Touch Response - Casio CTK-530 Operation Manual

Keyboard splif tones
Some of the preset tones split the keyboard and assign two or more sounds. With
such a preset tone, the sound produced depends on what position of the keyboard
you play. For example, BASS/E.PIANO (tone 61) puts BASS on the left and
E.PIANO on the right the keyboard.
<Example>
BASS/E.PIANO (No.61)
«+—— BASS ——>1<
PERCUSSION (No.63)
e¢ PERCUSSION (tone 63) assigns 50 percussion sound to the keyboard as illus-
trated below. The sound assigned to each key are indicated above the keyboard.
E. PIANO————>|
<3 Feoge
( BASS DRUM ye RIDE BELL 2p MARACAS
€3 SIDE STICK (} TAMBOURINE # SHORT WHISTLE
G3 ACOUSTIC SNARE é7 SPLASH CYMBAL + LONG WHISTLE
773 HAND CLAP Qs COWBELL a SHORT GUIRO
~ ELECTRIC SNARE v7? CRASH CYMBAL 2 g% LONG GUIRO
3 LOW FLOOR TOM &, VIBRASLAP _ & CLAVES
> CLOSED HI-HAT SS RIDE CYMBAL 2 E43 HIGH WOOD BLOCK
HIGH FLOOR TOM tig HIGH BONGO Eka LOW WOOD BLOCK
= PEDAL HI-HAT ggg LOW BONGO €2 MUTE CUICA
( LOWwTOM § MUTE HIGH CONGA @ OPENCUICA
"> OPEN HI-HAT f OPEN HIGH CONGA A. MUTE TRIANGLE
G LOW-MID TOM § LOWCONGA A, OPEN TRIANGLE
8 HIGH-MID TOM ©9 HIGH TIMBALE «>» SHAKER
"2? CRASH CYMBAL 1 @o LOW TIMBALE ey BELL
~ HIGH TOM Q\ HIGH AGOGO f STICKS
S& RIDE CYMBAL 1 Qx LOW AGOGO SS CASTANETS
& CHINESE CYMBAL € CABASA
Digital Sampling
A number of the tones that are available with this keyboard have been recorded
and processed using a technique called digital sampling. To ensure a high level of
tonal quality, samples are taken in the low, mid, and high ranges and then
combined to provide you with sounds that are amazingly close to the originals.
You may notice very slight differences in volume or sound qualitv for some tones
Once.
when you play them at different positions on the keyboard. This is an unavoid-
able result of multiple sampling, and it is not a sign of malfunction.
Polyphony
The term polyphony refers to the maximum number of notes you can play at the
same time. The CTK-530 has 24-note polyphony, which includes the notes you play
as well as the rhythms and auto-accompaniment patterns that are played by the
keyboard. This means that when a rhythm or auto-accompaniment pattern is being
played by the keyboard, the number of notes (polyphony) available for keyboard
play is reduced. Also note that some of the tones offer only 12-note polyphony.
e When rhythm or auto accompaniment is playing, the number of sounds
simultaneously played is reduced.
m Touch Response
Touch Response makes it possible for the keyboard to match the power of the
note produced with the amount of pressure you use to press the keyboard keys.
Note that beginners or those with insufficient strength in their fingers can use the
procedure to switch Touch Response off.
To switch Touch Response on and off
Press the TOUCH RESPONSE button to switch Touch Response on and off.
¢ When Touch Response is switched off, the notes produced by the
keyboard are not affected by the keyboard pressure.
¢ Touch Response is on when the TOUCH RESPONSE indicator is lit.
¢ Touch Response is activated when the power of the unit is switched
on.
¢ Touch Response is not applied to the accompaniment keyboard
when you are using auto-accompaniment (page E-27). It is, how-
ever, applied to the melody keyboard.
mM To franspose the keyboard
The use of this function enables all sounds on the keyboard of this instrument to
be raised or lowered by one-half step at a time. For example, there may be times
when playing the accompaniment to a song when the pitch of that accompani-
ment may be too high or low for the voice of the person singing the song. When
this happens, this function enables you simply transpose the song either up or
down while still playing the same notes (without changing finger positions).
1. Press the TRANSPOSE/TUNE/MIDI button until the message appears on the
display.
"Nor ¢ Each press of the TRANSPOSE/TUNE/MIDI
O button changes the display contents in the t rer
following sequence.
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