In vintage analog synthesizers, the basic waves were generated by “oscillators.” The AN200 does it a bit differently — yet the sound is exactly the same. That’s why we’ve kept the name “VCO”: Voltage Controlled Oscillator.

  • Page 57: Tip 45 Fat, Phatter And Phattest

    How phat do you want to get? The Key Assign settings let you switch the AN200 between Poly and Mono operation. And, with Unison, they bring back the humongously phat sounds of vintage synthesizers — letting you beef up the Voices the old analog way.

  • Page 58: Tip 46 Sync Mode And Sync Pitch

    Remember, you can always back off on the knobs later if the sound is too “edgy.” Sync Mode The AN200 tone generator has two oscillator sections: VCO 1 (which actually contains two oscilla- tors), and VCO 2 (which has one). Sync Mode determines how the oscillators are synchronized —...

  • Page 59: And Saving Them

    Scene 1 has just been stored. Now let’s go on to Scene 2. Make sure keep holding [STORE] until you’ve pressed SCENE button [1] or [2]. Otherwise, the AN200 will switch to the Store Pattern operation (page 79). 4 Do the same operation for Scene 2 — repeating Steps 1 - 3 above with SCENE button [2] this time.

  • Page 60: Free Eg

    Free EG The AN200 has so many real-time control features, it’s hard to get a grip on them all. Feel you need an extra pair of hands? Or maybe an extra two? No problem. Just use the amazing Free EG feature. The AN200 is packed with a lot of powerful recording functions —...
  • Page 61 EG track recordings will be saved right along with it. • Recording to more than one track at a time Press the appropriate Free EG Track buttons. During recording, the AN200 automatically assigns each knob you move to the next available track. For example, let’s say you’re record- ing to Tracks 1 and 2.

  • Page 62: Tip 49 Changing The Length Of Your Free Eg Tracks

    Chapter 12 Free EG Changing the Length of your Free EG tracks The flexible little Length feature works both ways — both in recording and playback. It lets you set how long (in measures) your Free EG moves are recorded for, and it lets you separately set how long it takes for them to play back.

  • Page 63: Pattern Power Tips

    Chapter 13 Pattern Power Tips It’s time to put your AN200 know-how and experience to work — and delve into these Pattern Power Tips. The first couple of Tips introduce you to some important tools for working with the Patterns, such as copying and erasing data. They’re basic nuts-and- bolts stuff, but don’t ignore them.

  • Page 64: Tip 51 Shake, Retrigger, And Roll

    Chapter 13 Pattern Power Tips Shake, Retrigger, and Roll! In Tip 50, you saw how to use the Top function to play your own stutter hits. Here’s a nifty variation on that function — it’s called Retrigger & Roll. Retrigger & Roll does just as its name suggests. It retriggers notes of the Synth track, and repeats them — like a drum roll.

  • Page 65: Tip 52 Selecting A Voice (Copy Voice)

    Selecting a Voice (Copy Voice) One important step you can take in creating a Pattern is to select the Voice you’ll be using for it. Keep in mind that each Pattern includes a Voice, and that strictly speaking, Voices CANNOT be selected sep- arate from their Patterns.

  • Page 66: Tip 54 Transposing The Pitch Of A Pattern

    Chapter 13 Pattern Power Tips Transposing the pitch of a Pattern Try this cool editing tool on your tracks. The Transpose Pattern function lets you change the overall key (pitch) of a Pattern — including the Rhythm tracks. Shift the pitch way up, or bring it way down — there’s a lot of range here to work with.

  • Page 67: Tip 55 Copying A Pattern (Sequence)

    Copying a Pattern (Sequence) Earlier in this section, in Tip 52, you learned how to copy a Voice from one Pattern to another. Here you’ll learn how to copy a Sequence (the Pattern’s notes) from one Pattern to another. 1 First, select the source Pattern — the one that has the Sequence you like. The word “Sequence”...

  • Page 68: Pattern Recording

    Erasing a Pattern — and starting from scratch The first thing you’ll need to do when you make your own Pattern is to make room for it on the AN200. To do that, you’ll have to erase or clear one of the factory preset Patterns.

  • Page 69: Tip 57 Setting The Metronome Lead-In

    Setting the Metronome lead-in When you record your parts in real time, you’ll need a rhythmic guide — a metronome click — to lead you into the recording, and keep you in time. Here, you can set the length of the Metronome lead-in — in other words, how long the Metronome clicks before Real-time recording actually starts.

  • Page 70: Tip 58 Recording A Pattern In Real Time

    Chapter 14 Pattern Recording Recording a Pattern in real time Up until this point, you’ve been working with the preset Patterns of the AN200. Now, here’s your chance to create some Pattern magic yourself — by recording your own original Patterns.

  • Page 71: Start Recording

    “feel” your way to a great recording. What’s more, the AN200 automatically corrects the timing of the notes you play. This may not always give you the results you expect — but it will ensure that ALL your notes play back in perfect sync with the rhythm.

  • Page 72: Tip 59 Step Recording

    [11] twice again. Remember that the Pattern isn’t really erased — you can get it back by sim- ply turning the AN200 off and back on again. 2 Make the Beat setting for the new Pattern: 16, 12, or Hold down [SHIFT] and press [SWING] (BEAT).
  • Page 73 I Entering the Notes • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • In this section, you’ll be entering the notes (pitches) for each of the sixteen steps.
  • Page 74 Chapter 14 Pattern Recording Enter the notes for these Steps in the same way as you did with Steps 1 - 8 above, but use the setting guide below: Again, this is ONLY a guide — make your own settings, if you want. 8 Finally, press the Start/Stop button —...
  • Page 75 15 Set the knobs as shown. Set knobs [1] and [5] to around 2:00. (The display value should be around 90 - 100.) Set knobs [2], [3], [4], [6], [7], and [8] to around 11:00. (The display value should be around 40 - 50.) Or, make your own settings.
  • Page 76 Chapter 14 Pattern Recording Rhythm Tracks The AN200 is filled to the brim with an enormous variety of drum, percussion, and special effects sounds. Put these to good use with the Step Recording features — and create your own awesome beats and smokin’...
  • Page 77 I Overdubbing the Hi-hat — Rhythm Track 2 • • • • • • • • • • • • • • • • • • • • • • • • • Now, let’s flesh out the rhythm a bit with some hi-hat parts — and add a turntable scratch at the end. 21 Using the “In the Fast Lane”...
  • Page 78 Chapter 14 Pattern Recording I Fine Tuning Your Tracks — Pitch, Gate Time, and Velocity • • • • • • • • • • • • • • Before you run off, remember that the Rhythm Tracks can be edited some more with the Pitch, Gate Time, and Velocity parameters.

  • Page 79: Tip 60 Storing Your New Pattern

    Free EG moves, and Effect edits — are stored with the Pattern, too. The AN200 gives you 128 User memory spaces for saving your original Patterns. Once you’ve created a Pattern (or Voice) you want to save, DO NOT select another Pattern until you’ve stored it.
  • Page 80 108) to save your valuable Pattern and Voice data in multiple “banks” of 128 Patterns. Load each bank of 128 back to the AN200 when you need it — or share your banks with your AN200-equipped friends and bandmates. Keep in mind too that you can use Bulk Send with the computer-based AN200 Editor (page 106) to further edit your Voices.

  • Page 81: Song Recording

    Erasing a Song — and starting from scratch The first thing you’ll need to do when you create your own Song is to make room for it on the AN200. To do that, you’ll have to erase or clear one of the existing Songs.

  • Page 82: Tip 62 Creating A Song

    Creating a Song Finally, we come to the culminating feature of the AN200. This is the place where you bring together all the Voices, Scenes, Free EG moves and Patterns you’ve made — and use them to create your own original Songs.
  • Page 83 By the way, if you’re creating a Song from scratch, you may not need to enter “----” at all. Just skip over the measures that you want to stay the same — the AN200 automatically repeats the last Pattern, until the next new entry.

  • Page 84: Tip 63 Setting The Bpm (Tempo) For Your New Song

    Song. To do this, enter the “----” setting for as many measures as needed. Or, if you’re programming the Song from scratch, just skip over the measures that you want to stay the same — the AN200 automati- cally maintains the last setting, until the next new entry.

  • Page 85: Tip 64 More Song Editing Features

    More Song editing features In Tips 62 and 63 above, you learned how to enter Pattern numbers and BPM values to the measures of your Song. But that’s not all you can do. In this Tip, we’ll show you how to use the rest of the powerful Song editing features in your tunes.
  • Page 86 Chapter 15 Song Recording Swing This lets you introduce a swing feel to the Pattern at the selected measure. (See Tip 27 for more infor- mation.) To select: Press the [SWING] button. The [SWING] button lights, indicating Swing is selected. Gate Time This lets you control the length of the notes for the Pattern at the selected measure.

  • Page 87: Tip 65 Adding Patterns To Your Song - Insert Pattern

    Adding Patterns to your Song — Insert Pattern Naturally, you can add Patterns to your existing Songs — by using the Insert Pattern function. This puts a new Pattern in the Song at the measure you specify. It doesn’t matter whether you’re in the Song mode or the Song Edit mode — you can insert a Pattern from either.

  • Page 88: Delete Pattern

    Chapter 15 Song Recording Taking Patterns out of your Song — Delete Pattern If you’ve made a mistake in creating your Song, you can always clear it (page 81) and start over. Or you can use Delete Pattern to erase the offending entry, and keep the other Patterns intact. Delete Pattern lets you take Patterns out of specific measures in your existing Songs.

  • Page 89: Tip 67 Storing Your New Song

    Storing your new Song Now that you’ve created and arranged a new Song, you’ll want to save it for future recall. The AN200 gives you a total of 10 memory spaces for saving your original Songs. Once you’ve created a Song you want to save, DO NOT select another Song and DO NOT leave the Song mode until you’ve stored it.

  • Page 90: Speed Tips For Power Users

    Work smarter, not harder! In this section, we’ll show you some nifty ways to put your editing in high gear — so you can get MORE out of your AN200 in LESS time. Using [SHIFT] with the [DATA] knob — for leaps and bounds! The [DATA] knob is really useful for narrowing in on a value and fine-tuning the parameter settings.

  • Page 91: Tip 69 Using [Shift] To "Hold" A Setting

    Using [SHIFT] to “hold” a setting Editing on the AN200 is quick and easy — you press a button or turn a knob, and the setting/value changes. However, convenient as it is, there are times when you want to select a parameter without changing it.

  • Page 92: Real World Tips

    Chapter 17 Real World Tips This chapter is a grab bag full of various practical tips that solidify your pro- gramming chops and put you on the way to truly mastering the instrument. You’ve seen all these features before. Now, try them out in these real-world examples —...

  • Page 93: Tip 73 Changing The Pitch With The Keyboard

    Changing the pitch with the keyboard As you saw in Tip 26, you can use the keyboard of the AN200 to change pitch and even create chord pro- gressions on the fly. But you can get really wild and crazy with this feature, too — and come up with some truly mad techno mayhem.

  • Page 94: Tip 74 Stutter Fill-In 1

    Chapter 17 Real World Tips Stutter fill-in 1 Remember in Tip 50 how you hit the top of a Pattern? In this Tip, and the two that follow, let’s try some spe- cific “stutter” rhythm examples. Select and play a Pattern. Then, hold down [SHIFT] and hit the [TOP] (Record) button in the following rhythm.

  • Page 95: Tip 76 Stutter Fill-In 3

    Stutter fill-in 3 Select and play a Pattern. Then, hold down [SHIFT] and hit the [TOP] (Record) button in the following rhythm. Use both hands on this one too. This could take a little practice before you nail it... Start ! Hit it here...

  • Page 96: Master Class 1 - Onstage

    Sync the AN200 to your sequencer The sophisticated sync features of the AN200 let you lock it in step with the rhythm of just about any other MIDI device, such as a computer, rhythm machine or external sequencer. No drift, no glitching, no slipping out of sync —...

  • Page 97: Tip 80 Changing The Midi Channels

    In general, you won’t need to fool with these settings. But they’re here if you ever DO need them. The four tracks of the AN200 — Synth and Rhythm 1 - 3 — are fixed to receive data over MIDI Channels 1 through 4, respectively. To match the tracks to a controlling MIDI keyboard or sequencer, you may have to change these set- tings.

  • Page 98: Tip 81 Loopfactory Setup - With The Su200

    With this playback sync system, you can have the samples on the SU200 sync up perfectly to the Patterns of the AN200 — thanks to Loop Track Play. Use the the AN200 as a master “switch” for the whole system —...
  • Page 99 Loopfactory sync system — with the DX200 In case you didn’t know, the AN200 has a sister synthesizer — almost a twin sister, actually. The DX200 has many of the same sound-shaping controls, plus all of the Pattern and Song features that are found on the AN200.

  • Page 100: Tip 82 Loopfactory Sync System - With The Dx200

    Loopfactory sampling Here’s a nifty little variation on Tip 81 above. First, hook up the outputs of the AN200 and the SU200 to an external mixer — to pump the sounds out to the crowd. Then, use the Aux Send on the mixer to feed the AN200 sound to the sampling input on the SU200 —...

  • Page 101: Tip 84 Full Dj System - Turntable And All

    Do some sampling here, too. Sample your vinyl or CD beats to the SU200, and mix them in as you play. And sample the AN200, like you did in Tip 83. Have the AN200 play its Patterns while you fly in your new samples —...
  • Page 102 MIDI Thru (OUT) terminal, you should set the MIDI Receive Channels (page 97) on the DX200 to values different than the AN200. If the AN200 is set to receive over Channels 1, 2, 3, and 4, set the DX200 to receive over 5, 6, 7, and 8.

  • Page 103: Master Class 2 - Advanced Music Production

    Playing the AN200 as a synthesizer The AN200 is an extremely powerful and versatile synthesizer, with truly vintage analog-like sound. And one of the best ways to harness that power is to hook up a MIDI keyboard. Do this, and explore the wealth of Voices and the full 5-note polyphony of the AN200.

  • Page 104: Tip 87 Recording To A Sequencer

    AN200 as you play the keyboard. • Since the Synth Voices of the AN200 play on Channel 1, make sure that any recorded tracks on the sequencer are set to play via MIDI Channel 1.
  • Page 105 Recording AN200 knob moves to a sequencer Have you got an external sequencer or computer? And are you using the AN200 as a synthesizer (as we covered in Tip 86) to play back your sequencer tracks? If so, here’s a power-user Tip for you that will give you undreamed-of control over the sound.

  • Page 106: Tip 88 Recording An200 Knob Moves To A Sequencer105 Tip 89 Editing The An200 From A Computer

    The AN200 Editor is special software that works on your Macintosh or PC-compatible computer. It allows you to directly edit all of the AN200 Voice settings and parameters — right from your computer. It’s also extraordinarily intuitive, with a virtual front panel that gives you at-a-glance, full control over your AN200.

  • Page 107: Start, Continue, Stop

    AN200 strictly as a tone generator in a larger MIDI system. For example, if you are using the song data on a sequencer to play the AN200’s Voices, you wouldn’t want the Patterns to play when you clicked PLAY. Simi- larly, there may be times when you want to play a Pattern on the AN200, yet want to avoid starting the sequencer at the same time.

  • Page 108: Filer

    Another fantastic thing about MIDI is all the data storage options it gives you. With the use of a MIDI data filer (such as the Yamaha MDF3) or MIDI sequencing software (such as the included XGworks lite), you can save all your valuable Song and User Pattern data for future recall — any time you need it. Plus, you can amass a whole library’s worth of Songs and Patterns on just a few floppy disks.
  • Page 109 Chapter 19 Master Class 2 — Advanced Music Production Loading back your saved Patterns and Songs Once you’ve saved your valuable data, you can bring it all back to your AN200 — with this simple operation. 1 Set up the AN200 and the recording device.

  • Page 110: Function Index

    Function Index This index lets you quickly find information on the various functions and parameters of the AN200. All the references here are to Tip numbers, except for a few page references (for Tips that stretch over several pages). AEG...Tip 36 Amplitude Modulation Depth ...Tip 32...
  • Page 111 Pattern Select (Song Edit)... Tips 62, 64 Pattern Select Assign...Tip 31 Pattern speed, doubling/halving...Tip 7 Patterns ...Tip 1 Patterns, copying...Tip 55 Patterns, erasing (clearing)...Tip 56 Patterns, recording ... Tips 58, 59 Patterns, selecting ... Tips 2, 77, 78 Patterns, storing ...Tip 60 Phaser...Tip 16 Pitch Modulation Depth ...Tip 34 Pitch offset (Song Edit)...Tip 64...

  • Page 112: About The Included Cd-Rom

    I AN200 Editor • • • • • • • • • • • • • • • • • • • • • • You can use the AN200 Editor Plug-in applications of XGworks lite to edit the Patterns of the AN200.

  • Page 113: For Macintosh Users

    Control Synthesizer, which you can use them as the template. I AN200 Editor • • • • • • • • • • • • • • • • • • • • • • AN200 Editor allows you to edit the AN200 Patterns on your computer.

  • Page 114: Specifications

    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. • Die technischen Daten und Beschreibungen in dieser Bedienungsanleitung dienen nur der Information.

  • Page 115: Troubleshooting

    • Is the MIDI control set to “On” or “In”? (Page 107) • Is the MIDI clock set to “Internal”? (Page 97) Are the MIDI IN/OUT jacks of the AN200 and the MIDI OUT/IN jacks of the computer (or MIDI interface) are properly connected? (Page 106)

  • Page 116: Analog Physical Modeling Synthesis And The An200

    Within the AN200, these three elements are created or controlled by the VCO (oscillator), VCF (filter), and VCA (amplifier). And that’s basically how the AN200 creates sound. Of course, there are a few other elements in the system — as you can see here:...
  • Page 117 Here is where the sound begins. The VCO generates a waveform — usually relatively simple ones, such as sine, saw, and square waves. The AN200 features two independent VCOs, each with an extensive wave set, providing sound-creating capabilities that are exceptionally complex and flexible — for a dynamic, rich sound that would be impossible with just one VCO.

  • Page 118: Midi Data Format

    Appendix MIDI Data Format MIDI Data Format 1. Channel messages 1.1 Note on/note off These messages convey keyboard performance data. Range of note numbers transmitted and received = C-2...G8 Velocity range = 1...127 (Velocity is received only for note-on) 1.2 Control changes These messages convey control operation information for volume or pan etc.
  • Page 119 When the Identity Request message (2.1.2.1, above) is received, this message is transmitted. 2.1.3 AN200 Native parameter change This message sets parameters unique to the AN200. Each message can set a single parameter. The message format is as follows. 11110000...
  • Page 120 0kkkkkkk End of Exclusive 11110111 The details are the same as for 2.2.1 (AN200 Native Bulk Dump). However, see Table <3-1> for the Base address. More details (Address, Byte Count, etc.), see the AN1x parameter list included with the AN1x.
  • Page 121 11111110 This is transmitted by 200msec. After FE is received one time, if the MIDI signal does not come within 400 msec, AN200 will act the same as when ALL SOUND OFF, ALL NOTE OFF, and RESET ALL CONTROLLERS are received, and return to the condition where has not been received once.
  • Page 122 Appendix MIDI Data Format 27...F0 Common BPM NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED (AN1x : Var-Ef Type) 00...02 Output Gain (AN1x : reserve) 00...64 Gutar Amp.Simulator : Dist Drive 00...03 Gutar Amp.Simulator : Amp.Type 22...3C...
  • Page 123 00...7F Free EG Trk4 Data2 LSB 0C 66 00...01 Free EG Trk4 Data192 MSB 00...7F Free EG Trk4 Data192 LSB TOTAL SIZE 668 *1 : see other table (Free EG Track Paramter List) *2 : only Bulk Dump (not received as parameter change) *3 : BPM = ((1st &...
  • Page 124 *9 : VCO2 Wave is not Triangle or Sine. *10 : VCO1 Wave is Triangle or Sine. *11 : CC# 3,5,7,8,9,10,15,16,18,19,22,28,29,31,34,35,39,48,49,50,51,57,59,68,71,72,73,74,75,80,81,82,83,88,89,MW~AC8 cannot be set. <1-4> MIDI Parameter Change table ( AN200 Current Voice Additional Buffer) Address Size Data Prameter Name 10 0d 00 0...7F...
  • Page 125 00...7F Effect parameter TOTAL SIZE 18 mm = 00 ~ 7F : User Voice Scene-1 No.1 ~ User Voice Scene-1 No.128 <1-6> MIDI Bulk Dump Parameter table ( AN200 Current Scene-2 ) Address Size Data Prameter Name 10 31 00 00...FF...
  • Page 126 Appendix MIDI Data Format 00...7F Step Seq Gate Time LSB 3 00...7F Step Seq Gate Time LSB 4 00...7F Step Seq Gate Time LSB 5 00...7F Step Seq Gate Time LSB 6 00...7F Step Seq Gate Time LSB 7 00...7F Step Seq Gate Time LSB 8 00...7F Step Seq Gate Time LSB 9...
  • Page 127 NOT USED NOT USED NOT USED NOT USED (AN1x : Var-Ef Type) 00...02 Output Gain (AN1x : reserve) 00...64 Gutar Amp.Simulator : Dist Drive 00...03 Gutar Amp.Simulator : Amp.Type 22...3C Gutar Amp.Simulator : LPF 00...64 Gutar Amp.Simulator : Dist Out Level NOT USED NOT USED 04...28...
  • Page 128 Appendix MIDI Data Format 28...58 Pich Down (PB Range -) 00...7F PEG Decay 00...7F PEG Depth 01...03 PEG Switch 00...01 Portamento Mode 00...7F Portamento Time 00...01 LFO Reset Mode 00...14 LFO1 Wave 00...FF LFO1 Speed 00...7F LFO1 Delay 00...FF LFO2 Speed 00...02 Sync Mode 00...7F...
  • Page 129 00...2E Ctrl Matrix Param 6 00...7F Ctrl Matrix Depth 6 00...72 Ctrl Matrix Source7 00...2E Ctrl Matrix Param 7 00...7F Ctrl Matrix Depth 7 00...72 Ctrl Matrix Source8 00...2E Ctrl Matrix Param 8 00...7F Ctrl Matrix Depth 8 00...72 Ctrl Matrix Source9 00...2E Ctrl Matrix Param 9 00...7F...
  • Page 130 Appendix MIDI Data Format NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED 00...07 Step Seq Gate Time MSB 1 00...07 Step Seq Gate Time MSB 2 00...07 Step Seq Gate Time MSB 3...
  • Page 131 <1-10> MIDI Bulk Dump Parameter table ( User Pattern Voice Scene-1 ) Address Size Data Prameter Name 40 mm 00 00...FF LFO1 Speed 00...7F AmpEG Attack Time 00...7F AmpEG Decay Time 00...7F AmpEG Sustain Level 00...7F AmpEG Release Time 00...7F FilterEG Attack Time 00...7F FilterEG Decay Time...
  • Page 132 Appendix MIDI Data Format <1-12> AN200 Control Matrix & Free EG Track Parameter List Ctrl Matrix : Ctrl Matrix : Parameter Name Parameter Calc. Method Multiply Group Param Name Data Value Total Tune Pitch Up Pitch Down PEG Decay PEG Depth...
  • Page 133 <2-1> Rhythm Track Parameter Base Address MODEL ID = 6D Parameter Address System Current Effects Current Multi Part Current Rhythm StepSeq User Pattern Rhythm Step Seq User Pattern Effect User Pattern Multi Part User Song <2-2> MIDI Parameter Change table ( SYSTEM ) Address Size Data...
  • Page 134 Appendix MIDI Data Format <2-4> Effect Type List Type MSB Delay1(mono) Delay2(stereo) Flanger1 Flanger2 Phaser1 Phaser2 AmpSim1 AmpSim2 <2-4-1> Effect type Control Paramater Delay 1 (mono) Tempo Sync Resolution Delay 2 (stereo) Tempo Sync Resolution Delay 3 (cross) Tempo Sync Resolution Reverb Reverb Time Flanger 1...
  • Page 135 <2-5> MIDI Parameter Change table (User Voice EFFECT) Address Size Data Prameter Name 30 nn 00 00 - 03 EFFECT TYPE MSB 00 - 02 EFFECT TYPE LSB 00 - 7F EFFECT PARAMETER TOTAL SIZE 3 nn = Pattern Number <2-6>...
  • Page 136 Appendix MIDI Data Format 00...7F Step Seq Velocity 4 00...7F Step Seq Velocity 5 00...7F Step Seq Velocity 6 00...7F Step Seq Velocity 7 00...7F Step Seq Velocity 8 00...7F Step Seq Velocity 9 00...7F Step Seq Velocity 10 00...7F Step Seq Velocity 11 00...7F Step Seq Velocity 12...
  • Page 137 00...78 Step Seq Inst 3 00...78 Step Seq Inst 4 00...78 Step Seq Inst 5 00...78 Step Seq Inst 6 00...78 Step Seq Inst 7 00...78 Step Seq Inst 8 00...78 Step Seq Inst 9 00...78 Step Seq Inst 10 00...78 Step Seq Inst 11 00...78...
  • Page 138 Appendix MIDI Data Format *1 : MSB bit 2-0 -> bit 9-7 LSB bit 6 -0 -> bit 6-0 *2 : This should be transmitted after sending Step Seq Gate Time LSB n. <2-10> MIDI Parameter Change table (User Song) Address Size Data...

  • Page 139: Midi Implementation Chart

    YAMAHA [ DESKTOP CONTROL SYNTHESIZER ] Model AN200 MIDI Implementation Chart Function... Basic Default 1 - 4 Channel Changed 1 - 16 Default Mode Messages Altered ************** Note 1 - 127 Number : True voice ************** Velocity Note ON o 9nH,v=1-127...

  • Page 140: Rhythm Track Instrument List

    Appendix Rhythm Track Instrument List Rhythm Track Instrument List Note No. Note Voice Name Display bA1C PulseBass C C# -2 PulseBass C# PulseBass D bA1d D# -2 PulseBass D# PulseBass E bA1E PulseBass F bA1F Filtered square wave synth bass PulseBass F# bA1G PulseBass G...

  • Page 141: Pattern List

    Pattern List Pattern List Preset Bank 1 (Bank MSB=63, LSB=0, Pgm#1-64) Pgm# Pattern Name Group P001 Phatty P002 Fat 5th P003 Acid EG-O P004 Noize On P005 Joshin P006 Flabber P007 Bad Sign P008 3rd Love P009 5th Morf P010 Short Saw P011 Noizz...
  • Page 142 P244 Carm Down ambient U064 P226 Bungraa5va breaks 2 AN200:U123,U124 & SU200:BANK A (Trip Hop Demo) AN200:U125,U126 & SU200:BANK B (Trance Demo) AN200:U127,U128 & SU200:BANK C (Break Beats Demo) User Bank (Bank MSB=63, LSB=2, Pgm#65-128) Pre.# Pattern Name Group U065...

  • Page 143: Software Licensing Agreement

    5. LIMITED LIABILITY Your sole remedies and Yamaha’s entire liability are as set forth above. In no event will Yamaha be liable to you or any other person for any damages, including without limitation any incidental or consequential damages, expenses, lost profits, lost savings or other damages arising out of the use or inability to use such SOFTWARE even if Yamaha or an authorized dealer has been advised of the possibility of such damages, or for any claim by any other party.
  • Page 144 Fall müssen Sie die lizensierte SOFTWARE und ihre Kopien unverzüglich vernichten. 4. PRODUKTGARANTIE Yamaha garantiert dem ursprünglichen Käufer, daß, falls die SOFTWARE bei Verwendung unter normalen Bedingungen nicht die in der von Yamaha bereitgestellten Anleitung beschriebenen Funktionen erfüllt, die einzige Abhilfe darin bestehen wird, daß Yamaha auf Austauschbasis kostenlos jedes Medium ersetzen wird, das Material- oder Verarbeitungsfehler aufweist.
  • Page 145 Les conditions énoncées dans le présent contrat de licence prennent effet à compter du jour où le LOGICIEL vous est remis. Si l’une quelconque des dispositions relatives au droit d’auteur ou des clauses du contrat ne sont pas respectées, le contrat de licence sera résilié de plein droit par Yamaha, ce sans préavis.
  • Page 146 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.

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