Page 2 If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.
Page 3 SPECFICATIONS SUBJECT TO CHANGE: The informa- tion contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units.
Page 4: Important Safety Instructions
Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended.
Page 5: Main Features
We urge you to read the owner’s manuals thoroughly in order to realize the full potential of the TG500 (see “About the Manual” on page 5), and keep the manuals in a safe place for future reference. MAIN FEATURES...
Page 6 Top-quality Effects The basic quality of the TG500 voices is further enhanced by a range of programmable effects offering quality rivalling some of the finest separate signal processing systems. Other Features • Slots for dual external memory card sets (VOICE and WAVE).
Page 7: Getting Started
GETTING STARTED FEATURE REFERENCE PERFORMANCE EDIT MODE VOICE EDIT MODE DRUM VOICE EDIT MODE MULTI EDIT MODE UTILITY MODE / WAVE EDIT MODE APPENDIX...
Page 8: Table Of Contents
Precautions ... 3 About the Manual ... 5 The Controls & Connectors ... 8 1. Setting Up Your System ... 12 2. Selecting And Playing Voices... 16 3. The Performance Mode ... 22 CONTENTS Getting Started 4. The Multi Mode ... 35 5.
Page 9 General Editing Procedure Performance Edit Mode 1: Quick Edit 2: Level/Name 3: Full Edit Feature Reference 4: Recall/Init. Performance Voice Edit Mode 1: Quick Edit 2: Level/Name...
Page 10 3: Full Edit 4: Recall/Init. Voice Drum Voice Edit Mode 1: Key Parameter 2: Level/Name 3: Quick Edit 4: Effect...
Page 11 5: Recall/Init. Multi Edit Mode 1: Parameter ... 2: Name ... 3: Initialize ... 4: Effect Utility Mode 1: System 2: Controller 3: MIDI 4: Card 5: Wave ... 1: Waveform 2: Sample ... 3: Initialize ... 4: Sample Dump 5: Card Load ...
Page 12 Appendix viii...
Page 13 Getting Started...
Page 15: Precautions
OFF prior to connecting or disconnecting audio and MIDI cables. MIDI Connections • When connecting the TG500 to MIDI equipment, be sure to use high-quality cables made especially for MIDI data transmission. • Avoid MIDI cables longer than about 15 meters. Longer cables can pick up electrical noise that can causes data errors.
Page 16 Data Backup • The TG500 contains a special long-life battery that retains the contents of its internal voice, performance, multi, and wave memory (when installed) even when the power is turned OFF. The backup battery should last for several years.
Page 17: About The Manual
Reference . The Getting Started Section In addition to an overview of the TG500 controls and connectors (page 8), the Getting Started section contains five chapters that take you through the main procedures you will need to know to become familiar with your TG500: Setting Up Your System [Page 12] Basic system connections, MIDI settings, and powering up your system.
Page 18 The icons also make it easier to differentiate between information that you should read immediately and information that can be skipped until later, hopefully helping you to become familiar with the TG500 in the quickest, most efficient manner possible.
Page 19 4. Multi Edit Mode ..[Page 197] 5. Utility Mode/Wave Edit Mode... Once you have become familiar with the way the TG500 works by going through the Getting Started section, you should only need to refer to the Fea- ture Reference section from time to time to get details on functions you’ve never used before, or refresh your memory about functions that you don’t use...
Page 20: The Controls & Connectors
Press to turn the TG500 power on or off. PHONES Jack Accepts a standard pair of stereo headphones (1/4" stereo phone plug) for headphone monitoring of the TG500 sound without the need for external ampli- fication equipment. VOLUME Control Adjusts the volume of the sound delivered via the rear-panel OUTPUT jacks as well as the PHONES jack.
Page 21 [UTILITY/SELECT] Key This key selects the TG500 utility mode, containing a range of utility functions and the wave edit mode. In the performance edit mode the [UTILITY/SELECT] key is also used for layer selection and muting, while in the mutli edit mode it is used for multi instrument selection.
Page 22 Used to select voices, performance combinations, multi setups, and editing functions. These keys are also used to edit parameter values in any of the TG500 edit modes. Either key can be pressed briefly for single stepping in the specified direction, or held for continuous scrolling. Even faster scrolling is achieved by pressing the opposite key while holding the key corresponding to the direction you want to scroll in.
Page 23: Rear Panel
THRU Connectors OUTPUT L/MONO and OUTPUT R Jacks These are the main stereo outputs from the TG500. If a plug is inserted only into the L/MONO jack, the left and right-channel signals are combined and delivered via this jack (for connection to a monaural sound system).
Page 24: Setting Up Your System
CAUTION AUDIO CONNECTIONS If your TG500 is to be connected to a stereo sound system only, use the OUTPUT L/MONO and R jacks. These are the main stereo outputs from the TG500, and the ones controlled by the panel [VOLUME] control. If you have a monaural sound system, connect only the L/MONO jack.
Page 25 The MIDI OUT connector of the keyboard, sequencer, or other controller which is to control the TG500 must be connected to the MIDI IN connector of the TG500. You’ll also have to make sure that the receive channel of the TG500 is set to match the transmit channel of your keyboard.
Page 26 Editing Procedure” on page 45, then study the MIDI parameters described on pages 227 through 232 of the UTILITY MODE section. PLAY THE DEMO The TG500 includes a demonstration playback function that you can try out once your system is set up. Engage the demo mode.
Page 27 Believe it or not, there’s actually a “right” way to turn on a sound system that will minimize the possibility of damage to the equipment (and your ears!). Make sure your sound system’s volume control and the TG500 volume control are turned all the way down prior to turning power on.
Page 28: Selecting And Playing Voices
2. Selecting And Playing Voices One of the first things you’ll want to do with your TG500 is select and play some of its outstanding voices … this section will show you how to do just that. The Preset, Internal, & Card Voice Memories...
Page 29 CARD memory voice numbers begin with the letter “C”. The CARD memory is one or two optional Yamaha MCD64 Memory Card (or pre-pro- grammed voice cards) plugged into the TG500 DATA 1 and/or DATA 2 slot. Memory cards are convenient for external storage and transportation of voices you or others create.
Page 30 Select a Memory Area & Bank The [MEMORY] key is used to access the TG500’s internal, preset, and card memory areas, and the different memory banks they contain. Try pressing the [MEMORY] key a few times while watching the voice number on the display.
Page 31 Voice List Preset Voice Lists 1 Preset Voice Lists 2 Preset Voice Lists 3 Voice Name Voice Name Voice Name Voice Name Voice Name Voice Name 2. Selecting And Playing Voices...
Page 32 Preset Voice Lists 4 Internal Voice Lists 1 Internal Voice Lists 2 Voice Name Voice Name Voice Name Voice Name Voice Name Voice Name 2. Selecting And Playing Voices...
Page 33 If you don’t get any sound at this point: Make sure your sound system is turned ON and the volume is turned up to a reasonable level, make sure that the TG500 VOLUME control is HINT turned up to a reasonable level, and check all connections carefully.
Page 34: The Performance Mode
CARD performance memory. The PRESET performance memory area further contains 2 “banks,” each containing 64 voices. Any performance combination in any of these memory areas can be selected and played while the TG500 is in the PERFORMANCE PLAY mode. PRESET PERFORMANCE MEMORY Performance numbers that begin with a “P”...
Page 35 CARD memory performance numbers begin with the letter “C”. The CARD memory is one or two optional Yamaha MCD64 Memory Card (or pre-pro- grammed voice cards) plugged into the TG500 DATA 1 and/or DATA 2 slot. An MCD64 Memory Card holds 128 performance combinations in addition to 256 voices per card.
Page 36 EF=EG ¥ Rev1 /Cho & Rev The information displayed on the bottom display line tells you about the current effect mode and what effects are assigned to the TG500’s two effect processors. See the “Effects” section beginning on page 251 for more details. … I...
Page 37: Performance List
Performance List Preset Performance Lists 1 Voice Name Voice Name Note that the performance combinations are arranged in categories for easier access. The category of each performance combinations is identified by a two- character prefix, as follows: A more detailed performance list is provided in the appendix (page 300). Preset Performance Lists 2 Voice Name Voice Name...
Page 38 Programming Your Own Performance Combinations A single TG500 “performance combination” can have one, two, three, or four “layers,” each having a different voice and several other important attributes. In addition to the individual attributes that can be programmed for each layer, overall characteristics such as volume, effects, and the performance name can also be programmed.
Page 39 (below C3), and piano plus strings on the upper octaves. Although we won’t use anywhere near the TG500’s full complement of performance parameters, this exercise will help you get a feel for the perform- ance mode and standard editing procedures.
Page 40 Press [ENTER], then [PAGE], and then use the [-1/NO] and [+1/YES] keys to select the “4-2:Initialize” screen. Press [ENTER]. Press [ENTER] again. Press [+1/YES] to execute the performance initialize job. “Completed!” will appear briefly when the performance data has been initialized. Select the Performance Edit “LAYER”...
Page 41 Press [ENTER], then use the [-1/NO] and [+1/YES] keys to select the “3- 1:Layer” screen. É PFM EDIT 00œ:InitPerf 3-1:Layer When you’ve located this screen, press [ENTER] to engage the performance edit “Layer” mode. Select the Voices for Each Layer If the “PFM Voice” display doesn’t appear as soon as you engage the performance layer mode, press [PAGE], use the [-1/NO] and [+1/YES] keys to select the “3-1-01:Voice”...
Page 42 Lower the Volume of the Strings Voice Press the [PAGE] key, use the [-1/NO] and [+1/YES] keys to select the “3-1-02:Volume” screen, then press [ENTER]. You can now use the [ parameters for each layer, and use the [-1/NO] and [+1/YES] keys to set the volume levels as required.
Page 43 Shift the Bass Voice Up One Octave Press the [PAGE] key, use the [-1/NO] and [+1/YES] keys to select the “3-1-04:Note Shift” screen, then press [ENTER] (or simply press [ holding [PAGE]). PFM NtShft [A] BA Wood 0‹ 0‹ 0‹ --- Since the bass voice we have selected will sound too low if played only on the lower octaves of the controlling keyboard, we’ll shift its pitch up one octave.
Page 44 Set the High Note Limits Press the [PAGE] key, use the [-1/NO] and [+1/YES] keys to select the “3-1-07:Note Limit-H” screen, then press [ENTER] (or simply press [ holding [PAGE]). Set the upper note limit for the layer-A voice to “B2”. DETAIL Try playing our new performance combination on the controlling keyboard.
Page 45 Store Your Performance Combination Once you’re satisfied with the sound of your original performance combina- tion, you can store it to an internal performance memory location as follows: 12-1 Press the [PLAY MODE] key to return to the PERFORMANCE PLAY mode.
Page 46 TG500 will return to the PERFORMANCE PLAY mode. IMPORTANT HINT Further Possibilities … When you’re ready to explore the many other possibilities the TG500 provides for performance programming, read through the “PERFORMANCE EDIT MODE” mode (page 49). 3. The Performance Mode PFM STORE ´00 :CO Dream...
Page 47: The Multi Mode
If you’ve been going through the tutorials section in sequence as we recom- mended, so far you’ve used the VOICE PLAY, PERFORMANCE PLAY, and PERFORMANCE EDIT modes. If, however, your intention is to use the TG500 with a sequencer or computer to play a number of different voices simultane- ously, the modes you’ll use most frequently are the MULTI PLAY and MULTI...
Page 48 MULTI PLAY POLYPHONY & DYNAMIC VOICE ALLOCATION The TG500 actually consists of two 32-note tone generator units (“A” and “B”), giving it a total polyphony of 64 notes. Some of the preset waves are produced by tone gerator “A,” while others are produced by tone generator “B.”...
Page 49 THE MULTI PARAMETER EDIT SCREENS MLT (AP Brite) Vol Pan [ 1] V¡00 127 0 é MLT EfSend NtShft Tune è[ 1] 127 0 0 é MLT OutSel è[ 1] off 4. The Multi Mode...
Page 50 SELECTING DIFFERENT INSTRUMENTS FOR EDITING The currently selected multi instrument (1 of 16) is shown in square brack- ets in the lower left hand corner of each screen. A different instrument can be selected for editing in this mode by using the [-1/NO] and [+1/YES] keys while holding the [UTILITY/SELECT] key.
Page 51: Voice Editing & Effects
The first thing you’ll need to do when programming a new voice is to decide what “wave” you’re going to use. The TG500 provides 244 (Preset 1) + 50 (Preset 2) waves in ROM memory from which you can choose. Others can be loaded into optional wave RAM memory.
Page 52 “Controller” parameters, below. Controller Since the TG500 has no controllers of its own, all modulation and bias control must be applied by MIDI control change data received from the control- ling keyboard or other device. The TG500 accepts control from four different control devices, and it is the parameters in this section that determine how these four controllers function.
Page 53 Further Possibilities … When you’re ready to explore the many possibilities the TG500 provides for voice programming, read through the “VOICE EDIT MODE” (page 95). 5. Voice Editing & Effects...
Page 55 Feature Reference...
Page 57 The TG500 makes editing easy by providing a consistent, logical control interface via which parameters can be located and edited. Once you’ve learned the general procedure, you can locate and edit any of the TG500’s many parameters quickly and easily.
Page 58 Selecting Specific Edit Functions The uppermost layer of the edit mode function tree is a menu that is used to select the desired group of functions. Use the [-1/NO] and [+1/YES] keys to select the function group you want to access, then press [ENTER] to go di- rectly to the last edit screen that was selected in that function group.
Page 59 Any “2: Level/Name” edit screen. 2-1: Level The voice edit “Level” screen. An alternative method is to use the [ [PAGE] key. This lets you switch directly between adjacent edit screens with- out having to go to the menu first. In some cases there is another layer of functions below the first layer (the voice edit mode “3:Full Edit”...
Page 60 Selecting & Editing Parameters Most TG500 edit screens contain several parameters that can be selected and edited. The parameters are edited by first moving the cursor to the required parameter by using the [ YES] keys to adjust the parameter’s value. In most cases the name of the...
Page 61: Performance Edit Mode
PERFORMANCE EDIT MODE 1: Quick Edit 1-1: Voice Amplitude EG Offset . 52 1-2: Voice Filter Offset ... 54 1-3: Voice LFO Offset ... 55 1-4: Voice Controller ... 56 1-5: Voice Setting ... 57 1-6: Effect 1 ... 58 1-7: Effect 2 ...
Page 62 PERFORMANCE EDIT MODE LAYER SELECTION & MUTING Layer Selection Many functions in the performance edit mode allow a single layer to be edited individually (see page 26 of the “Getting Started” section to learn about peformance combinations and layers). The layer to be edited is selected by using the [ [UTILITY/SELECT] key: The display will return to the current edit screen as soon as you release the...
Page 63 Active layers appear as upper-case characters and muted layers appear as lower-case characters while the [UTILITY/SELECT] key is held. In the follow- ing display, for example, layers “A” and “C” are active while layers “b” and “d” are muted. PFM LAYER SELECT é è A:™61 b:Ñ41 C:Ö18 d:¡07 PERFORMANCE EDIT MODE LAYER SELECTION &...
Page 64: 1-1: Voice Amplitude Eg Offset
PERFORMANCE EDIT MODE / 1: QUICK EDIT 1-1: VOICE AMPLITUDE EG OFFSET [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE -> 1-1 : Voice AEG -> [ENTER] These parameters allow the amplitude envelopes of the voices assigned to each layer to be modified to some degree.
Page 65 PERFORMANCE EDIT MODE / 1: QUICK EDIT RR (Release rate) Range: -63 … +63 Modifies the “RR” parameter of the voice amplitude EG — see page 112. Plus (+) values produce a faster release rate while minus (–) values produce a slower release rate.
Page 66: 1-2: Voice Filter Offset
PERFORMANCE EDIT MODE / 1: QUICK EDIT 1-2: VOICE FILTER OFFSET [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE -> 1-2 : Voice Filter -> [ENTER] These parameters allow the main filter parameters of the voices assigned to each layer to be modified to some degree.
Page 67: 1-3: Voice Lfo Offset
1-3: VOICE LFO OFFSET [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE -> 1-3 : Voice LFO -> [ENTER] These parameters allow the main LFO parameters of the voices assigned to each layer to be modified to some degree. The actual LFO parameters of the voices are not affected.
Page 68: 1-4: Voice Controller
PERFORMANCE EDIT MODE / 1: QUICK EDIT 1-4: VOICE CONTROLLER [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE -> 1-4 : Voice Control -> [ENTER] These parameters determine how the performance layers are affected by keyboard aftertouch response and the control devices assigned to MIDI Controller 1 and MIDI Controller 2 (MIDI controller assignments are made via the “UTILITY”...
Page 69: 1-5: Voice Setting
1-5: VOICE SETTING [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE -> 1-5 : Voice Setting -> [ENTER] Other parameters that can be individually set for each performance layer are provided in this screen: sustain enable, pitch envelope generator enable, oscillator fixed note mode and note number.
Page 70: 1-6: Effect 1
The “Type” parameter selects any of the TG500’s 90 effect types for the effect 1 or effect 2 processor, depending on whether the “Effect 1” or “Effect 2” edit screen is selected. See page 251 for more details on the TG500 effect system.
Page 71: 1-8: Effect Wet:dry Balance
1-8: EFFECT WET:DRY BALANCE [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE -> 1-8 : Effect Wet:Dry -> [ENTER] The balance between the direct sound of the voice and the effect sound is a delicate thing.
Page 72: 2-1: Performance Total Level
PERFORMANCE EDIT MODE / 2: Level/Name 2-1: PERFORMANCE TOTAL LEVEL [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 2: Level/Name -> [ENTER] -> PAGE -> 2-1 : Total Level -> [ENTER] This parameter sets the overall volume level of the current performance combina- tion in relation to the others, making it possible to match levels for smooth transition when switching between performance combinations.
Page 73: 2-2: Performance Name
2-2: PERFORMANCE NAME [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 2: Level/Name -> [ENTER] -> [PAGE] -> 2-2 : Name -> [ENTER] Your original performance combinations should naturally have original names. This function can be used to assign a name of up to 8 characters to the current performance.
Page 74: 3-1-01: Voice
[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-01 : Voice -> [ENTER] TG500 performance combinations can have up to four voices assigned to different “layers” — A, B, C and D. This screen lets you assign voices to the layers.
Page 75: 3-1-02: Volume
[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-02 : Volume -> [ENTER] For optimum balance between the voices in a performance combination, this screen allows the volume of each voice to be adjusted individually. PFM Volume [A] WN Flut1 11 Volume (layer A)
Page 76: 3-1-03: Pan
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-03 : Pan -> [ENTER] In multi-layer performance combinations, interesting stereo effects can be pro- duced by placing the output from different layers at different locations in the stereo sound field.
Page 77: 3-1-04: Note Shift
3-1-04: NOTE SHIFT [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-04 : Note Shift -> [ENTER] The note shift parameters individually shift the pitch of each layer up or down in semitone steps, making it possible to create harmony effects between layers.
Page 78: 3-1-05: Tune
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-05 : Tune -> [ENTER] The fine tune parameters allow slight upward or downward pitch adjustment of each layer, making it possible to create voice-thickening detune effects between layers.
Page 79: 3-1-06: Note Limit-L
3-1-06: NOTE LIMIT-L / 3-1-07: NOTE LIMIT-H [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-06 : Note Limit-L -> [ENTER] -> 3-1-07 : Note Limit-H -> [ENTER] The low and high note limit parameters make it possible to create a range of split keyboard effects using the performance layers.
Page 80 PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer If the High Note Limit is set to a note that is lower than the Low Note Limit for the same layer, it will set a range of notes in the middle that the layer will not play.
Page 81: 3-1-08: Velocity Limit-L
3-1-08: VELOCITY LIMIT-L / 3-1-09: VELOCITY LIMIT-H [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-08 : Vel Limit-L -> [ENTER] [ENTER] The high and low velocity limit parameters make it possible to produce a range of “velocity switching”...
Page 82 PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer The Low Velocity Limit parameter, in conjunction with the High Velocity Limit parameter described below, makes it possible to specify a range of veloc- ity values over which the selected layer will produce sound. You could, for example, set Low Velocity Limit to “60”...
Page 83: 3-1-10: Mc3 Enable
-> [PAGE] -> 3-1-10 : MC3 Enable -> [ENTER] 3-1-11 : MC4 Enable -> [ENTER] MIDI control change data received by the TG500 can be used to control the level of individual layers or specified groups of layers in the performance play mode. This screen specifies which MIDI control device (assigned via the “UTILITY”...
Page 84 PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer MC4 (MIDI controller 4 enable) Range: on, off Use the [ the layer to be edited, then use the [-1/NO] and [+1/YES] keys to turn MIDI control of that layer on or off. The name of the currently selected voice is shown in the upper right corner of the display (“--------”...
Page 85: 3-1-12: Layer Initialize
3-1-12: LAYER INITIALIZE [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-12 : Initialize -> [ENTER] When you want to program a totally new performance combination “from scratch,” rather than editing an existing combination, use this function to initialize layer data.
Page 86: 3-1-13: Layer Exchange
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-1-13: LAYER EXCHANGE [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-13 :Exchange -> [ENTER] This function can be used to eliminate the audible effects of slight note delays that can occur in the performance play mode.
Page 87: Layer Data Copy
LAYER DATA COPY [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [STORE/COPY] This function facilitates performance editing by allowing the layer parameters from any layer in any other performance (the “source” performance) to be copied to the current layer.
Page 88: 3-2: Effect
[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-01 : Mode -> [ENTER] The TG500 features a dual-processor effect system that includes 90 top-quality digital effects. Two different effects can be connected in series or parallel, providing an extensive range of possible configurations.
Page 89: 3-2-02: Type
The name of the selected effect is shown in parentheses in the upper right corner of the display when this parameter is selected. See page 251 for more details on the TG500 effect system, and page 271 for a complete list of the available effects.
Page 90: 3-2-03: Send
[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-03 : Send -> [ENTER] The parameters provided here determine to which of the TG500 effect stages the output from the voice assigned to each layer is sent, and at what level.
Page 91: 3-2-04: Send Sensitivity
3-2-04: SEND SENSITIVITY [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-04 : Send Sens. -> [ENTER] These parameters determine how the effect send level is affected by keyboard dynamics and key scaling.
Page 92: 3-2-05: Output
PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-05 : Output -> [ENTER] These parameters turn the “dry lines” (i.e. the signal paths which bypasses each effect processor) on or off, determining whether any dry signal output can occur at the OUTPUT.
Page 93: 3-2-06: Output Level
[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-06 : Output Level -> [ENTER] Depending on the selected effects the TG500 effect system can have up to four separate output levels that are adjusted by the parameters provided in this screen.
Page 94: 3-2-07: Wet:dry
PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-07 : Wet:Dry -> [ENTER] The balance between the direct sound of the voice and the effect sound is a delicate thing.
Page 95: 3-2-08: Mix Level
-> [PAGE] -> 3-2-08 : Mix Level -> [ENTER] These parameters determine the mix level between each effect send and the output of the preceding effect stage. Refer to the section beginning on page 251 for details on the overall TG500 effect system. PFM EF Mix Level<Ef2Mix> -- % ---% ---% 100% ...
Page 96: 3-2-09: Parameter 1
[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-09 : Parameter 1 -> [ENTER] Each of the TG500’s 90 effects has 8 parameters that can be edited via the parameters in these three screens to fine-tune the effect.
Page 97: 3-2-11: Control 1
-> [PAGE] -> 3-2-11 : Control 1 -> [ENTER] -> 3-2-12 : Control 2 -> [ENTER] MIDI control change data received by the TG500 can be assigned to control two different effect parameters in real time while playing in the voice or performance modes.
Page 98 PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer MIDI CONTROL CHANGE NUMBER/DEVICE EF Param (Effect parameter) Range: Depends on selected effects. Selects the effect parameter to be controlled by the specified MIDI device. “Ef1Prm1” through “Ef1Prm8” on the display stand for “effect 1 parameter 1” through “effect 1 parameter 8”.
Page 99 PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer Min (Minimum parameter value) Range: 0 … 100 Sets the lower limit of the control range. A setting of “0”, for example, means that when the lowest control change value is received the assigned parameter will also be set to its lowest value.
Page 100: 3-2-13: Control Lfo
[PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-13 :Control LFO -> [ENTER] All of the modulation-type effects — chorus, flanging, etc. — require LFO con- trol. The TG500 has an independent effect LFO that is set up by the following pa- rameters. PFM EF Ctrl LFO <Wave >...
Page 101: Effect Data Copy
EFFECT DATA COPY [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [STORE/COPY] This function facilitates performance effect editing by allowing the effect parameters from any other performance combination, voice, or multi setup to be copied to the current performance combination.
Page 102: Effect Signal Flow Display
PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect EFFECT SIGNAL FLOW DISPLAY [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [UTILITY/SELECT] + [EDIT/COMPARE] This function provides a graphic indication of the current effect system configuration while in the effect edit mode.
Page 103: 4: Recall/Init
[ENTER] If you’re dissatisfied with the results of edits you’ve made to a performance combination, or have accidentally lost track of changes made, use the RECALL function to recall the pre-edit performance data from the TG500’s backup buffer memory. PFM Recall ...
Page 104: 4-2: Initialize
PERFORMANCE EDIT MODE / 4: Recall/Init. [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 4: Recall/Init. -> [ENTER] -> 4-2 : Initialize -> [ENTER] When you want to program a totally new performance combination “from scratch,” rather than editing an existing combination, use this function to initial- ize all performance parameters.
Page 105: Performance Compare
PERFORMANCE COMPARE [EDIT/COMPARE] The performance compare function makes it possible to compare the sound of a performance combination being edited with the same performance combi- nation prior to editing. To temporarily recall the original performance data while editing, press the [EDIT/COMPARE] key.
Page 106: Performance Store
PERFORMANCE EDIT MODE / PERFORMANCE PERFORMANCE STORE [STORE/COPY] When you’re satisfied with a new performance combination you’ve created in the performance edit mode, use the store function described below to store the new performance combination to an internal or card memory location. When you’ve finished editing, return to the performance play mode (press the [PLAY MODE] key), and before selecting a different performance combina- tion press the [STORE/COPY] key.
Page 107 VOICE EDIT MODE 1: Quick Edit 1-1: Wave Select ... 96 1-2: Amplitude EG ... 98 1-3: Filter ... 100 1-4: LFO ... 102 1-5: Effect 1 ... 103 1-6: Effect 2 ... 103 1-7: Effect Wet:Dry ... 104 2: Level/Name 2-1: Level ...
Page 108: 1-1: Wave Select
Grp (Wave group) Range: 0 … 15 For fast, easy selection of the preset TG500 waves this parameter selects 16 different wave categories or “groups”, each containing a number of waves that can be individually selected by using the “No” parameter, below.
Page 109 1 or 2 card slot. A complete listing of the preset waves is given in the Appendix, on page 309 and 310. The TG500 actually incorporates two 32-note polyphonic tone generator units — “A” and “B”. The inverse character “...
Page 110: 1-2: Amplitude Eg
VOICE EDIT MODE / 1: Quick Edit 1-2: AMPLITUDE EG [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE] -> 1-2 : AEG -> [ENTER] Rather than having to set numerous level and rate values via the full-edit ampli- tude EG parameters, these parameters let you select from a range of preset envelope types, and then modify the overall attack, sustain, and release characteristics as re- quired.
Page 111 AtkRate (Attack rate) Range: 0 … 63 Sets the attack rate for the selected envelope. “63” produces the fastest attack, while “0” produces the slowest attack. SusLvl (Sustain level) Range: 0 … 63 Sets the sustain level for the selected envelope. RlsRate (Release rate) Range: 0 …...
Page 112: 1-3: Filter
VOICE EDIT MODE / 1: Quick Edit [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE] -> 1-3 : Filter -> [ENTER] The simplified filter parameters provided here have been specifically created for fast, efficient filter programming. For full filter parameters see page 119.
Page 113 Res (Resonance) Range: 0 … 99 Determines the degree of filter resonance. This parameter has a similar effect to the “resonance” settings on traditional analog synthesizer filters — i.e. it determines the height of a peak in the filter response at the cutoff frequency. If a filter type other than “LPF” is selected, no resonance can be produced and “--”...
Page 114: 1-4: Lfo
VOICE EDIT MODE / 1: Quick Edit [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE] -> 1-4 : LFO -> [ENTER] Here, the main LFO parameters are simplified and concentrated in a single screen for quick, easy programming.
Page 115: 1-5: Effect 1
The “Type” parameter selects any of the TG500’s 90 effect types for the effect 1 or effect 2 processor, depending on whether the “Effect 1” or “Effect 2” edit screen is selected. See page 251 for more details on the TG500 effect system.
Page 116: 1-7: Effect Wet:dry
VOICE EDIT MODE / 1: Quick Edit 1-7: EFFECT WET:DRY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE] -> 1-7 : Effect Wet : Dry -> [ENTER] The balance between the direct sound of the voice and the effect sound is a delicate thing.
Page 117: 2-1: Level
[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 2: Level/Name -> [ENTER] -> [PAGE] -> 2-1 : Level -> [ENTER] The ability to independently adjust the volume of each voice makes it possible to match levels for smooth transition when switching between voices. It is also possible to set the minimum volume level that can be set via MIDI control.
Page 118: 2-2: Name
VOICE EDIT MODE / 2: Level/Name [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 2: Level/Name -> [ENTER] -> [PAGE] -> 2-2 : Name -> [ENTER] Your original voices should naturally have original names. This function can be used to assign a name of up to 8 characters to the current voice. VCE Name ...
Page 119: 3-1-01: Wave Select
Grp (Wave group) Range: 0 … 15 For fast, easy selection of the preset TG500 waves this parameter selects 16 different wave categories or “groups”, each containing a number of waves that can be individually selected by using the “No” parameter, below.
Page 120 1 or 2 card slot. A complete listing of the preset waves is given in the Appendix, on page 309 and 310. The TG500 actually incorporates two 32-note polyphonic tone generator units — “A” and “B”. The inverse character “...
Page 121: 3-1-02: Parameter
3-1-02: PARAMETER [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1: Oscillator -> [ENTER] -> [PAGE] -> 3-1-02: Parameter -> [ENTER] The five parameters provided here all affect how the AWM waveform assigned to the voice is reproduced, thereby determining the basic sound of the voice.
Page 122 VOICE EDIT MODE / 3: Full Edit. 3-1: Oscillator NtShft (Note shift)/Note (Fixed note) Range: C-2 … G8, -64 … +63 When the “fix” mode is selected this parameter sets the frequency (note) at which the selected wave will be played. The C-2 to G8 range of this parameter covers a full 10-1/2 octaves.
Page 123: 3-2-01: Level
-> [PAGE] -> 3-2-01: Level -> [ENTER] -> 3-2-02: Rate -> [ENTER] The TG500’s main AEG (Amplitude Envelope generator) has five individually programmable rates and two levels for exceptional envelope programming flexibility. Next to the fundamental waveform used, the amplitude envelope is one of the most important factors determining the overall sound of a voice.
Page 124 VOICE EDIT MODE / 3: Full Edit. 3-2: AEG L2 … L3, R1 … RR (AEG levels & rates) Range: 0 … 63 The following diagrams illustrate how the AEG rate and level parameters determine the overall shape of the amplitude envelope. “Atk”...
Page 125 VOICE EDIT MODE / 3: Full Edit. 3-2: AEG “hold” Mode If the “hold” mode is selected, the envelope begins immediately from maxi- mum AWM level, allowing the fast attack transients of waveforms to pass unaffected. In this case the R1 parameter is replaced by the HT (Hold Time) parameter.
Page 126 VOICE EDIT MODE / 3: Full Edit. 3-2: AEG For the level parameters, a setting of “0” corresponds to the lowest possible level (no sound) while a setting of 63 produces the highest output level. A “0” rate parameter setting produces the slowest rate between levels, while the maximum setting of “63”...
Page 127: 3-2-03: Scale Point
3-2-03: SCALE POINT [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2: AEG -> [ENTER] -> [PAGE] -> 3-2-03: Scale Point -> [ENTER] Level scaling produces natural level variations across the range of the keyboard by allowing different level “offset”...
Page 128: 3-2-04: Scale Offset
VOICE EDIT MODE / 3: Full Edit. 3-2: AEG 3-2-04: SCALE OFFSET [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2: AEG -> [ENTER] -> [PAGE] -> 3-2-04: Scale Offset -> [ENTER] These parameters set the amount of level offset for each of the four level-scaling breakpoints set by the “Scale Point”...
Page 129: 3-2-05: Sensitivity
3-2-05: SENSITIVITY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2: AEG -> [ENTER] -> [PAGE] -> 3-2-05: Sensitivity -> [ENTER] The parameters provided here determine how the amplitude envelope generator responds to changes in keyboard velocity and range. VCE AMP Sens <Vel >...
Page 130: Aeg Data Copy
VOICE EDIT MODE / 3: Full Edit. 3-2: AEG [PLAY MODE] -> VCE PLAY -> EDIT/COMPARE -> 3: Full Edit -> [ENTER] -> 3-2: AEG -> [ENTER] This function facilitates voice editing by allowing the amplitude EG data from any other voice (the “source” voice) to be copied to the current voice. You can copy an envelope that is close to the type you want, then edit it to produce the required sound.
Page 131: 3-3-01: Parameter
[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-3: Filter -> [ENTER] -> [PAGE] -> 3-2-01: Parameter -> [ENTER] The TG500 features a sophisticated digital filter system that can be used to shape the timbre of the voice being edited in a number of ways. Changes in the response...
Page 132 VOICE EDIT MODE / 3: Full Edit. 3-3: Filter The “HPF” (High Pass Filter) setting produces a filter response that allows only frequencies above the cutoff frequency (See “Cutoff” below) to pass. The “BPF” (Band Pass Filter) setting produces a filter response that allows only a band of frequencies centered at the cutoff frequency (See “Cutoff”...
Page 133 VOICE EDIT MODE / 3: Full Edit. 3-3: Filter The “BEF” (Band Elimination Filter) setting produces a filter response that eliminates a band of frequencies centered at the cutoff frequency (See “Cutoff” below) to pass. The “Band” parameter (below) determines the width of the elimination band.
Page 134 VOICE EDIT MODE / 3: Full Edit. 3-3: Filter Cof (Cutoff frequency) Sets the cutoff frequency of the selected filter. Lower cutoff values produce a lower cutoff frequency and higher values produce a higher cutoff frequency. With an LPF response (selected by the “Type” parameter, above), a lower cutoff frequency reduces the range of high frequencies passed, making the sound “darker”...
Page 135 VOICE EDIT MODE / 3: Full Edit. 3-3: Filter Higher resonance values produce a higher resonant peak and reduce the overall bandwidth of the filter, passing a narrow band of frequencies at the filter’s cutoff. Band (BPF & BEF bandwidth) Determines the width of the frequency pass or elimination band for the BPF and BEF filter types, respectively.
Page 136: 3-3-02: Level
VOICE EDIT MODE / 3: Full Edit. 3-3: Filter 3-3-02: LEVEL / 3-3-03: RATE [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-3: Filter -> [ENTER] -> [PAGE] -> 3-3-02: Level -> [ENTER] -> 3-3-03: Rate -> [ENTER] The filter envelope generator is entirely separate from the amplitude EG, and is used specifically to create time-based timbre variations.
Page 137 VOICE EDIT MODE / 3: Full Edit. 3-3: Filter L0 … L4, RL1, RL2 (Levels 0 … 4, release levels 1 & 2) The level parameters work in conjunction with the rate parameters described below to determine the “shape” of the cutoff envelope generator for the se- lected filter.
Page 138 VOICE EDIT MODE / 3: Full Edit. 3-3: Filter RS (Rate scaling) Allows the overall cutoff envelope generator rate for the selected filter to be varied across the entire pitch range (i.e. keyboard range). This function is only available if the “Ctrl” parameter (page 123) is set to “EG.” Plus (“+”) settings produce a longer overall envelope time for the low notes and a shorter envelope time for the high notes.
Page 139: 3-3-04: Scale Point
3-3-04: SCALE POINT [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-3: Filter -> [ENTER] -> [PAGE] -> 3-3-04: Scale Point -> [ENTER] Cutoff scaling produces natural timbre variations across the range of the keyboard by allowing different filter cutoff frequency “offset”...
Page 140: 3-3-05: Scale Offset
VOICE EDIT MODE / 3: Full Edit. 3-3: Filter 3-3-05: SCALE OFFSET [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-3: Filter -> [ENTER] -> [PAGE] -> 3-3-05: Scale Offset -> [ENTER] The Scale Offset parameters set the amount of level offset for each of the four level-scaling breakpoints set by the “Scale Point”...
Page 141: 3-3-06: Sensitivity
3-3-06: SENSITIVITY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-3: Filter -> [ENTER] -> [PAGE] -> 3-3-06: Sensitivity -> [ENTER] These parameters determine how the filter envelope generator is affected by key- board dynamics. VCE Flt Sens <Type >...
Page 142: Filter Data Copy
VOICE EDIT MODE / 3: Full Edit. 3-3: Filter FILTER DATA COPY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-3: Filter -> [ENTER] This function facilitates voice editing by allowing the filter parameters from any other voice (the “source”...
Page 143: 3-4-01: Level
-> [PAGE] -> 3-4-01: Level -> [ENTER] -> 3-4-02: Rate -> [ENTER] In addition to the amplitude and filter envelope generators, the TG500 has an independent pitch EG that can be used to produce subtle or pronounced time-based pitch variations. The pitch EG has 5 programmable levels and 4 rates for extended flexibility.
Page 144 VOICE EDIT MODE / 3: Full Edit. 3-4: PEG Loop Range: off, on When the Loop parameter is set to “on” the pitch EG cycle repeats from the beginning (L0) to the L3 level until the keys being played are released. When set to “off,”...
Page 145 RS (Pitch EG rate scaling) Range: -7 … +7 Allows the overall pitch envelope generator rate for the selected element to be varied across the entire pitch range. Plus (“+”) settings produce a longer overall envelope time for the low notes and a shorter envelope time for the high notes.
Page 146: 3-4-03: Sensitivity
VOICE EDIT MODE / 3: Full Edit. 3-4: PEG 3-4-03: SENSITIVITY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-4: PEG -> [ENTER] -> [PAGE] -> 3-4-03: Sensitivity -> [ENTER] These parameters determined the overall range of the pitch EG, and how it is affected by variations in keyboard velocity.
Page 147: Pitch Eg Data Copy
PITCH EG DATA COPY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-4: PEG -> [ENTER] This function facilitates voice editing by allowing the pitch EG parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy a pitch EG setup that is close to the type you want, then edit it to produce the re- quired sound.
Page 148: 3-5-01: Parameter
[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-5: LFO -> [ENTER] -> [PAGE] -> 3-5-01: Parameter -> [ENTER] These parameters define the operation of the TG500’s main LFO (Low Frequency Oscillator). The main LFO controls amplitude, pitch, frequency, and filter cutoff modulation applied via the modulation wheel, the foot controller, and keyboard aftertouch response.
Page 149 VOICE EDIT MODE / 3: Full Edit. 3-5: LFO Phase (LFO start phase) Range: 0 … 180 Determines at which point in the LFO waveform the LFO will begin opera- tion for the selected element. The values 0 through 180 correspond to phase angles in degrees.
Page 150: 3-5-02: Depth
VOICE EDIT MODE / 3: Full Edit. 3-5: LFO [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-5: LFO -> [ENTER] -> [PAGE] -> 3-5-02: Depth -> [ENTER] The LFO can be used to apply amplitude, pitch, and frequency modulation. These parameters set the maximum depth of each type of modulation.
Page 151: 3-5-03: Sensitivity
[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-5: LFO -> [ENTER] -> [PAGE] -> 3-5-03: Sensitivity -> [ENTER] The speed of the TG500 LFO can be varied randomly, and according to variations in keyboard velocity and range. Such variations can produce more natural, musical effects.
Page 152: Lfo Data Copy
VOICE EDIT MODE / 3: Full Edit. 3-5: LFO [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-5: LFO -> [ENTER] This function facilitates voice editing by allowing the LFO parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy an LFO setup that is close to the type you want, then edit it to produce the required sound.
Page 153: 3-6-01: Pitch Bend
[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-6: Controller -> [ENTER] -> [PAGE] -> 3-6-01: PB, AT -> [ENTER] This screen includes parameters that set the TG500’s pitch bend range and the aftertouch mode.
Page 154: 3-6-02: After Touch Depth
[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-6: Controller -> [ENTER] -> [PAGE] -> 3-6-02: AT Depth -> [ENTER] For truly “intimate” modulation control, the TG500 allows a number of modula- tion effects to be controlled via keyboard aftertouch response. The parameters in this screen set the depth of the aftertouch modulation effects.
Page 155 VOICE EDIT MODE / 3: Full Edit. 3-6: Controller Fmod (Frequency modulation depth) Range: 0 … 127 Sets the maximum depth of filter cutoff frequency modulation (wah-wah type effects) applied via keyboard aftertouch. A setting of “0” allows no frequency modulation, while a setting of 127 results in maximum frequency modulation.
Page 156 VOICE EDIT MODE / 3: Full Edit. 3-6: Controller PtBs (Pitch bias depth) Range: -12 … +12 Sets the maximum pitch variation range achievable via after-touch control. Each increment represents a semitone. A setting of “0” produces no pitch variation. A setting of “+12” allows a maximum pitch variation of one octave up, while a setting of “-12”...
Page 157: 3-6-03: Midi Controller
3-6-03: MIDI CONTROLLER 1 / 3-6-04: MIDI CONTROLLER 2 [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-6: Controller -> [ENTER] -> [PAGE] -> 3-6-03: MIDI Ctrl 1 -> [ENTER] -> [PAGE] -> 3-6-04: MIDI Ctrl 2 -> [ENTER] The parameters in these two screens set the maximum depth of modulation that can be produced by “MC1”...
Page 158 VOICE EDIT MODE / 3: Full Edit. 3-6: Controller Fmod (Frequency modulation depth) Range: 0 … 127 Sets the maximum depth of filter cutoff frequency modulation (wah-wah type effects) applied via MIDI controller 1 or 2. A setting of “0” allows no frequency modulation, while a setting of 127 results in maximum frequency modulation.
Page 159: 3-6-05: Midi Controller
-> 3-6-06: MIDI Ctrl 4 -> [ENTER] “MC3” (MIDI Controller 3) and “MC4” (MIDI Controller 4) can be assigned to control a wide range of voice parameters in real time while playing the TG500. MIDI controller assignments are made via the “UTILITY” mode “2:Controller” screen —...
Page 160 VOICE EDIT MODE / 3: Full Edit. 3-6: Controller MC3 or MC4 PARAMETER LIST (40 … 75) Range: 0 … 100 Sets the lower limit of the MIDI controller 3 or 4 range. A setting of “0”, for example, means that when MIDI controller 3 or 4 is set to its minimum position the assigned parameter will also be set to its lowest value.
Page 161: Controller Data Copy
CONTROLLER DATA COPY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-6: Controller -> [ENTER] This function allows the controller parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy a controller setup that is close to the type you want, then edit it to produce the required sound.
Page 162: 3-7-01: Mode
[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] -> [PAGE] -> 3-7-01: Mode -> [ENTER] The TG500 features a dual-processor effect system that includes 90 top-quality digital effects. Two different effects can be connected in series or parallel, providing an extensive range of possible configurations.
Page 163: 3-7-02: Type
The name of the selected effect is shown in parentheses in the upper right corner of the display when this parameter is selected. See page 251 for more details on the TG500 effect system, and page 271 for a complete list of the available effects.
Page 164: 3-7-03: Send
VOICE EDIT MODE / 3: Full Edit. 3-7: Effect [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] -> [PAGE] -> 3-7-03: Send -> [ENTER] The balance between the direct sound of the voice and the effect sound is a delicate thing.
Page 165: 3-7-04: Output Level
[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] -> [PAGE] -> 3-7-04: Output Level -> [ENTER] Depending on the selected effects the TG500 effect system can have up to four separate output levels that are adjusted by the parameters provided in this screen.
Page 166: 3-7-05: Wet:dry
VOICE EDIT MODE / 3: Full Edit. 3-7: Effect [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] -> [PAGE] -> 3-7-05: Wet;Dry -> [ENTER] The balance between the direct sound of the voice and the effect sound is a delicate thing.
Page 167: 3-7-06: Mix Level
3-7-06: MIX LEVEL [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] -> [PAGE] -> 3-7-06: Mix Level -> [ENTER] This parameter determines how the output of the EFFECT 2 processor is mixed with that of the EFFECT 1 processor when the serial effect mode is selected.
Page 168: 3-7-07: Parameter 1
-> [PAGE] -> 3-7-07: Parameter 1 -> [ENTER] -> 3-7-08: Parameter 2 -> [ENTER] Each of the TG500’s 90 effects has 8 parameters that can be edited via the param- eters in these three screens to fine-tune the effect. VCE EF1 Param <Rev.Time>...
Page 169: 3-7-09: Control 1
-> [PAGE] -> 3-7-09: Control 1 -> [ENTER] -> 3-7-10: Control 2 -> [ENTER] MIDI control change data received by the TG500 can be assigned to control two different effect parameters in real time while playing in the voice or performance modes.
Page 170 VOICE EDIT MODE / 3: Full Edit. 3-7: Effect MIDI CONTROL CHANGE NUMBER/DEVICE EF Param (Effect parameter) Range: Depends on selected effects. Selects the effect parameter to be controlled by the specified MIDI device. “Ef1Prm1” through “Ef1Prm8” on the display stand for “effect 1 parameter 1” through “effect 1 parameter 8”.
Page 171 VOICE EDIT MODE / 3: Full Edit. 3-7: Effect Min (Minimum parameter value) Range: 0 … 100 Sets the lower limit of the control range. A setting of “0”, for example, means that when the lowest control change value is received the assigned parameter will also be set to its lowest value.
Page 172: 3-7-11: Control Lfo
[PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] -> [PAGE] -> 3-7-11: Control LFO -> [ENTER] All of the modulation-type effects — chorus, flanging, etc. — require LFO con- trol. The TG500 has an independent effect LFO that is set up by the following pa- rameters. VCE EF Ctrl LFO <Wave >...
Page 173: Effect Data Copy
EFFECT DATA COPY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] This function facilitates voice effect editing by allowing the effect parameters from any other voice, performance combination, or multi setup to be copied to the current voice.
Page 174: Effect Signal Flow Display
VOICE EDIT MODE / 3: Full Edit. 3-7: Effect EFFECT SIGNAL FLOW DISPLAY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] 06:Rev.Stage1 ÒëÒÒí Ú 57:EQ ¥ Sym ìÁîÁÎ This function provides a graphic indication of the current effect system configura- tion while in the effect edit mode.
Page 175: 4-1: Recall
If you’re dissatisfied with the results of edits you’ve made to a voice, or have accidentally lost track of changes made, use the RECALL function to recall the pre- edit voice data from the TG500’s voice backup buffer memory. VCE Recall ...
Page 176: 4-2: Initialize
VOICE EDIT MODE / 4: Recall/Init. [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Recall/Init. -> [ENTER] -> 4-2: Initialize -> [ENTER] When you want to program a totally new voice “from scratch,” rather than editing an existing voice, use this function to initialize all voice parameters. VCE Initialize ...
Page 177: Voice Compare
VOICE COMPARE [EDIT/COMPARE] The voice compare function makes it possible to compare the sound of a voice being edited with the same voice prior to editing. To temporarily recall the original voice data while editing, press the [EDIT/COMPARE] key. The [EDIT] LED will flash, indicating that the compare mode is engaged.
Page 178: Voice Store
VOICE EDIT MODE / VOICE [STORE/COPY] When you’re satsfied with a new voice you’ve created in the voice edit mode, use the store function described below to store the new voice to an internal or card memory location. VCE STORE Ö56œ:SP Goner ¥ ¡5 When you’ve finished editing, return to the voice play mode (press the [PLAY MODE] key), and before selecting a different voice press the [STORE/COPY] key.
Page 179 DRUM VOICE EDIT MODE 1: Key Parameter 1-1: Parameter ... 168 1-2: Initialize ... 171 1-3: Exchange ... 172 Drum Key Copy ... 173 2: Level/Name 2-1: Level ... 174 2-2: Name ... 175 3: Quick Edit 3-1: Effect 1 ... 176 3-2: Effect 2 ...
Page 180: 1-1: Parameter
Selects the the drum key to be edited. In addition to using the [-1/NO] and [+1YES] keys, the drum key can be selected by simply pressing the appropriate key on a keyboard connected to the TG500 MIDI IN terminal. Wave Range: 1 …...
Page 181 D R U M The TG500 actually incorporates two 32-note polyphonic tone generator units — “A” and “B”. The inverse character “A” or “B” that appears to the right of the wave name indicates whether that wave is produced by tone gen- erator unit A or tone generator unit B.
Page 182 OutSel (Individual output select) Range: off, Ind1, Ind2, Ind3, Ind4 Sends the sound of the selected drum key to one of the TG500’s four individual outputs (the drum voice sound is always delivered via the stereo outputs). If the “off” setting is selected the current drum key sound is not sent to any individual output.
Page 183: 1-2: Initialize
(Clave ) Key= C Use the [-1/NO] and [+1/YES] keys or the keyboard connected to the TG500 to enter the drum key you want to initialize (C1 … C5), then press [ENTER] to begin the initialize procedure. The following confirmation display will appear: DRM Key Initialize Sure?
Page 184: 1-3: Exchange
Use the [ [+1/YES] keys to select the drum keys to be exchanged (C1 … C5). The keyboard connected to the TG500 can also be used to directly enter the keys after moving the cursor to the appropriate parameter. Press [ENTER] to begin the layer exchange procedure. The following confirmation display will appear: DRM Key Exchange Sure?
Page 185: Drum Key Copy
The source and destination keys can also be selected by simply pressing the appropriate key on the keyboard connected to the TG500 after placing the cursor at the source or destination parameter position. The name of the wave currently assigned to the key at which the cursor is positioned is displayed in paren- theses.
Page 186: 2: Level/Name
D R U M V O I C E [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 2: Level/Name -> [ENTER] -> [PAGE] -> 2-1: Level -> [ENTER] This parameter sets the overall volume of the current drum voice in relation to the others, making it possible to match levels for smooth transition when switching between voices.
Page 187: 2-2: Name
[PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 2: Level/Name -> [ENTER] -> [PAGE] -> 2-2: Name -> [ENTER] Your original drum voices should naturally have original names. This function can be used to assign a name of up to 8 characters to the current drum voice. DRM Name ...
Page 188: 3: Quick Edit 3-1: Effect 1
The “Type” parameter selects any of the TG500’s 90 effect types for the effect 1 or effect 2 processor, depending on whether the “Effect 1” or “Effect 2” edit screen is selected. See page 251 for more details on the TG500 effect system.
Page 189: 3-3: Effect Wet:dry
3-3: EFFECT WET:DRY [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Quick Edit -> [ENTER] -> [PAGE] -> 3-3: Effect Wet:Dry -> [ENTER] The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound. The parameters provided in this screen provide precise balance control.
Page 190: 4-01: Mode
[PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-01: Mode -> [ENTER] The TG500 features a dual-processor effect system that includes 90 top- quality digital effects. Two different effects can be connected in series or parallel, providing an extensive range of possible configurations.
Page 191: 4-02: Type
The name of the selected effect is shown in parentheses in the upper right corner of the display when this parameter is selected. See page 251 for more details on the TG500 effect system, and page 271 for a complete list of the available effects.
Page 192: 4-03: Send
[PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-03: Send ->[ENTER] The parameters provided here determine to which of the TG500 effect stages the output from the voice assigned to each layer is sent, and at what level. Individual settings can be made for each drum key.
Page 193: 4-04: Send Sensitivity
Selects the the drum key to be edited. In addition to using the [-1/NO] and [+1/YES] keys, the drum key can be selected by simply pressing the appropri- ate key on a keyboard connected to the TG500 MIDI IN terminal. Vel (Send velocity sensitivity) Determines how the send level from the selected layer is affected by veloc- ity changes (e.g.
Page 194: 4-05: Output
Selects the the drum key to be edited. In addition to using the [-1/NO] and [+1YES] keys, the drum key can be selected by simply pressing the appropriate key on a keyboard connected to the TG500 MIDI IN terminal. Dry1 Turns the “dry line”...
Page 195: 4-06: Output Level
[PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-06: Output Level ->[ENTER] Depending on the selected effects the TG500 effect system can have up to four separate output levels that are adjusted by the parameters provided in this screen.
Page 196: 4-07: Wet:dry
DRUM VOICE EDIT MODE / 4: Effect [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-07: Wet:Dry ->[ENTER] The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound. The parameters provided in this screen provide precise balance control.
Page 197: 4-08: Mix Level
-> 4-08: Mix Level ->[ENTER] These parameters determine the mix level between each effect send and the output of the preceding effect stage. Refer to the section beginning on page 251 for details on the overall TG500 effect system. DRM EF Mix Level 10 % ---% 0% ---% ...
Page 198: 4-09: Parameter 1
[PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-09: Parameter 1 ->[ENTER] -> 4-10: Parameter 2 ->[ENTER] Each of the TG500’s 90 effects has 8 parameters that can be edited via the pa- rameters in these three screens to fine-tune the effect. DRM EF1 Param <Rev.Time>...
Page 199: 4-11: Control 1
-> 4-11: Control 1 ->[ENTER] -> 4-12: Control 2 ->[ENTER] MIDI control change data received by the TG500 can be assigned to control two different effect parameters in real time while playing in the voice or performance modes. The parameters provided in these screens determine which effect parameters are to be controlled by which MIDI control devices.
Page 200 DRUM VOICE EDIT MODE / 4: Effect MIDI CONTROL CHANGE NUMBER/DEVICE EF Param (Effect parameter) Selects the effect parameter to be controlled by the specified MIDI device. “Ef1Prm1” through “Ef1Prm8” on the display stand for “effect 1 parameter 1” through “effect 1 parameter 8”. Likewise “Ef2Prm1” through “Ef2Prm8” on the display stand for “effect 2 parameter 1”...
Page 201 DRUM VOICE EDIT MODE / 4: Effect Max (Maximum parameter value) Sets the upper limit of the control range. A setting of “100”, for example, means that when the highest control change value is received the assigned parameter will also be set to its highest value. A setting of “80” means that the highest control change value will set the assigned parameter to about 80% of its range (a parameter with a range of 0 to 127, for example, would be set to about 102).
Page 202: 4-13: Control Lfo
[PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-13: Control LFO ->[ENTER] All of the modulation-type effects — chorus, flanging, etc. — require LFO con- trol. The TG500 has an independent effect LFO that is set up by the following pa- rameters. DRM EF Ctrl LFO <Wave >...
Page 203: Effect Data Copy
EFFECT DATA COPY [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [STORE/COPY] ->[ENTER] This function facilitates drum voice editing by allowing the effect parameters from any other voice, performance combination, or multi setup to be copied to the current drum voice.
Page 204: Effect Signal Flow Display
DRUM VOICE EDIT MODE / 4: Effect EFFECT SIGNAL FLOW DISPLAY [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [UTILITY/SELECT] -> [EDIT/COMPARE] 03:Rev.Room1 ÒëÒÒí Ú 12:Rev.Basmnt ìÁîîÎ This function provides a graphic indication of the current effect system configura- tion while in the effect edit mode.
Page 205 If you’re dissatisfied with the results of edits you’ve made to a drum voice, or have accidentally lost track of changes made, use the RECALL function to recall the pre-edit drum voice data from the TG500’s backup buffer memory. DRM Recall ...
Page 206 DRUM VOICE EDIT MODE / 5: Recall/Init. [PLAY/MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 5: Recall/Init. -> [ENTER] -> [PAGE] -> 5-2: Initialize ->[ENTER] When you want to program a totally new drum voice “from scratch,” rather than editing an existing voice, use this function to initialize all parameters. DRM Initialize ...
Page 207 DRUM VOICE COMPARE [EDIT/COMPARE] The drum voice compare function makes it possible to compare the sound of a drum voice being edited with the same drum voice prior to editing. To temporarily recall the original drum voice data while editing, press the [EDIT/COMPARE] key.
Page 208 DRUM VOICE EDIT MODE / 5: Recall/Init. DRUM VOICE STORE [STORE/COPY] When you’re satisfied with a new drum voice you’ve created in the drum voice edit mode, use the store function described below to store the new drum voice to an internal or card memory location.
Page 209: Multi Edit Mode
MULTI EDIT MODE 1: Parameter ... 199 2: Name ... 202 3: Initialize ... 203 4: Effect ... 204 4-01: Mode ... 204 4-02: Type ... 205 4-03: Send ... 206 4-04: Output ... 208 4-05: Output Level ... 209 4-06: Wet:Dry ...
Page 210 MULTI EDIT MODE MULTI INSTRUMENT SELECTION TG500 multi setups have 16 separate “instruments” controllable via the corre- sponding MIDI channels. The multi edit mode functions allow each instrument to be individually set up as required. The instrument to be edited in the multi edit mode is selected by using the [-1/NO] and [+1/YES] keys while holding the [UTILITY/ SELECT] key.
Page 211: 1: Parameter
[PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 1: Parameter -> [ENTER] Each TG500 “multi setup” that can have up to 16 voices or performance combina- tions assigned to “instruments” 1 trough 16. Each instrument is controlled via the correspondingly numbered MIDI channel.
Page 212 MULTI EDIT MODE / 1: Parameter Voice The cursor can be placed at two locations in the voice number parameter: under the “P” or “V” to the left of the number, and under the number itself. With the cursor at the leftmost position select “P” if you want to assign a performance combination to the current instrument, “V”...
Page 213 Tune value is displayed as “---”). OutSel (Individual output select) Sends the sound of the selected instrument to one of the TG500’s four individual outputs (the multi sound is always delivered via the stereo outputs). If the “off” setting is selected the current multi instrument sound is not sent to any individual output.
Page 214: 2: Name
MULTI EDIT MODE / 2: Name [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 2: Name -> [ENTER] Your original multi setups should naturally have original names. This function can be used to assign a name of up to 8 characters to the current multi setup. MLT NAME ...
Page 215: 3: Initialize
[PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 3: Initialize -> [ENTER] When you want to program a totally new multi setup “from scratch,” rather than editing an existing setup, use this function to initialize all multi parameters. MLT Initialize ...
Page 216: 4: Effect
[PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-01: Mode -> [ENTER] The TG500 features a dual-processor effect system that includes 90 top-quality digital effects. Two different effects can be connected in series or parallel, providing an extensive range of possible configurations.
Page 217: 4-02: Type
The name of the selected effect is shown in parentheses in the upper right corner of the display when this parameter is selected. See page 251 for more details on the TG500 effect system, and page 271 for a complete list of the available effects.
Page 218: 4-03: Send
[PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-03: Send -> [ENTER] The parameters provided here determine to which of the TG500 effect stages the output from the voice assigned to each instrument is sent, and at what level.
Page 219 1a, 1b, 2a, and 2b (Send switches) Determines to which of the EFFECT 1 and EFFECT 2 effect stages the output from the current layer is sent. The [-1] and [+1] keys can then be used to turn the selected stage on or off. If a “single”...
Page 220: 4-04: Output
MULIT EDIT MODE / 4: Effect [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-04: Output -> [ENTER] These parameters turn the “dry lines” (i.e. the signal paths which bypasses each effect processor) on or off, determining whether any dry signal output can occur at OUTPUT 1 and OUTPUT 2.
Page 221: 4-05: Output Level
[PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-05: Output Level -> [ENTER] Depending on the selected effects the TG500 effect system can have up to four separate output levels that are adjusted by the parameters provided in this screen.
Page 222: 4-06: Wet:dry
MULIT EDIT MODE / 4: Effect [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> [PAGE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-06: Wet:Dry -> [ENTER] The balance between the direct sound of the voice and the effect sound is a delicate thing.
Page 223: 4-07: Mix Level
-> 4-07: Mix Level -> [ENTER] These parameters determine the mix level between each effect send and the output of the preceding effect stage. Refer to the section beginning on page 251 for details on the overall TG500 effect system. MLT EF Mix Level<Ef2Mix> -- % 99% ---% 100% ...
Page 224: 4-08: Parameter 1
[PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-08: Parameter 1 -> [ENTER] -> 4-09: Parameter 2 -> [ENTER] Each of the TG500’s 90 effects has 8 parameters that can be edited via the pa- rameters in these three screens to fine-tune the effect. MLT EF1 Param <Low Freq>...
Page 225: 4-10: Control 1
-> 4-10: Control 1 -> [ENTER] -> 4-11: Control 2 -> [ENTER] MIDI control change data received by the TG500 can be assigned to control two different effect parameters in real time while playing in the voice or performance modes. The parameters provided in these screens determine which effect parameters are to be controlled by which MIDI control devices.
Page 226 MULTI EDIT MODE / 4: Effect EF Param (Effect parameter) Selects the effect parameter to be controlled by the specified MIDI device. “Ef1Prm1” through “Ef1Prm8” on the display stand for “effect 1 parameter 1” through “effect 1 parameter 8”. Likewise “Ef2Prm1” through “Ef2Prm8” on the display stand for “effect 2 parameter 1”...
Page 227 MULTI EDIT MODE / 4: Effect Max (Maximum parameter value) Sets the upper limit of the control range. A setting of “100”, for example, means that when the highest control change value is received the assigned parameter will also be set to its highest value. A setting of “80” means that the highest control change value will set the assigned parameter to about 80% of its range (a parameter with a range of 0 to 127, for example, would be set to about 102).
Page 228: 4-12: Control Lfo
[PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-12: Control LFO -> [ENTER] All of the modulation-type effects — chorus, flanging, etc. — require LFO con- trol. The TG500 has an independent effect LFO that is set up by the following pa- rameters. MLT EF Ctrl LFO <Wave >...
Page 229: Effect Data Copy
EFFECT DATA COPY [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 4: Effect -> [ENTER] -> [STORE/COPY] This function facilitates multi editing by allowing the effect parameters from any other performance combination, voice, or multi setup to be copied to the current multi setup.
Page 230: Effect Signal Flow Display
MULIT EDIT MODE / 4: Effect EFFECT SIGNAL FLOW DISPLAY [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 4: Effect -> [ENTER] -> [UTILITY/SELECT] + [EDIT/COMPARE] 50:EQ ¥ Rev1 ØËÔÁîîîîÎ 52:EQ ¥ ER ØØØØØËÔÁ This function provides a graphic indication of the current effect system configura- tion while in the effect edit mode.
Page 231 UTILITY MODE WAVE EDIT MODE 1: System 1-1: Setup ... 220 1-2: Effect Bypass ... 221 1-3: Output ... 222 2: Controller 2-1: MIDI Control ... 223 2-2: Volume Control ... 225 3: MIDI 3-1: Parameter ... 227 3-2: Filter ... 230 3-3: Bulk Dump ...
Page 232: 1-1: Setup
NtShft (Note shift) Range: -63 … +63 Shifts the overall pitch of the TG500 up or down in semitone steps. A setting of “-12,” for example, shifts the pitch down by one octave; a setting of “+4” shifts the pitch up by a major third.
Page 233: 1-2: Effect Bypass
Effect Bypass Range: off, on When effect bypass is turned “off” the TG500 effect system is active and the effect sound will be delivered via the TG500 outputs. When turned “on,” the internal effect system is completely bypassed and only the direct (dry) sound of the tone generator will be delivered via the outputs.
Page 234: 1-3: Output
UTILITY MODE / WAVE EDIT MODE / 1: System [UTILITY/SELECT] -> 1: System -> [ENTER] -> [PAGE] -> 1-3: Output -> [ENTER] This parameter determines which of the TG500’s outputs are active. UTL SYSTEM Output= norm Output Range: norm, indiv When set to “norm,” the stereo outputs (OUTPUT L and R) and individual outputs 1 and 2 are active.
Page 235: 2-1: Midi Control
[UTILITY/SELECT] -> 2: Controller -> [ENTER] -> [PAGE] -> 2-1: MIDI Control -> [ENTER] The four parameters provided in this screen allow any MIDI control device num- bers to be assigned to TG500 controllers 1, 2, 3, and 4 (MC1, MC2, MC3, and MC4).
Page 236 UTILITY MODE / WAVE EDIT MODE / 2: Controller Control Device Abbreviation 2-1: MIDI CONTROL...
Page 237: 2-2: Volume Control
2-2: VOLUME CONTROL [UTILITY/SELECT] -> 2: Controller -> [ENTER] -> [PAGE] -> 2-2: Volume Control -> [ENTER] This parameters specifies which MIDI control device will control the TG500’s overall volume level. UTL CTRL (Main Vol) Volume= 007 Volume Range: 000 … 119 The normal setting for this parameter is “007” (this is the MIDI “main volume control”...
Page 238 UTILITY MODE / WAVE EDIT MODE / 2: Controller Control Device Abbreviation 2-2: VOLUME CONTROL...
Page 239: 3-1: Parameter
Sets the MIDI receive channel to any channel between 1 and 16, or the “omni” mode for reception on all channels. Make sure that the TG500 MIDI receive channel is either set to the channel that your external controller is transmitting on, or the omni mode.
Page 240 *: Control change message #32 with data values of 32 ~ 43, or 80 ~ 85 will only be responded to if the TG500 is in multi play mode. This message will switch the voice or performance memory of the receiving channel.
Page 241 DevNo (Device number) Range: off, 1 … 16, all Sets the TG500 MIDI device number — i.e. the MIDI channel on which all system exclusive data will be received and transmitted. The device number is important for transfer of voice data and other system exclusive data between the TG500 and other Yamaha MIDI devices —...
Page 242: 3-2: Filter
CtrlCh (Control change filter) Range: off, on Enables or disables control change data reception. When this parameter is turned “on” the TG500 will not respond to MIDI control change data received from the controlling device. PolyAt (Polyphonic aftertouch filter) Range: off, on Enables or disables polyphonic aftertouch data reception.
Page 243: 3-3: Bulk Dump
This function is useful for transferring synthesizer, and/or system data from one TG500 to another. If the MIDI OUT of the transmitting TG500 is connected to the MIDI IN of the receiving TG500 via a MIDI cable, the receiving unit will automati- cally receive and load the data as long as its BULK RECEIVE PROTECT (page 230) function is turned “off”...
Page 244: 3-4: Program Change Table
UTILITY MODE / WAVE EDIT MODE / 3: MIDI 3-4: PROGRAM CHANGE TABLE [UTILITY/SELECT] -> 3: MIDI -> [ENTER] -> [PAGE] -> 3-4: PC Table -> [ENTER] These parameters determine which voice, performance combination, or multi setup will be selected when a specific MIDI program change number is received. UTL MIDI PC Tbl <PgmNo >...
Page 245: 4-1: Bank
TG500. “------” indicates that either no card is inserted or the card is not formatted for use with the TG500. New MCD64 memory cards, or cards that have been formatted for use with other equipment, must first be formatted by using the “4-4: FORMAT”...
Page 246: 4-2: Load
TG500, and vice versa. Since the SY85 handles MCD64 memory cards as a single bank of 64 kilobytes while the TG500 handles the same type of card as two banks of the 32 kilobytes each, however, some limitiations arise when using performance combinations.
Page 247: 4-3: Save
MAT, page 236) to format a new memory card or one that has been formatted for use with a different instrument before the card can be used with the TG500. Also make sure that the card write protect switch (see MCD64 Memory Card operation manual) is set to the “OFF”...
Page 248: 4-4: Format
New memory cards, or cards that have been formatted for use with a different instrument or device, will have to be formatted specifically for use with the TG500. Note that this operation will erase any existing data on the card.
Page 249: 5: Wave (Only Available When Syemb06 Installed)
[UTILITY/SELECT] -> 5: Wave -> [ENTER] This function only appears if one or two SYEMB06 Memory Expansion Boards are installed in the TG500 expansion memory slot (see page 282 for details on memory expansion). Specifies the number of the waveform to be edited using the WAVE EDIT func- tions (accessed by pressing the [EDIT/COMPARE] key from this screen), and the number of the waveform to which a sample loaded from card will be assigned.
Page 250: Wave Edit Mode
UTILITY MODE / WAVE EDIT MODE THE WAVE EDIT MODE Unlike the other TG500 edit modes, the WAVE mode is not directly accessed from a play mode. To access the WAVE mode, press the [EDIT/COMPARE] key while utility mode “UTL WAVE” screen (“5: Wave”) is showing.
Page 251: 1-1: Assign
[UTILITY/SELECT] -> 5: Wave -> [ENTER] -> [EDIT/COMPARE] -> 1: Waveform -> [ENTER] -> [PAGE] -> 1-1: Assign -> [ENTER] This function assigns the selected sample(s) to the currently selected “waveform” (the waveform is selected via the utility mode “Waveform” parameter (page 237). The “2: Sample”...
Page 252: 1-2: Enable
UTILITY MODE / WAVE EDIT MODE / 1: Waveform [UTILITY/SELECT] -> 5: Wave -> [ENTER] -> [EDIT/COMPARE] -> 1: Waveform -> [ENTER] -> [PAGE] -> 1-2: Enable -> [ENTER] Turns waveform assignment on or off. UTL Waveform Enable (InitWave) of Enable Range: off, on Set to “on”...
Page 253: 1-3: Name
[UTILITY/SELECT] -> 5: Wave -> [ENTER] -> [EDIT/COMPARE] -> 1: Wavefrorm -> [ENTER] -> [PAGE] -> 1-3: Name -> [ENTER] This function can be used to assign a name of up to 8 characters to the current sample. UTL Waveform Name [ Name Range: See character list, below Use the [...
Page 254: 2: Sample
UTILITY MODE / WAVE EDIT MODE / 2: Sample [UTILITY/SELECT] -> 5: Wave -> [ENTER] -> [EDIT/COMPARE] -> 2: Sample -> [ENTER] The parameters in the first screen here are used to “map” the samples assigned to the waveform to specific regions of the keyboard. If more than one sample is as- signed, start by selecting the sample you want to map via the “SmplNo”...
Page 255 UTILITY MODE / WAVE EDIT MODE / 2: Sample LoKey/HiKey (Low and high key limits) Range: C-2 … G8 These parameters specify the lowest and highest notes on the keyboard on which the selected sample will sound. If “Low” is set to “C1” and “High” is set to “C3”, for example, then the current sample will sound only when keys between (and including) C1 and C3 are played.
Page 256 UTILITY MODE / WAVE EDIT MODE / 2: Sample Type (Loop type) Range: Nrm, Alt This parameter is only available when either the “FLp” or “BLp” loop type is selected (see “Loop”, above). When set to “Nrm” (normal), the sample is repeatedly looped in either the forward or reverse direction, as specified by the Loop parameter.
Page 257: 3: Initialize
[UTILITY/SELECT] -> 5: Wave -> [ENTER] -> [EDIT/COMPARE] -> 3: Initialize -> [ENTER] This function erases and initializes all wave memory, the specified type of wave memory, or a single specified sample. UTL WAVE Init. Press [ENTER] to begin the wave initialize procedure. The following confirmation display will appear: UTL WAVE Init. Sure? Press [+1/YES] to confirm that you want to go ahead with the initialize operation,...
Page 258: 4-1: Sample Receive
This function initiates reception of MIDI Sample Dump data from an external MIDI device. Both the MIDI IN and OUT terminals must be connected to the exter- nal MIDI device, since the TG500 transmits a sample dump request message to initiate transmission by the external device.
Page 259: 4-2: Sample Transmit
4-2: SAMPLE TRANSMIT [UTILITY/SELECT] -> 5: Wave -> [ENTER] -> [EDIT/COMPARE] -> 4: Sample Dump -> [ENTER] -> [PAGE] -> 4-2: Sample Transmit -> [ENTER] This function initiates transmission of MIDI Sample Dump data to an external MIDI device. UTL Sample Trans. sample= 0 sample (Sample number) Range: 00 …...
Page 260: 5: Card Load
UTILITY MODE / WAVE EDIT MODE / 5: Card Load [UTILITY/SELECT] -> 5: Wave -> [ENTER] -> [EDIT/COMPARE] -> 5: Card Load -> [ENTER] Loads all samples from a pre-programmed card plugged into the WAVEFORM 2 card slot. Plug the memory card containing the waveform data you want to load into the WAVEFORM 2 slot, then press [ENTER] to begin the card load procedure.
Page 261 Appendix Effects ... 251 Installation of the SYEMB06 Expansion Memory Board ... 282 Initial data ... 283 Specifications ... 311 Error messages ... 312 Trouble shooting ... 315 Index ... 317...
Page 262 Appendix EFFECTS...
Page 263: Effects
EFFECTS The TG500 features a sophisticated effect system that affords extraordinary sound-shaping potential. It includes two separate effect processors — referred to a EFFECT 1 and EFFECT 2 in this manual — that can be connected either in series or in parallel via the effect “Mode” parameter (page 150 for voice effects, page 178 for drum voice effects, page 76 for performance effects, page 204 for multi effects).
Page 264 Appendix The “Cascade” effects actually include two effects connected in a cascade configuration. Effect number 33 (Flg flanger and reverb. The “Dual” effects include two effects connected in parallel. Clearly, the possibilities for combining effect modes with effect types allows a large variety of effect system configurations. Further versatility is provided by a range of parameters that allow the effect signals to be combined and mixed in a number of ways.
Page 273 Effect Signal Flow Diagrams — Drum Voice, Performance, and Multi Modes The following diagrams illustrate effect signal flow with different effect mode and effect type combinations in the drum voice, performance, and song modes. The “Tone Generator” block has slightly different meanings in each of these modes: Drum Voice “Tone Generator”...
Page 283 The Effects & Their Parameters Parameters with “ ” in the QE column are editable in the Quick Edit modes. “Single” Effects • 00 : Through PARAMETER • 01 : Rev. Hall1 PARAMETER • 03 : Rev. Room1, 04 : Rev. Room2, 05 : Rev. Room3 PARAMETER •...
Page 284 Appendix • 13 : Early Ref1, 14 : Early Ref2 PARAMETER • 17 : Dly L, R PARAMETER • 19 : St. Echo PARAMETER • 21 : Pit Chnge2 PARAMETER EFFECTS • 15 : Gate Rev., 16 : Revrs Gate RANGE •...
Page 285 • 23 : Aural Exc. (Aural Exciter®*) PARAMETER * Aural Exciter® is a registered trademark and is manufactured under license from APHEX Systems Ltd. • 25: EG Chorus PARAMETER • 27 : EG Phaser PARAMETER • 29 : Ring Mod. PARAMETER •...
Page 286 Appendix “Cascade” Effects • 31 : Dly PARAMETER • 33 : Flg PARAMETER • 35 : Sym PARAMETER EFFECTS • 32 : Echo RANGE • 34 : Cho RANGE • 36 : Pha RANGE PARAMETER RANGE PARAMETER RANGE PARAMETER RANGE...
Page 287 • 37 : Pit PARAMETER • 39 : Dist PARAMETER • 41 : Flg PARAMETER • 43 : Sym PARAMETER • 38 : Exc RANGE * Aural Exciter® is a registered trademark and is manufactured under license from APHEX Systems Ltd. •...
Page 288 Appendix • 45 : Pit PARAMETER • 47 : Dist PARAMETER • 49 : Dist Echo PARAMETER • 51 : EQ Rev2 PARAMETER EFFECTS • 46 : Exc RANGE * Aural Exciter® is a registered trademark and is manufactured under license from APHEX Systems Ltd. •...
Page 289 • 53 : EQ PARAMETER • 55 : EQ PARAMETER • 57 : EQ PARAMETER • 59 : EQ PARAMETER • 54 : EQ RANGE • 56 : EQ RANGE • 58 : EQ RANGE • 60 : EQ RANGE Appendix Echo PARAMETER...
Page 290 Appendix “Dual” Effects • 61 : Hall & Plate PARAMETER • 63 : Flg & Rev PARAMETER • 65 : Sym & Rev PARAMETER EFFECTS • 62 : Echo & Rev RANGE • 64 : Cho & Rev RANGE • 66 : Pha & Rev RANGE PARAMETER RANGE...
Page 291 • 67 : Pit & Rev PARAMETER • 69 : Dist & Rev PARAMETER • 71 : Dly & Rev PARAMETER • 73 : Flg & Dly PARAMETER • 68 : Exc & Rev (Aural Exciter®*) RANGE * Aural Exciter® is a registered trademark and is manufactured under license from APHEX Systems Ltd.
Page 292 Appendix • 75 : Sym & Dly PARAMETER • 77 : Pit & Dly PARAMETER • 79 : Dist & Dly PARAMETER • 81 : Flg & Flg PARAMETER EFFECTS • 76 : Pha & Dly RANGE • 78 : Exc & Dly (Aural Exciter®*) RANGE * Aural Exciter®...
Page 293 • 83 : Flg & Sym PARAMETER • 85 : Cho & Cho PARAMETER • 87 : Cho & Pha PARAMETER • 89 : Sym & Pha PARAMETER • 84 : Flg & Pha RANGE • 86 : Cho & Sym RANGE •...
Page 294: Installation Of The Syemb06 Expansion Memory Board
AC power cord from the main outlet. Locate the small cover on the top of the TG500 and remove the two screws that hold it in place (Figure 1). Below the cover you will see a recessed panel (Figure 2). When installing a single SYEMB06 use slot number 1.
Page 321 Appendix WAVE LIST Preset 1 Wave No. Group Wave Name A/B Wave No. Group Wave Name A/B Wave No. Group Wave Name A/B INITIAL DATA...
Page 322 Appendix Preset 2 Wave No. Group Wave Name A/B Wave No. Group Wave Name A/B Wave No. Group Wave Name A/B INITIAL DATA...
Page 323: Specifications
Appendix SPECIFICATIONS Tone Generator Systems Internal Memory External Memory Effects Displays Controllers Panel Switches Connectors Power Requirements Dimensions (W Weight Optional Accessories * Specifications and appearance subject to change without notice. SPECIFICATIONS...
Page 324: Error Messages
Appendix ERROR MESSAGES MIDI DISPLAY MIDI`buffer`full`! MIDI`data`error`! MIDI`checksum`err`! Bulk`protected`! Device`No.`is`off`! Device`No.`mismatch`! ERROR MESSAGES COMMENTS...
Page 325 Data card DISPLAY Data`Card`not`ready`! Card`protected`! Illegal`format`! Verify`NG`! Wave card DISPLAY Wave`card`not`ready`! Battery DISPLAY Change battery`! Change`card`battery`! Appendix COMMENTS COMMENTS COMMENTS ERROR MESSAGES...
Page 326 Appendix Sample DISPLAY Sample`memory`full`! Sample data not exists`! Sample data protected`! Over``waveform`number`! Over`Sample`number`! ERROR MESSAGES COMMENTS...
Page 327: Trouble Shooting
The TG500 is a very versatile instrument with many features and functions that affect operation. In many cases, what appears to be a fault with the TG500 can actually be traced to an improperly set parameter or, at the most fundamental level, to something as simple as a bad connection.
Page 328 Appendix Voice Mode Problems Symptom Multi Mode Problems Symptom Other Problems Symptom TROUBLE SHOOTING Possible Cause Possible Cause Possible Cause...
Page 329: Index
AEG data copy ... 118 AEG levels and rates ... 112 AEG velocity sensitivity ...53, 99 Aftertouch ... 56 Aftertouch depth ... 142 Aftertouch mode ... 141 Amplitude EG ...39, 98 Amplitude modulation depth ... 138, 142, 145 Arrow keys ... 10, 47, 48 Attack rate ...52, 99 velocity sensitivity ...
Page 330 Appendix Edit function selection ... 46 mode access ... 45 parameter selection ... 48 Edit/compare key ... 9, 32, 45 Editing procedure, general ... 45 Effect signal flow diagrams ... 253, 261 Effects ... 41 bypass ... 221 bypass, edit mode ... 41 output ...
Page 331 control device ... 85, 157, 187 controller... 56 controller 1 and 2 depth ... 145 controller 3 and 4 ... 147 controller assignments ... 223 controller enable ... 71 device number ... 229 filter ... 230 program change type ... 227 receive channel ...
Page 332 Appendix play mode ... 24 programming example ... 27 recall ... 91 store ... 94 Phones jack ...8 Pitch bend range ... 141 Pitch bias depth ... 144 Pitch EG ... 40 data copy ... 135 enable ... 57 levels and rates ... 131 rate scaling ...
Page 333 effect mode ... 150 effect output level ... 153 effect send level ... 152 effect send switches ... 78 effect send velocity sensitivity ... 79 effect signal flow display ... 162 effect type ... 103, 151 effect wet:dry balance ... 104, 154 filter offset ...

Yamaha TG500 Owner's Manual

Getting Started Feature Reference

Performance Edit Mode

4: Recall/Init

Performance Compare

Performance Store

Voice Edit Mode

Drum Voice Edit Mode

2 : Level/Name

3 : Quick Edit 3-1: Effect 1

Multi Edit Mode

1: Parameter

2: Name

3: Initialize

4: Effect

Utility Mode Wave Edit Mode

Appendix

Quick Links

Chapters

Related Manuals for Yamaha TG500

Summary of Contents for Yamaha TG500