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CTK671-ES-1

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USER’S GUIDEGUÍA DEL USUARIO

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703A-E-002A

GUIDELINES LAID DOWN BY FCC RULES FOR USE OF THE UNIT IN THE U.S.A. (not applicable to other areas).

NOTICEThis equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in aresidential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installedand used in accordance with the instructions, may cause harmful interference to radio communications. However,there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmfulinterference to radio or television reception, which can be determined by turning the equipment off and on, the useris encouraged to try to correct the interference by one or more of the following measures:• Reorient or relocate the receiving antenna.• Increase the separation between the equipment and receiver.• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.• Consult the dealer or an experienced radio/TV technician for help.

FCC WARNINGChanges or modifications not expressly approved by the party responsible for compliance could void the user’sauthority to operate the equipment.

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Welcome...To the happy family of satisfied CASIO electronic musical instrument owners! To get the mostout of the many features and functions of the keyboard, be sure to carefully read this manualand keep it on hand for future reference.

Important!Please note the following important information before using this product.

• Before using the optional AD-5 Adaptor to power the unit, be sure to check the AC Adap-tor for any damage first. Carefully check the power cord for breakage, cuts, exposed wireand other serious damage. Never let children use an AC adaptor that is seriously dam-aged.

• Never attempt to recharge batteries.• Do not use rechargeable batteries.• Never mix old batteries with new ones.• Use recommended batteries or equivalent types.• Always make sure that positive (+) and negative (–) poles are facing correctly as indicated

near the battery compartment.• Replace batteries as soon as possible after any sign they are getting weak.• Do not short-circuit the battery terminals.• The product is not intended for children under 3 years.• Use only CASIO AD-5 adaptor.• The AC adaptor is not a toy.• Be sure to disconnect the AC adaptor before cleaning the product.

CASIO ELECTRONICS CO., LTD.Unit 6, 1000North Circular RoadLondon NW2 7JD, U.K.

This mark is valid in the EU countries only.Please keep all information for future reference.

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Congratulations upon your selection of this CASIO musical instrument. This keyboardprovides you with the following features and functions.

❐ 348 tones, including 100 “Advanced Tones”A total of 238 standard tones including piano, organ, brass, and other presets provideyou with the sounds you need, while memory for 10 user tones lets you store yourown original creations. 100 of the preset tones are “Advanced Tones,” which are vari-ations of standard tones created by programming in effects (DSP) and other settings.

❐ 100 Preset Rhythms + 4 User RhythmsA selection of 100 rhythms includes accompaniments for everything from rock topops and jazz.You can also transfer accompaniment data from your computer and store up to fourof them as user rhythms in keyboard memory.

❐ Auto AccompanimentSimply play a chord and the corresponding rhythm, bass and chord parts play auto-matically. One-touch Presets instantly recalls the most suitable tone and tempo set-tings to match the rhythm you are using.

❐ Big, Information-packed DisplayA big built-in display shows chord names, tempo setting, keyboard information, staffnotation of notes played, and more for full support of all your keyboard play. A built-in backlight keeps the display easy to read, even in total darkness.

❐ Song MemoryRecord up to six parts in memory, along with their tone, volume, pan position, andother parameters for later playback. Realistic ensemble play can also be created us-ing the Auto Accompaniment function.

❐ Synthesizer ModeEdit built in sounds to produce your own original creations. Up to 10 of your ownsounds can be stored in memory for recall just like the built-in tones.

Introduction

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❐ General MIDI compatibilityThe General MIDI tones of this keyboard let you connect to a personal computer toenjoy “desktop music” capabilities. This keyboard can be used as a desktop musicinput device or sound source, and it's just the thing for playback of commerciallyavailable pre-recorded General MIDI music software.

❐ Powerful effectsA collection of powerful effects, such as reverb, chorus, and more, give you totalcontrol over the type of sound you want. You can even change the parameters of aneffect to create your own, original effects. A 4-band equalizer is also included.

❐ MixerYou can specify tone, volume, pan position, and other parameters for each built-inAuto Accompaniment part. You can also control the same parameters for each chan-nel during MIDI input.

❐ Registration MemoryKeyboard setups can be stored in memory for later recall and instant settings when-ever you need them. Up to 16 setups (4 setups x 4 banks) can be stored in registrationmemory.

❐ Data download from your computerYou can use your computer to download data from the CASIO MUSIC SITE.

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Safety Precautions

SymbolsVarious symbols are used in this user’s guideand on the product itself to ensure that theproduct is used safely and correctly, and toprevent injury to the user and other personsas well as damage to property. Those sym-bols along with their meanings are shownbelow.

DANGER

This symbol indicates information that, ifignored or applied incorrectly, creates thedanger of death or serious personal injury.

WARNING

This indication stipulates matters that havethe risk of causing death or serious injuryif the product is operated incorrectly whileignoring this indication.

CAUTION

This indication stipulates matters that havethe risk of causing injury as well as mat-ters for which there is the likelihood ofoccurrence of physical damage only if theproduct is operated incorrectly while ig-noring this indication.

Symbol Examples

This triangle symbol ( ) meansthat the user should be careful.(The example at left indicateselectrical shock caution.)

This circle with a line through it( ) means that the indicated ac-tion must not be performed. In-dications within or nearby thissymbol are specifically prohib-ited. (The example at left indi-cates that disassembly is prohib-ited.)

The black dot ( ) means that theindicated action must be per-formed. Indications within thissymbol are actions that are spe-cifically instructed to be per-formed. (The example at left indi-cates that the power plug must beunplugged from the electricalsocket.)

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AC AdaptorMisuse of the AC adaptor’s electriccord can damage or break it, creat-ing the risk of fire and electric shock.Always make sure you observe thefollowing precautions.• Never place heavy objects on the

cord or subject it to heat.• Never try to modify the cord or

subject it to excessive bending.• Never twist or stretch the cord.• Should the electric cord or plug

become damaged, contact youroriginal retailer or authorizedCASIO Service Provider.

AC AdaptorNever touch the AC adapter whileyour hands are wet.Doing so creates the risk of electricshock.

BatteriesMisuse of batteries can cause themto leak, resulting in damage tonearby objects, or to explode, creat-ing the risk of fire and personal in-jury. Always make sure you observethe following precautions.• Never try to take batteries apart

or allow them to become shorted.• Never expose batteries to heat or

dispose of them by incineration.• Never mix old batteries with new

ones.• Never mix batteries of different

types.• Do not charge the batteries.• Make sure the positive (+) and

negative (–) ends of the batteriesare facing correctly.

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DANGER

Alkaline BatteriesPerform the following steps imme-diately if fluid leaking from alka-line batteries ever gets into youreyes.1. Do not rub your eyes! Rinse them

with water.2. Contact your physician immedi-

ately.Leaving alkaline battery fluid inyour eyes can lead to loss of sight.

WARNING

Smoke, Strange Odor, OverheatingContinued use of the product whileit is emitting smoke, a strange odor,or heat creates the risk of fire andelectric shock. Take the followingsteps immediately.1. Turn off power.2. If you are using the AC adaptor

for power, unplug it from the walloutlet.

3. Contact your original retailer oran authorized CASIO Service Pro-vider.

AC AdaptorMisuse of the AC adaptor createsthe risk of fire and electric shock.Always make sure you observe thefollowing precautions.• Be sure to use only the AC adap-

tor that is specified for this prod-uct.

• Use only a power source whosevoltage is the within the ratingmarked on the AC adaptor.

• Do not overload electrical outletsand extension cords.

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Plastic BagsNever place the plastic bag the prod-uct comes in over your head or inyour mouth. Doing so creates therisk of suffocation.Particular care concerning this pre-caution is required where small chil-dren are present.

Keep off of the product and stand.*Climbing onto the product or standcan cause it to tip over or becomedamaged. Particular care concern-ing this precaution is requiredwhere small children are present.

LocationAvoid locating the product on anunstable stand, on an uneven sur-face, or any other unstable location.An unstable location can cause theproduct to fall over, creating the riskof personal injury.

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Do not incinerate the product.Never throw the product into fire.Doing so can cause it to explode,creating the risk of fire and personalinjury.

Water and Foreign MatterWater, other liquids, and foreignmatter (such as pieces of metal) get-ting into the product create the riskof fire and electric shock. Take thefollowing steps immediately.1. Turn off power.2. If you are using the AC adaptor



Disassembly and ModificationNever try to take this product apartor modify it in any way. Doing socreates the risk of electric shock,burn injury, or other personal in-jury. Leave all internal inspection,adjustment, and maintenance up toyour original retailer or authorizedCASIO Service Provider.

Dropping and ImpactContinued use of this product afterit has been damaged by droppingor subjecting it to strong impact cre-ates the risk of fire and electricshock. Take the following steps im-mediately.1. Turn off power.2. If you are using the AC adaptor



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CleaningBefore cleaning the product, alwaysunplug the AC adaptor from thewall outlet first. Leaving the ACadaptor plugged in creates the riskof damage to the AC adaptor, fire,and electric shock.

BatteriesMisuse of batteries can cause themto leak resulting in damage tonearby objects, or to explode, creat-ing the risk of fire and personal in-jury. Always make sure you observethe following precautions.• Use only batteries that are speci-

fied for use with this product.• Remove batteries from the prod-

uct if you do not plan to use it fora long time.

ConnectorsConnect only the specified devicesand equipment to the product’s con-nectors. Connection of a non-speci-fied device or equipment creates therisk of fire and electric shock.

LocationAvoid the following locations forthis product. Such locations createthe risk of fire and electric shock.• Areas subject to high humidity

or large amounts of dust• In food preparation areas or other

areas subject to oil smoke• Near air conditioning equipment,

on a heated carpet, in areas ex-posed to direct sunlight, inside ofa vehicle parked in the sun, orany other area that subjects theproduct to high temperatures

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CAUTION

AC AdaptorMisuse of the AC adaptor createsthe risk of fire and electric shock.Always make sure you observe thefollowing precautions.• Do not locate the electric cord

near a stove or other sources ofheat.

• Never pull on the cord when un-plugging from the electrical out-let. Always grasp the AC adap-tor when unplugging.

AC AdaptorMisuse of the AC adaptor createsthe risk of fire and electric shock.Always make sure you observe thefollowing precautions.• Insert the AC adaptor into the

wall outlet as far as it will go.• Unplug the AC adaptor from the

wall outlet during lighteningstorms or before leaving on a tripor other long-term absence.

• At least once a year, unplug theAC Adaptor from the wall outletand wipe away any dust that isbuilt up in the area around theprongs of the plug.

Relocating the ProductBefore relocating the product, al-ways unplug the AC adaptor fromthe wall outlet and disconnect allother cables and connecting cords.Leaving cords connected creates therisk of damage to the cords, fire,and electric shock.

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IMPORTANT!When using batteries, be sure to replace them or shift to oneof the alternate power sources whenever you notice any ofthe following symptoms.

• Dim power indicator• Instrument does not turn on• Display that is flickering, dim, or difficult to read• Abnormally low speaker/headphone volume• Distortion of sound output• Occasional interruption of sound when playing at high vol-

umes• Sudden power failure when playing at high volumes• Flickering or dimming of the display when playing at high

volume• Continued sound output even after you release a key• A tone that is totally different from the one that is selected• Abnormal rhythm pattern and demo tune play• Loss of power, sound distortion, or low volume when play-

ing from a connected computer or MIDI device

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Display Screen• Never push on the display

screen’s LCD panel or subject itto strong impact. Doing so cancause the LCD panel’s glass tocrack, creating the risk of personalinjury.

• Should the LCD panel ever crackor break, never touch the liquidinside of the panel. LCD panelliquid can cause skin irritation.

• Should LCD panel liquid ever getinside your mouth, immediatelywash out your mouth with waterand contact your physician.

• Should LCD panel liquid ever getinto your eyes or onto your skin,rinse with clear water for at least15 minutes, and then contact aphysician.

Sound VolumeDo not listen to music at very loudvolumes for long periods. Particu-lar care concerning this precautionis required when using headphones.High volume settings can damageyour hearing.

Heavy ObjectsNever place heavy object on top ofthe product.Doing so can make the product topheavy, causing the product to tipover or the object to fall from it,creating the risk of personal injury.

Correct Stand* AssemblyAn incorrectly assembled stand cantip over, causing the product to falland creating the risk of personal in-jury.Make sure you assemble the standcorrectly, following the assemblyinstructions that come with it. Makesure you mount the product on thestand correctly.

* Stand is available as an option.

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Avoid heat, humidity or direct sunlight.Do not overexpose the instrument to direct sunlight, or place it near an air conditioner, or in any extremely hot place.

Do not use near a TV or radio.This instrument can cause video or audio interference with TV and radio reception. If this happens, move the instrument awayfrom the TV or radio.

Do not use lacquer, thinner or similar chemicals for cleaning.Clean the instrument with a soft cloth dampened in a weak solution of water and a neutral detergent. Soak the cloth in thesolution and squeeze until it is almost dry.

Avoid use in areas subjected to temperature extremes.Extremely high or low temperature can cause figures on the LCD screen to become dim and difficult to read. This conditionshould correct itself when the instrument is brought back to normal temperature.

❚ NOTE• You may notice lines in the finish of the case of this instrument. These lines are a result of the molding process used to shape the plastic

of the case. They are not cracks or breaks in the plastic, and are no cause for concern.

Care of your Instrument

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Contents

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Welcome... ..............................E-1

Introduction ...........................E-2

Safety Precautions ................E-4

Care of your keyboard ..........E-9

Contents ...............................E-10

General Guide ......................E-12About the display .....................................E-14

Playing a Demo Tune ..............................E-15

Power Supply.......................E-16Using batteries .........................................E-16

Using the AC Adaptor ..............................E-17

Auto Power Off .........................................E-17

Memory Contents ....................................E-18

Connections.........................E-19

Basic Operations .................E-21To play the keyboard ................................E-21

Selecting a Tone ......................................E-21

Using an Advanced Tone .........................E-22

Applying Effects to Tones ...E-23Effect Blocks ............................................E-23

Selecting REVERB and CHORUS ..........E-23

Selecting a DSP type ...............................E-25

Using the Equalizer .............E-27

Auto Accompaniment .........E-28Selecting a Rhythm..................................E-28

Playing a Rhythm.....................................E-28

Adjusting the Tempo ................................E-28

Using Auto Accompaniment .....................E-29

Using an Intro Pattern ..............................E-31

Using a Fill-in Pattern ..............................E-32

Using a Rhythm Variation ........................E-32

Synchro Starting Accompanimentwith Rhythm Play .....................................E-32

Finishing with an Ending Pattern .............E-33

Using One-touch Preset ..........................E-33

Using Auto Harmonize .............................E-33

Adjusting the Accompaniment Volume ....E-34

Mixer Function .....................E-35What you can do with the Mixer ..............E-35

Turning Channels On and Off ..................E-35

Using the Parameter Edit Mode ..............E-36

How Parameters Work .............................E-37

Synthesizer Mode ................E-38Synthesizer Mode Functions ...................E-38

Creating a User Tone ...............................E-40

Storing a User Tone In Memory ...............E-42

Registration Memory...........E-44Registration Memory Features ................E-44

To Save a Setup in Registration Memory ...E-45

To Recall a Setup from RegistrationMemory ....................................................E-45

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Song Memory Function ......E-46Tracks ......................................................E-46

Basic Song Memory operations ...............E-46

Using Real-time Recording ......................E-47

Mixer Mode Settings ................................E-48

Playing Back from Song Memory ............E-49

Recording Melody and Chordswith Step Recording.................................E-49

Recording Multiple Tracks .......................E-52

Correcting Mistakes While StepRecording.................................................E-54

Editing Memory Contents ........................E-55

Editing a Song .........................................E-57

Keyboard Settings...............E-59Using Layer ..............................................E-59

Using Split ................................................E-59

Using Layer and Split Together ...............E-60

Using Touch Response ............................E-61

Transposing the Keyboard .......................E-62

Tuning the Keyboard ...............................E-62

Changing Other Settings .........................E-63

MIDI .......................................E-66What is MIDI? ..........................................E-66

General MIDI ...........................................E-66

Sending and Receiving MIDI Messages ....E-67

MIDI Settings ...........................................E-67

Using the Data Download Service ...........E-68

Troubleshooting ..................E-69

Specifications ......................E-71

Appendix ............................... A-1Tone list ......................................................A-1

Drum Assignment List ................................A-8

Fingered Chord Chart ................................A-9

Effect List .................................................A-10

DSP Algorithm List ...................................A-12

MIDI Implementation Chart

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General Guide

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REST/YES/NO

(TIE) 3

FULL RANGE

MAX

MIN

PLAYRECORDSTEP RECORD

CHORDFINGERED

CASIO CHORD

NORMAL

BANK STORE

8 9 A B

D

E F

G

HD

E GF H

123

456 8 0 B7 9 A C * 1

BANK STORE


REST/YES/NO

(TIE) 3

ab

a

b

c

d

e

f

a

b

c

d

e

b

c

a

ba c

d

a

b

a

fedca b

b c d

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* Attaching of the Score StandFirmly press the music stand provided with the keyboardall the way into the groove on the top of the keyboard.

OUT IN SUSTAIN/ASSIGNABLE JACK

MIDI PHONES/OUTPUT

DC 9V

H

I J K L M

a b

c

b

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Rear Panel

• Key, button, and other names are indicated in the text of this manual using bold type.

1 Speaker

2 POWER button

3 Power indicator

4 MODE switch

5 VOLUME slider

6 Rhythm list

7 Equalizer list

8 a) SONG MEMORY button

b) ONE TOUCH PRESET button

9 a) EQUALIZER button

b) REVERB button

c) CHORUS button

d) DSP button

e) MIXER button

f) ACCOMP VOLUME button

0 Display

A a) DEMO button

b) SYNTH button

c) ADVANCED TONE button

d) TONE button

e) RHYTHM button

B a) [�] / [�] CURSOR buttons

b) [�] EXIT button

c) [�] ENTER button

C Tone list

D a) INTRO/ENDING 1/2 buttons

b) VARIATION/FILL-IN 1/2 buttons

c) SYNCHRO/FILL-IN NEXTbutton

d) START/STOP button

e) TEMPO buttons

E a) BANK button

b) REGISTRATION buttons

c) STORE button

d) SONG MEMORY TRACKbuttons

F a) AUTO HARMONIZE button

b) SPLIT button

c) LAYER button

d) TOUCH/TRANSPOSE/SET-TING button

G a) Number buttons

• For input of numbers tochange displayed settings.

b) [+]/[–] buttons (YES/NO)

• Negative values can bechanged only by using [+] and[–] to increment and decre-ment the displayed value.

H a) CHORD root names

b) Chord types name

c) Percussion instrument list

I MIDI OUT terminal

J MIDI IN terminal

K SUSTAIN/ASSIGNABLE JACKterminal

L PHONES/OUTPUT terminal

M DC 9V jack

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G r a n d P n o1 2 4

89101415

3 65 7

111213

About the display

1. Indicators appear here to show when reverb, chorus, DSP, the Mixer Mode, Song Memory, orTouch Response is being used.

2. The TONE indicator appears when you are selecting or viewing the TONE setting, while RHYTHMappears for the RHYTHM setting. The AD and TONE indicators both appear when you are select-ing or viewing an Advanced Tone.• “AD TONE” stands for “ADVANCED TONE.”

3. Tone number/Tone name• The tone number/tone name area is also used to indicate the rhythm number and rhythm name,

and to indicate various functions in the Synthesizer Mode, Mixer Mode, Registration Mode, andSong Memory Mode.

4. Indicated keys are those that are operational for the function you are currently performing.

5. Octave SymbolAppears when the note produced by the keyboard is one octave higher than the note indicated onthe staff.

6. Notes you play on the keyboard, notes being played back from Song Memory, chord forms, andreceived MIDI data* are shown in the staff on the display.

7. Indicators appear here to show when the synthesizer, layer, split, or auto harmonize is being used.

8. This display shows the note played on the keyboard, notes being played back from Song Memory,chord forms, and received MIDI data*.

9. The beat number is indicated while a rhythm, Auto-accompaniment, or Song Memory Mode isbeing used.

10. The measure number is indicated while a rhythm, Auto-accompaniment, or Song Memory Modeis being used.

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Playing a Demo TunePressing the DEMO button starts demo tune play. There are two demo tunes, which continuously play in sequence. Tostop demo tune play, press either the DEMO button or the START/STOP button.

❚ NOTE• Pressing the [+]/[–] buttons skips to the next demo tune.• MIDI, Layer, and Split are disabled while a demo tune is playing.

11. The number of beats per minute are indicated while a rhythm, Auto-accompaniment, or SongMemory Mode is being used.• The tempo area is also used to indicate the Song Memory function’s clock.

12. REC flashes on the display during Song Memory record standby. REC remains on the displaywithout flashing while recording is in progress. STEP is displayed during step recording.

13. You can turn on the metronome to provide a reference beat for your keyboard play.

14. Level MeterThe velocity of each channel is indicated as one of three levels. This display also shows the Mixerchannel’s on/off status.

15. The name of the chord being played is shown on the display while Auto Accompaniment is beingused.

* These items do not appear when a note outside the display range (C2 to C7) is received.

❚ NOTE• Display examples shown in this User’s Guide are intended for illustrative purposes only. The actual text and values that appear on the

display may differ from the examples shown in this User’s Guide.

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This keyboard can be powered by current from a standardhousehold wall outlet (using the specified AC adaptor) or bybatteries. Always make sure you turn the keyboard off when-ever you are not using it.

Using batteriesAlways make sure you turn off the keyboard before loadingor replacing batteries.

To load batteries

1. Remove the battery compartment cover.

2. Load six D-size batteries into the battery com-partment.• Make sure that the positive (+) and negative (–) ends are

facing correctly.

3. Insert the tabs on the battery compartment cov-er into the holes provided and close the cover.

The keyboard may not function correctly if you load or re-place batteries with power turned on. If this happens, turn-ing the keyboard off and then back on again should returnfunctions back to normal.

Important Battery Information� The following shows the approximate battery life.

• Manganese batteries ......... Approximately 4 hoursThe above value is standard battery life at normal tem-perature, with the keyboard volume at a medium setting.Temperature extremes or playing at very loud volumesettings can shorten battery life.

� Any of the following symptoms indicate low batterypower. Replace batteries as soon as possible wheneverany of the following occurs.• Dim power indicator• Instrument does not turn on• Display that is flickering, dim, or difficult to read• Abnormally low speaker/headphone volume• Distortion of sound output• Occasional interruption of sound when playing at high

volumes• Sudden power failure when playing at high volumes• Flickering or dimming of the display when playing at

high volume• Continued sound output even after you release a key• A tone that is totally different from the one that is se-

lected.• Abnormal rhythm pattern and demo tune play• Loss of power, sound distortion, or low volume when

playing from a connected computer or MIDI device

IMPORTANT!Improper handling of batteries can cause them to burst andleak, which creates the danger of personal injury or damagedue to contact with battery acid. Be sure to note the followingimportant precautions.• Always make sure that the positive (+) and negative (–)

poles are facing correctly as indicated near the batterycompartment.

• To avoid damage caused by leaking batteries, be sure toremove batteries from the keyboard whenever you leave itunattended for long periods (such as when leaving on atrip).

• Never mix batteries of different types.• Never mix old batteries with new ones.• Never discard batteries by incinerating them, do not allow

their poles to be shorted (connected to each other), nevertake batteries apart, and do not expose batteries to directheat.

• Replace batteries as soon as possible after any sign theyare getting weak.

• Never attempt to recharge batteries.

Power Supply

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Using the AC AdaptorMake sure that you use only the AC adaptor specified forthis keyboard.

Specified AC Adaptor: AD-5

Also note the following important warnings and precautionswhen using the AC adaptor.

WARNING!• Take care to avoid any damage to or breakage of the power

cord. Never place any heavy objects on the power cord or ex-pose it to direct heat. Doing so creates the danger of powercord damage, fire, and electrical shock.

• Use only the specified AC adaptor. Use of another type of adap-tor creates the danger of fire and electrical shock.

CAUTION!• For safety sake, be sure to unplug the AC adaptor from the wall

outlet whenever leaving the keyboard unattended for a longtime (such as when leaving on a trip).

• Always turn off the keyboard and unplug the AC adaptor fromthe wall outlet when you are not using the keyboard.

IMPORTANT!• Make sure that the keyboard is turned off before connect-

ing or disconnecting the AC adaptor.• Using the AC adaptor for a long time can cause it to be-

come warm to the touch. This is normal and does not indi-cate malfunction.

Auto Power OffWhen you are using battery power, keyboard power turnsoff automatically whenever you leave it on without perform-ing any operation for about 6 minutes. When this happens,press the POWER button to turn power back on.

❚ NOTE• Auto Power Off is disabled (it does not function) when you are

using the AC adaptor to power the keyboard.

To disable Auto Power OffHold down the TONE button while turning on the keyboardto disable Auto Power Off.

• When Auto Power Off is disabled, the keyboard does notturn off automatically no matter how long it is left with nooperation being performed.

• Auto Power Off is automatically enabled whenever youturn on keyboard power.

SettingsTone, rhythm, and other “main keyboard settings” in effectwhen you turn off the keyboard manually by pressing POW-ER or when Auto Power Off turns off power are still in effectthe next time you turn power back on.

Main Keyboard Settings

Tone number, layer, split, split point, touch response,reverb, chorus, DSP, equalizer, rhythm number, tempo,Mixer Mode settings (channel on/off, tone number, vol-ume, pan pot), keyboard channel, MIDI In Chord Judgeon/off, accomp MIDI out on/off, assignable jack setting,accompaniment volume, user area tones (SynthesizerMode), user area accompaniments, user area DSP


MIDI PHONES/OUTPUT

DC 9V

DC 9V jack

AC adaptor AD-5

AC outlet

703A-E-019A

E-18

Memory ContentsIn addition to the above settings, data stored in the Registra-tion Mode and Song Memory Mode is also retained whenkeyboard power is turned off.

Electrical PowerThe settings and memory data described above are retainedas long as the keyboard is being supplied with electrical pow-er. Unplugging the AC adaptor when batteries are not load-ed or when loaded batteries are dead cuts off the keyboard’selectrical power supply. This causes all settings to be initial-ized to their factory defaults and clears all data stored inmemory.

Power RequirementsNote the following precautions whenever you want to en-sure that current keyboard settings and memory contents arenot lost.• Make sure the keyboard is being supplied power through

the AC adaptor before replacing its batteries.• Before unplugging the AC adaptor, make sure that fresh

batteries are loaded in the keyboard.• Make sure that keyboard power is turned off before replac-

ing batteries or unplugging the AC adaptor.

Initializing the KeyboardUse the procedure on page E-65 to initialize the keyboard,which clears all memory data and returns settings to theirinitial factory defaults.

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Phones/Output TerminalBefore connecting phones or other external equipment, besure to first turn down the volume settings of the keyboardand the connected equipment. You can then adjust volumeto the desired level after connections are complete.

Rear Panel

Connecting Phones 1

Connecting phones cuts off output from the keyboard’s built-in speakers, so you can play even late at night without dis-turbing anyone.

Audio Equipment 2

Connect the keyboard to a audio equipment using a com-mercially available connecting cord with a standard plug onone end and two PIN plugs on the other end. Note that thestandard plug you connect to the keyboard must be a stereoplug, otherwise you will be able to output only one of stereochannels. In this configuration, you normally set the inputselector of the audio equipment to the terminal (usuallymarked AUX IN or something similar) where the cord fromthe keyboard is connected. See the user documentation thatcomes with your audio equipment for full details.

Musical Instrument Amplifier 3

Use a commercially available connecting cord to connect thekeyboard to a musical instrument amplifier.

❚ NOTE• Be sure to use a connecting cord that has a stereo standard

plug on the end you connect to the keyboard, and a connectorthat provides dual channel (left and right) input to the amplifierto which you are connecting. The wrong type of connector ateither end can cause one of the stereo channels to be lost.

❚ NOTE• You can also connect the keyboard to a computer or sequenc-

er. See “MIDI” on page E-66 for details.


MIDI PHONES/OUTPUT

DC 9V

LEFT RIGHT

AUX IN or similar terminal of audio amplifier

White Red PIN plug

Stereo standard plug

Audio connection

PHONES/OUTPUT Terminal

Keyboard amp, guitar amp, etc.

1

2

3

Connections

INPUT 1

INPUT 2

PIN jackPIN plug (red)

PIN plug (white)Stereo standard plugKeyboard or guitar amp

To keyboard’s PHONES/OUTPUT terminal

Standard plug

When connected to a musical instrument amplifier, set thevolume of the keyboard to a relatively low level and makeoutput volume adjustments using the amplifier’s controls.

Connection Example

703A-E-021A

E-20 703A-E-022A

Sustain Pedal

• With piano tones, depressing the pedal causes notes to lin-ger, much like a piano’s damper pedal.

• With organ tones, depressing the pedal causes notes to con-tinue to sound until the pedal is released.

Sostenuto Pedal

• As with the sustain pedal function described above, de-pressing the sostenuto pedal causes notes to be sustained.

• This difference between a sostenuto pedal and sustain pedalis the timing. With a sostenuto pedal, you press the keysand then depress the pedal before you release the keys. Onlythe notes that are sounding when the pedal is depressedare sustained.

Soft Pedal

Depressing the pedal softens the sound of the notes beingplayed.

Rhythm Start/Stop Pedal

In this case, the pedal performs the same functions as theSTART/STOP button.


MIDI PHONES/OUTPUT

DC 9V

SP-10

SUSTAIN/ASSIGNABLE JACK Terminal

Sustain/Assignable jack TerminalYou can connect an optional sustain pedal (SP-2 or SP-10) tothe SUSTAIN/ASSIGNABLE JACK terminal to enable the ca-pabilities described below.

For details on how to select the pedal function you want, see“Changing Other Settings” on page E-63.

Accessories and OptionsUse only the accessories and options specified for this key-board. Use of non-authorized items creates the danger of fire,electrical shock, and personal injury.

E-21

3. Use the number buttons to input the three digittone number for the tone you want to select.Example: To select “039 ACOUSTIC BASS”, input 0,

3 and then 9.

❚ NOTE• Always input all three digits for the tone number, including lead-

ing zeros (if any).• You can also increment the displayed tone number by press-

ing [+] and decrement it by pressing [–].• When one of the drum sets is selected (tone numbers 228

through 237), each keyboard key is assigned a different per-cussion sound. See page A-8 for details.

• The names of tone number 100 through 227 are not markedon the keyboard console. Refer to the “Tone List” at the back ofthis User’s Guide when selecting a tone within this range.

This section provides information on performing basic key-board operations.

To play the keyboard

1. Press the POWER button to turn the keyboardon.

2. Set the MODE switch to NORMAL.

3. Use the VOLUME slider to set the volume to arelatively low level.

4. Play something on the keyboard.

Selecting a ToneThis keyboard comes with 348 built-in tones. Use the follow-ing procedure to select the tone you want to use.

To select a tone

1. Find the tone you want to use in the keyboard’stone list and note its tone number.

2. Press the TONE button.

Basic Operations

G r a n d P n o

A c o . B a s s

703A-E-023A

VOLUME

MODE

TONE

POWER

Number buttons

E-22

Using an Advanced Tone100 of the preset tones are “Advanced Tones,” which are vari-ations of standard tones created by programming in effects(DSP) and other settings. For example, PIANO is modifiedinto STEREO PIANO, ORGAN becomes ROTARY SPEAK-ER ORGAN, and so on.

To select an Advanced Tone

1. Press the ADVANCED TONE button.• This causes “AD” to appear on the display, and caus-

es the currently selected tone to change to its Ad-vanced Tone version.

• “AD TONE” stands for “ADVANCED TONE.”

2. Press the TONE button.• This causes “AD” to disappear from the display, and

returns to the tone to its standard preset.

❚ NOTE• Preset tone numbers 000 to 099 have Advanced Tone versions.• Anytime “AD” is on the display indicating that an Advanced Tone

is selected, you can use [+] and [–] to scroll the tone numberon the display.

• If any tone number outside the range of 000 to 099 is selectedwhen you press the ADVANCED TONE button, the tone auto-matically changes to the Advanced Tone version of tone number00.

• Only one of the channels (1 to 16) can have an Advanced Toneassigned to it at one time. Assigning an Advanced Tone to an-other channel causes the currently assigned channel to changeautomatically to its standard (non-Advanced) version.

703A-E-024A

PolyphonyThe term polyphony refers to the maximum number of notesyou can play at the same time. The keyboard has 32-note po-lyphony, which includes the notes you play as well as therhythms and auto-accompaniment patterns that are playedby the keyboard. This means that when a rhythm or auto-accompaniment pattern is being played by the keyboard, thenumber of notes (polyphony) available for keyboard play isreduced. Also note that some of the tones offer only 16-notepolyphony.

Digital SamplingA number of the tones that are available with this keyboardhave been recorded and processed using a technique calleddigital sampling. To ensure a high level of tonal quality, sam-ples are taken in the low, mid, and high ranges and then com-bined to provide you with sounds that are amazingly close tothe originals. You may notice very slight differences in vol-ume or sound quality for some tones when you play them atdifferent positions on the keyboard. This is an unavoidableresult of multiple sampling, and it is not a sign of malfunction.

Lit

TONE

ADVANCED TONE

E-23

This keyboard provides you with a selection of effects thatyou can apply to tones.The built-in effects include a wide variety of variations thatgive you access to a selection of general digital effects.

Effect BlocksThe following shows how the effects of this keyboard are or-ganized.

REVERBReverb simulates the acoustics of specific types of environ-ments. You can choose from among 16 different reverb ef-fects, including “Room” and “Hall.”

CHORUSThe chorus effect gives sound greater depth by causing it tovibrate. You can choose from among 16 different chorus ef-fects, including “Chorus” and “Flanger.”

DSPDSP effects are applied to the connection between the soundsource and output. You can select distortion and modulationeffects. You can create DSP effect setups and also transferdownloaded DSP data from your computer. The keyboardhas memory for up to 10 DSP effect setups, which you canstore. See “Using the Data Download Service” on page E-68and “Saving the Settings of DSP Parameters” on page E-26for more information.

Selecting REVERB and CHORUSPerform the following steps to select REVERB or CHORUS.

1. Press the button (REVERB or CHORUS) for theeffect you want to select, so the button’s indica-tor is shown on the display screen.• An indicator is on the display next to REVERB or

CHORUS when the effect is turned on. The indicatoris not displayed when the corresponding effect isturned off.

Example: Indicator after the REVERB button is pressed

2. Use the [+] and [–] buttons or the number but-tons to scroll through the effects until the oneyou want is displayed, or use the number but-tons to input the effect number you want to se-lect.• See the list on page A-10 for information about the

types of CHORUS and REVERB effects that are avail-able.

• Here you could also change the parameters of the ef-fect you selected, if you want. See “Changing the Set-tings of REVERB and CHORUS Parameters” for moreinformation.

onoff

DSP Line16ch

Sound Source

DSP

REVERB

CHORUS

EQUALIZER

Output

Applying Effects to Tones

703A-E-025A

Lit

[+]/[–]

REVERB

CHORUS

DSP

Number buttons

E-24 703A-E-026A

Changing the Settings of REVERB and

CHORUS ParametersYou can control the relative strength of an effect and how it isapplied. The parameters you can control depend on the ef-fect. See the following section titled “REVERB and CHORUSParameters” for more information.

1. After selecting the effect you want, press the [�](ENTER) button.• This displays the parameter setting screen.

2. Use the [�] and [�] (CURSOR) buttons to dis-play the parameter whose setting you want tochange.Example: To set the Reverb Time parameter

3. Use the [+] and [–] buttons or the number but-tons to input the parameter setting you want.

4. Press the [�] (EXIT) button.• This returns to the effect selection screen.

REVERB and CHORUS ParametersThe following describes the parameters for each effect.

REVERBReverb effects are associated with either a reverb type or de-lay type. Parameter settings depend upon the associated type.

� Reverb Type (No. 0 to 5, 8 to 13)

� Reverb Level (Range: 000 to 127)Controls the reverb size. A larger number produces larg-er reverb.

� Reverb Time (Range: 000 to 127)Controls how long reverb continues. A larger numberproduces longer reverb.

� ER Level (Initial Echo Sound) (Range: 000 to 127)This parameter controls the initial reverb volume. Theinitial echo sound is the first sound reflected from thewalls and ceiling when a sound is output by this key-board. A larger value specifies a larger echo sound.

� High Damp (Range: 000 to 127)Adjusts the damping of high frequency reverberation(high sound). A smaller value damps high sounds, creat-ing a dark reverb. A larger value does not damp highsounds, for a brighter reverb.

� Delay Type (No. 6, 7, 14, 15)

� Delay Level (Range: 000 to 127)Specifies the size of the delay sound. A higher value produc-es a larger delay sound.

� Delay Feedback (Range: 000 to 127)Adjusts delay repeat. A higher value produces a greater num-ber of repeats.

� ER LevelSame as Reverb Type

� High DampSame as Reverb Type

CHORUS

� Chorus Level (Range: 000 to 127)Specifies the size of the chorus sound.

� Chorus Rate (Range: 000 to 127)Specifies the undulation speed of the chorus sound. Ahigher value produces faster undulation.

� Chorus Depth (Range: 000 to 127)Specifies the undulation depth of the chorus sound. Ahigher value produces deeper undulation.

❚ NOTE• Whether or not an effect is applied to the parts that are sound-

ing also depends on Mixer Mode Reverb Send, Chorus Send,and DSP on/off settings. See “Mixer Function” on page E-35for more information.

REVERB

CHORUS

DSP [�] ENTER[+]/[–]

[�] / [�] CURSOR

[�] EXIT

Number buttons

R v b T i me

E-25703A-E-027A

Selecting a DSP TypePerform the following steps to select a DSP type.

1. Press the DSP button so the indicator appearsnext to DSP on the display.

2. Use the [+] and [–] buttons or number buttonsto select the type of DSP you want.• See the “Effect List” on page A-10 for information

about the DSP types that can be selected.• Here you could also change the parameters of the ef-

fect you selected, if you want. See “Changing the Set-tings of DSP Parameters” for more information.

❚ NOTE • When using a DSP effect, you should use the Mixer to confirm

that the DSP lines of the required parts are turned on. See“Mixer Function” on page E-35 for more information.

• The DSP type display area shows the DSP number (000 to109), Ad (Advance tone), or USr (user tone created using DSP).

Setting Basic DSP ParametersThe following are the basic DSP parameters whose settingsyou can change.

� DSP Volume (Range: 000 to 127)Sets the post-DSP volume.

� DSP Pan (Range: -64 to 00 to +63)Sets the post-DSP stereo pan.

� DSP Hold (Settings: on, oFF)on: Current DSP line setting is maintained, even when

the tone is changed.• In the case of an Advance tone, however, changing the

tone causes all DSP line settings except for those of theselected channel to turn off. See the note on page E-26for more information.

oFF: Changing the tone switches to the DSP line settingof the new tone.

1. Press the DSP button so the on-screen DSP indi-cator appears.

2. Use the [�] and [�] (CURSOR) buttons to dis-play the parameter whose setting you want tochange.

3. Use the [+] and [–] buttons or the number but-tons to make the parameter setting you want.

4. Press the [�] (EXIT) button.• This exits the tone or rhythm setting screen.

Changing the Settings of DSP ParametersYou can control the relative strength of a DSP and how it isapplied. See the following section titled “DSP Parameters”for more information.

1. After selecting the DSP type you want, press the[�] (ENTER) button.• This displays the parameter setting screen.

2. Use the [�] and [�] (CURSOR) buttons to dis-play the parameter whose setting you want tochange.

3. Use the [+] and [–] buttons or the number but-tons to make the parameter setting you want.

4. Press the [�] (EXIT) button.• This exits the DSP type setting screen.

DSP ParametersThe following describes the parameters for each DSP.

DSP

� Parameter 0 to 7This parameter differs in accordance with the algorithm*of the selected DSP type. See the “Effect List” on page A-10 and the “DSP Algorithm List” on page A-12 for moreinformation.

* Effector structure and operation type

� DSP Reverb Send (Range: 000 to 127)Specifies how much of the post-DSP sound should be sentto reverb.

� DSP Chorus Send (Range: 000 to 127)Specifies how much of the post-DSP sound should be sentto chorus.

E-26

❚ NOTE• Whether or not an effect is applied to the parts that are sound-

ing also depends on Mixer Mode Reverb Send, Chorus Send,and DSP on/off settings. See “Mixer Function” on page E-35for more information.

• Playing a demo tune (page E-15) automatically changes theeffect to the one that is assigned to the tune. You cannot changeor cancel a demo tune effect.

• Changing the effect setting while sound is being output by thekeyboard causes a slight break in the sound when the effectchanges.

• A number of tones, called “Advanced tones,” automatically turnon the DSP line for more effective tones. If you assign an Ad-vanced tone to a keyboard part (Channels 1 through 4), theDSP line turns on automatically and the DSP selection chang-es in accordance with the settings of the Advanced tone. Also,the Mixer Mode DSP line on/off setting for the keyboard part towhich the Advanced tone is assigned is turned on.** The Mixer DSP line setting is automatically turned off for each

part that does not have an Advanced Tone assigned.Because of this, DSP effects previously applied to these partsare cancelled, which can make their tone sound different. Inthis case, display the Mixer screen and turn DSP back on.

703A-E-028A

[�] ENTER[+]/[–]

Saving the Settings of DSP ParametersYou can save up to 10 modified DSPs in the user area forlater recall when you need them.

1. After making the DSP parameter settings youwant, press the [�] (ENTER) button.• This causes the DSP number of the user area where

the DSP will be saved to flash on the display.

2. Use the [+] and [–] buttons to select the userarea DSP number where you want to save thenew DSP.• You can select a user area DSP number in the range of

100 to 109 only.

3. After everything is the way you want, press the[�] (ENTER) button to store the effect.• The message “Save OK” appears momentarily on the

display, followed by the tone or rhythm selectionscreen.

E-27

Using the Equalizer

The equalizer is another type of effect that you can use tomake adjustments in tone quality. Frequencies are dividedamong a number of bands, and raising and lowering the lev-el of each frequency band alters the sound.You can reproduce the optimal acoustics for the type of mu-sic you are playing (classics, for example) by selecting theapplicable equalizer setting.This keyboard has a built-in four-band equalizer and 10 dif-ferent settings from which you can choose. You can adjustthe gain (volume) of all four equalizer bands within the rangeof -12 to 0 to +12.

To select the equalizer type

1. Press the EQUALIZER button.• This causes the currently selected equalizer type to

appear on the display.

2. Use the [+] and [–] buttons or the number but-tons to select the equalizer type you want.Example: To select Jazz

• Pressing the [�] (EXIT) button or the EQUALIZERbutton exits the equalizer setting screen.

To adjust the gain (volume) of a band

1. After selecting the equalizer type you want, pressthe [�] (ENTER) button.

2. Use the [�] and [�] (CURSOR) buttons to se-lect the band whose gain you want to adjust.Example: To adjust the HIGH band

3. Use the [+] and [–] buttons or the number but-tons to adjust the band gain.Example: To adjust the gain to 10

• Pressing the [�] (EXIT) button displays the equalizertype setting screen.

• Pressing the EQUALIZER button exits the gain (vol-ume) setting screen.

❚ NOTE• Changing to another equalizer type causes the band gain set-

tings to change to the initial settings for the newly selectedequalizer type automatically.

S t a n d a r d

J a z z

L o w

H i g h

H i g h

[�] / [�] CURSOREQUALIZER

[�] ENTER[+]/[–]

Number buttons

703A-E-029A

E-28

This keyboard automatically plays bass and chord parts inaccordance with the chords you finger. The bass and chordparts are played using sounds and tones that are automati-cally selected to select the rhythm you are using. All of thismeans that you get full, realistic accompaniments for themelody notes you play with your right hand, creating themood of a one-person ensemble.

Selecting a RhythmThis keyboard provides you with 100 exciting rhythms thatyou can select using the following procedure.You can also transfer accompaniment data from your com-puter and store up to four of them as user rhythms in key-board memory. See “Using the Data Download Service” onpage E-68 for more information.

To select a rhythm

1. Find the rhythm you want to use in the keyboard’srhythm list and note its rhythm number.

2. Press the RHYTHM button.

3. Use the number buttons to input the three digitrhythm number for the rhythm you want to se-lect.Example: To select “031 ROCK”, input 0, 3 and then 1.

❚ NOTE• You can also increment the displayed rhythm number by press-

ing [+] and decrement it by pressing [–].

Playing a Rhythm

To play a rhythm

1. Set the MODE switch to NORMAL.

2. Press VARIATION/FILL-IN button 1 or 2.• This starts the play of the selected rhythm.• To stop rhythm play, press the START/STOP button.

❚ NOTE• All of the keyboard keys are melody keys while the MODE switch

is set to NORMAL.

Adjusting the TempoYou can adjust the tempo of rhythm play within a range of 30 to255 beats per minute. The tempo setting is used for Auto Ac-companiment chord play, and song memory operations.

To adjust the tempo

Press one of the TEMPO buttons (� or �).

� : Increments displayed value (increases tempo)� : Decrements displayed value (decreases tempo)

Auto Accompaniment

Appears when RHYTHM button is pressed

Number and name of selected rhythm

8 B e a t 1

R o c k 2

703A-E-030A

START/STOP

MODE

VARIATION/FILL-IN 1/2 TEMPO

RHYTHM

Number buttons

E-29

❚ NOTE• Pressing both TEMPO buttons (� and �) at the same time

resets the tempo to the default value of the currently selectedrhythm.

Using Auto AccompanimentThe following procedure describes how to use the keyboard’sAuto Accompaniment feature. Before starting, you shouldfirst select the rhythm you want to use and set the tempo ofthe rhythm to the value you want.

To use Auto Accompaniment

1. Set the MODE switch to CASIO CHORD, FIN-GERED, or FULL RANGE CHORD.

2. Press the START/STOP button to start play of thecurrently selected rhythm.

3. Play a chord.• The actual procedure you should use to play a chord

depends on the current MODE switch position. Referto the following pages for details on chord play.

CASIO CHORD .............................. This page

FINGERED ...................................... Page E-30

FULL RANGE CHORD ................ Page E-31

4. To stop Auto Accompaniment play, press theSTART/STOP button again.

Melody keyboardAccompaniment

keyboard

❚ NOTE• The accompaniment keyboard can be used for playing chords

only. No sound will be produced if you try playing single melo-dy notes on the accompaniment keyboard.

Chord TypesCASIO CHORD accompaniment lets you play four types ofchords with minimal fingering.

CASIO CHORDThis method of chord play makes it possible for anyone toeasily play chords, regardless of previous musical knowledgeand experience. The following describes the CASIO CHORD“accompaniment keyboard” and “melody keyboard,” andtells you how to play CASIO CHORDs.

CASIO CHORD Accompaniment Keyboard andMelody Keyboard

R o c k

Chord name

Current measure numberand beat number

Basic fingering of current chord(May be different from chord actuallybeing played on the keyboard.)

703A-E-031A

Major chordsMajor chord names are markedabove the keys of the accompa-niment keyboard. Note that thechord produced when youpress an accompaniment key-board does not change octave,regardless of which key you useto play it.

Minor chords (m)To play a minor chord, keep themajor chord key depressed andpress any other accompanimentkeyboard key located to theright of the major chord key.

Seventh chords (7)To play a seventh chord, keepthe major chord key depressedand press any other two accom-paniment keyboard keys locat-ed to the right of the majorchord key.

Minor seventh chords (m7)To play a minor seventh chord,keep the major chord key de-pressed and press any otherthree accompaniment key-board keys located to the rightof the major chord key.

ExampleChord Types

CD E F GAB C DE F

C Major (C)

CD E F GAB C DE F

C minor (Cm)

CD E F GAB C DE F

C seventh (C7)

CD E F GAB C DE F

C minor seventh (Cm7)

E-30 703A-E-032A

❚ NOTE• It makes no difference whether you press black or white keys

to the right of a major chord key when playing minor and sev-enth chords.

FINGEREDFINGERED provides you with a total of 15 different chordtypes. The following describes the FINGERED “accompani-ment keyboard” and “melody keyboard”, and tells you howto play a C-root chord using FINGERED.

FINGERED Accompaniment Keyboard and Mel-ody Keyboard

❚ NOTE• The accompaniment keyboard can be used for playing chords

only. No sound will be produced if you try playing single melo-dy notes on the accompaniment keyboard.

Melody keyboardAccompaniment

keyboard

See the “Fingered Chord Chart” on page A-9 for details onplaying chords with other roots.

*1: Inverted fingerings cannot be used. The lowest note isthe root.

*2: The same chord can be played without pressing the 5th G.

❚ NOTE• Except for the chords specified in note*1above, inverted finger-

ings (i.e. playing E-G-C or G-C-E instead of C-E-G) will pro-duce the same chords as the standard fingering.

• Except for the exception specified in note*2above, all of thekeys that make up a chord must be pressed. Failure to presseven a single key will not play the desired FINGERED chord.

C7 *2

( )

Cm7 *2

( )

C Cm Cdim

Caug *1 Csus4

Cmaj7 *2

( )

Cm7�5

C7�5 *1 C7sus4 Cadd9 *2

( )

Cmadd9 *2

( )

CmM7 *2

( )

Cdim7 *1

INTRO/ENDING 1/2

E-31

Example: To play the chord C major.

Any of the fingerings shown in the illustration below willproduce C major.

E G C

E CG

❚ NOTE• As with the FINGERED mode (page E-30), you can play the

notes that form a chord in any combination (1).• When the lowest note of a chord is separated from its neigh-

boring note by six or more semitones, the lowest note becomesthe bass note (2).

11111 ...... Chord C

22222 ...... Chord CE

703A-E-033A

FULL RANGE CHORDThis accompaniment method provides a total of 38 differentchord types: the 15 chord types available with FINGEREDplus 23 additional types. The keyboard interprets any inputof three or more keys that matches a FULL RANGE CHORDpattern to be a chord. Any other input (that is not a FULLRANGE CHORD pattern) is interpreted as melody play. Be-cause of this, there is no need for a separate accompanimentkeyboard, so the entire keyboard, from end to end, functionsas a melody keyboard that can be used for both melody andchords.

FULL RANGE CHORD Accompaniment Key-board and Melody Keyboard

Accompaniment keyboard/Melody keyboard

Chords Recognized by This KeyboardThe following table identifies patterns that are recognized aschords by FULL RANGE CHORD.

Pattern Type

FINGERED

Number of Variations

The 15 chord patterns shownunder FINGERED on page E-30.See the “Fingered Chord Chart” onpage A-9 for details on playingchords with other roots.

23 standard chord fingerings. Thefollowing are examples of the 23chords available with C as the bassnote.

StandardFingerings

C6 Cm6 C69

FC

GC

A�C

B�C

FmC

GmC

AmC

B�mC

Dm7�5C

A�7C

F7

CFm7

CGm7

C A�add9

C • • • • •

• • • •

• • • •

DC

C�C

EC

BC

C�mC

DmC

• •

• •

• •

Using an Intro PatternThis keyboard lets you insert a short intro into a rhythm pat-tern to make startup smoother and more natural.

The following procedure describes how to use the Intro fea-ture. Before starting, you should first select the rhythm youwant to use, and set the tempo.

To insert an intro

Press INTRO/ENDING button 1 or 2.

• With the above setup, the intro pattern is played andthe auto accompaniment with intro pattern starts assoon as you play chords on the accompaniment key-board.

❚ NOTE• The standard rhythm pattern starts to play after the intro pat-

tern is complete.

E-32 703A-E-034A

Synchro Starting Accompanimentwith Rhythm PlayYou can set up the keyboard to start rhythm play at the sametime you play the accompaniment on the keyboard.

The following procedure describes how to use synchro start.Before starting, you should first select the rhythm you wantto use, set the tempo, and use the MODE switch to select thechord play method you want to use (NORMAL, CASIOCHORD, FINGERED, FULL RANGE CHORD).

To use synchro start

1. Press the SYNCHRO/FILL-IN NEXT button to putthe keyboard into synchro start standby.

2. Play a chord and the rhythm pattern starts to playautomatically.

❚ NOTE• If the MODE switch is set to NORMAL, only the rhythm plays

(without a chord) when you play on the accompaniment key-board.

• If you press the INTRO/ENDING button 1 or 2 before playinganything on the keyboard, the rhythm starts automatically withan intro pattern when you play something on the accompani-ment keyboard.

• To cancel synchro start standby, press the SYNCHRO/FILL-INNEXT button one more time.

Using a Fill-in PatternFill-in patterns let you momentarily change the rhythm pat-tern to add some interesting variation to your performances.

The following procedure describes how to use the Fill-in fea-ture.

To insert a fill-in

1. Press the START/STOP button to start rhythmplay.

2. Select the fill-in variation you want.• To select the Variation 1 rhythm, press the VARIA-

TION/FILL-IN 1 button.• To select the Variation 2 rhythm, press the VARIA-

TION/FILL-IN 2 button.

❚ NOTE• The fill-in pattern does not play if you press the VARIATION/

FILL-IN button while an intro pattern is playing.

Using a Rhythm VariationIn addition to the standard rhythm pattern, you can alsoswitch to a secondary “variation” rhythm pattern for a bit ofvariety .

To insert the variation rhythm pattern

1. Press the START/STOP button to start rhythmplay.

2. Press the SYNCHRO/FILL-IN NEXT button.• If a Variation 1 rhythm is currently playing, this plays

Fill-in 1, followed by Fill-in 2, and then switches tothe Variation 2 rhythm.

• If a Variation 2 rhythm is currently playing, this playsFill-in 2, followed by Fill-in 1, and then switches tothe Variation 1 rhythm.

START/STOP

ONE TOUCH PRESET

MODE

INTRO/ENDING 1/2SYNCHRO/FILL-IN NEXT

AUTO HARMONIZE[+]/[–]

Number buttons

E-33

Using Auto HarmonizeWhen you are using Auto Accompaniment, Auto Harmonizeautomatically adds three additional notes to your melody inaccordance with the chord that is being played. The result is aharmony effect that makes your melody line richer and fuller.

To use Auto Harmonize

1. Use the MODE switch to select FINGERED orCASIO CHORD as the accompaniment mode.

2. Press AUTO HARMONIZE to turn on Auto Har-monize.• This causes an indicator to appear next to AUTO

HARMONIZE on the display.

3. Start Auto Accompaniment play, and play some-thing on the keyboard.

4. To turn off Auto Harmonize, press AUTO HAR-MONIZE once.• This causes the indicator next to AUTO HARMONIZE

to disappear.

❚ NOTE• Auto Harmonize turns off temporarily whenever you start demo

tune play. It turns back on as soon as the operation or functionthat caused it to turn off is finished.

• Auto Harmonize is enabled only when the Auto Accompani-ment mode is FINGERED or CASIO CHORD.

Finishing with an Ending PatternYou can end your performances with an ending pattern thatbrings the rhythm pattern you are using to a natural-sound-ing conclusion.The following procedure describes how to insert an endingpattern. Note that the actual ending pattern played dependson the rhythm pattern you are using.

To finish with an ending pattern

While the rhythm is playing, press INTRO/ENDINGbutton 1 or 2.

• The timing when the ending pattern starts dependson when you press the INTRO/ENDING button 1 or2. If you press the button before the second beat ofthe current measure, the ending pattern starts play-ing immediately.

❚ NOTE• Pressing the button at any point in the measure after the sec-

ond beat results in the ending pattern playing from the begin-ning of the following measure.

Using One-touch PresetOne-touch preset automatically makes the main settings list-ed below in accordance with the rhythm pattern you are us-ing.

• Keyboard tone• Layer on/off• Tempo• Effect type• Harmonize on/off

To use one-touch preset

1. Select the rhythm you want to use.

2. Use the MODE switch to select the accompani-ment mode you want to use.

3. Press the ONE TOUCH PRESET button.• This automatically makes the one-touch preset set-

tings in accordance with the rhythm you selected.• The keyboard automatically enters synchro standby

at this time.

4. Start rhythm and Auto Accompaniment, and playsomething on the keyboard.• Accompaniment is played using the one-touch pre-

set settings.

703A-E-035A

E-34

About Auto Harmonize notes and tonesThe notes you play on the keyboard are called “melodynotes,” while the notes added to the melody by Auto Har-monize is called the “harmonize notes.” Auto Harmonizenormally uses the tone you selected for the melody notes asthe tone for the harmonize notes, but you can use the Mixer(page E-35) to specify a different tone for the harmonize notes.The harmonize note tone is assigned to Mixer Channel 5, sochange Channel 5 to the tone you want to use for the harmo-nize notes.In addition to the tone, you can also use the Mixer to changea number of other parameters, such as volume balance. See“Using the Parameter Edit Mode” on page E-36 for detailson these procedures.

❚ NOTE• The default harmonize note tone when you first turn on Auto

Harmonize is the same tone as the melody note tone.• Changing the melody tone setting automatically changes the

harmonize note tone to the same setting.

Adjusting the Accompaniment Vol-umeYou can adjust the volume of the accompaniment parts as avalue in the range of 000 (minimum) to 127 (maximum).

1. Press the ACCOMP VOLUME button.

2. Use the number buttons or the [+]/[–] buttons tochange the current volume setting value.Example: 110

703A-E-036A

A c omp V o l

Current accompaniment volume setting

A c omp V o l

❚ NOTE• Pressing the ACCOMP VOLUME button or [�] (EXIT) button

returns to the tone or rhythm setting screen.• Any channel balance settings you make with the Mixer are main-

tained when you change the accompaniment volume setting.• Pressing [+] and [–] buttons at the same time automatically sets

an accompaniment volume of 100.

[+]/[–]

ACCOMP VOLUME

Number buttons

E-35703A-E-037A

What you can do with the MixerThis keyboard lets you play multiple different musical in-strument parts at the same time during auto-accompanimentplay, song memory playback, receipt of data through the MIDIterminal, etc. The Mixer assigns each part to a separate chan-nel (1 through 16) and lets you control the channel on/off,volume, and pan pot parameters of each channel.

Channel AssignmentsThe following shows the parts that are assigned to each ofthe 16 channels.

See page E-59 and E-60 for information on layered, split, andlayered/split tones.See page E-46 for information on the song memory.

Mixer Function

ChannelPartNumber

Channel 1 Main toneChannel 2 Layered toneChannel 3 Split toneChannel 4 Layered/split toneChannel 5 Harmonize ToneChannel 6 Auto Accompaniment chord part 1Channel 7 Auto Accompaniment chord part 2Channel 8 Auto Accompaniment chord part 3Channel 9 Auto Accompaniment bass part

Channel 10 Auto Accompaniment rhythm partChannel 11 Memory track 1Channel 12 Memory track 2Channel 13 Memory track 3Channel 14 Memory track 4Channel 15 Memory track 5Channel 16 Memory track 6

C h . .S e l

❚ NOTE• Normally, keyboard play is assigned to Channel 1. When Auto

Accompaniment is being used, each part of the accompani-ment is assigned to Channels 6 through 10.

• When this keyboard is being used as the sound source for anexternally connected computer or other MIDI device, all 16channels are assigned musical instrument parts. The notesplayed over the channel selected by steps 1 and 2 under “Turn-ing Channels On and Off” in the right column of this page areshown on the displayed keyboard and staff.

Turning Channels On and OffTurning a channel off mutes any instrument recorded in thechannel.

To turn channels on and off

1. Press the MIXER button.• This causes the MIXER indicator to appear on the dis-

play screen.• This displays the channel selection screen.

2. Use the [+]/[–] buttons to select a channel.Example: To select Channel 2.

3. Press [�] (ENTER) and then [�] (CURSOR) todisplay the on/off selection screen.

MIXER

[+]/[–][�] ENTER

[�]/[�] CURSOR

Number buttons

C h . .S e l

C h a n n e l

E-36 703A-E-038A

4. Use the [+]/[–] buttons to select on or off.Example: To turn the channel off.

• Press [�] (EXIT) to return to the channel selectionscreen.

• Pressing the MIXER button returns to the Tone Screen.

❚ NOTE• The MIDI data display shows only the data for the channels

selected with the Mixer.

How Channel On/Off WorksThe following describes what happens and what appears onthe display when you turn a channel on or off.

� On (on)This setting turns on the currently selected channel, which isindicated by a bar appearing at the bottom of the level meterfor that channel. This is also the default setting for all chan-nels when the keyboard is turned on.

� Off (oFF)This setting turns off the currently selected channel, which isindicated by the absence of the bar at the bottom of the levelmeter for that channel.

C h a nn e l

On Off

V o l umeIndicates channel volume of 127

V o l ume

Using the Parameter Edit ModeIn the Parameter Edit Mode, you can change the settings often different parameters (including tone, volume, and panpot) for the channel you selected on the Mixer screen.

To change parameters

1. Use the channel selection screen to select a chan-nel.

2. Use [�] (ENTER) to enter the Parameter EditMode.

3. Use [�] and [ �] (CURSOR) to select the pa-rameter whose setting you want to change.Example: Select volume setting by displaying “Vol-

ume”.• Each press of [�] or [�] (CURSOR) cycles through

the parameters.

4. Use the number buttons or [+] and [–] to changethe parameter setting.Example: Change the setting to “060”.

• Pressing the MIXER button exits the parameter editmode.

• Pressing [�] (EXIT) returns to the channel selectionscreen.

[�] ENTER

MIXER

[�]/[�] CURSOR

SYNTH

[+]/[–]

E-37

Tuning ParametersYou can use these parameters to tune each of the parts indi-vidually.

� Coarse Tune (Range: –24 to 00 to +24)This parameter controls the coarse tuning of the selected chan-nel’s pitch in semitone units.

� Fine Tune (Range: –99 to 00 to +99)This parameter controls the fine tuning of the selected chan-nel’s pitch in cent units.

Effect ParametersThe Mixer lets you control the effects applied to each indi-vidual part, making it different from the Effect Mode, whosesettings are applied to all parts in general.

� Reverb Send (Range: 000 to 127)This parameter controls how much reverb is applied to a part.A setting of “000” turns reverb off, while a setting of 127 ap-plies maximum reverb.

� Chorus Send (Range: 000 to 127)This parameter controls how much chorus send is applied toa part. A setting “000” turns chorus send off, while a settingof 127 applies maximum chorus send.• “Chorus Send” does not work with drum sounds.

� DSP Line (Settings: on, oFF)You can use this parameter to turn DSP line off for a particu-lar channel, or to turn it on.

❚ NOTE• Changing the tone, volume, pan pot, coarse tune, fine tune,

reverb send, or chorus send setting causes the correspondingMIDI message to be output from the MIDI terminal.

• Changing the tone settings changes the tone, reverb send, cho-rus send, and DSP line* parameter settings.

* When DSP is off (See the note on page E-26.)

703A-E-039A

V o l ume

O c t S h i f t

F i n e T u n e

C . T u n e

How Parameters WorkThe following are the parameters whose settings can bechanged in the Parameter Edit Mode.

Tone Parameters� Tone (Range: 000 to 247)This parameter controls the tones assigned to each part.

❚ NOTE• The displayed tone number has only two digits when an Ad-

vanced tone is selected.

� Part On/Off (Settings: on, oFF)This parameter can be used to turn each part on (sounds)and off (does not sound). The current on/off status of eachpart is indicated on the display as described below.

� Volume (Range: 000 to 127)This is the parameter that controls the volume of the selectedchannel.

� Pan Pot (Range: –64 to 00 to +63)This parameter controls the pan pot, which is the center pointof the left and right stereo channels. Setting “00” specifiescenter, a value less than “00” moves the point left, and a val-ue greater than “00” moves it right.

� Octave Shift (Range: –2 to 0 to +2)You can use octave shift to shift the range of the tone up ordown. When using the piccolo tone, there may be cases whenvery high notes you want to play are not included within therange of the keyboard. When this happens, you can use oc-tave shift to shift the keyboard range one octave up.

–2 : Range shifted two octaves down.–1 : Range shifted one octave down.

0 : No shift+1 : Range shifted one octave up.+2 : Range shifted two octaves up.

R v b S e n d

C h o S e n d

DS P L i n e

T o n e N o .

P a n

E-38

The Synthesizer Mode of this keyboard provides the toolsfor creating your own original tones. Simply select one of thebuilt-in tones and change its parameters to create your ownoriginal sound. You can even store your sounds in memoryand select it using the same procedure as that used to select apreset tone.

Synthesizer Mode FunctionsThe following describes how to use each of the functionsavailable in the Synthesizer Mode.

Synthesizer Mode ParametersThe preset tones that are built into this keyboard consist of anumber of parameters. To create a user tone, you first recall aGeneral MIDI tone (100 to 227) or a preset tone (000 to 099)and then change its parameters to change it to your own tone.Note that drum set tones (228 through 237) cannot be usedas the basis of a user tone.The illustration below shows the parameters that make upthe preset tones and what each parameter does. As can beseen in the illustration, these parameters can be divided intofour groups, each of which is described in detail below.

❚ NOTE• Synthesizer Mode operations affect the tone selected for Chan-

nel 1.

Synthesizer Mode

703A-E-040A

Volume Characteristic Parameters

�Attack Time�Release Time�Resonance�Cutoff Frequency

Tone Pitch Parameters

�Vibrato Type�Vibrato Delay�Vibrato Depth�Vibrato Rate�Octave Shift

Tone CharacteristicSetting Parameters

�Level�Touch Sense�Reverb Send�Chorus Send�DSP Line�DSP Type�DSP Parameter

Output

Tone CharacteristicWaveform

Tone Setting

(1) Tone Characteristic Waveform� Tone SettingSpecifies which of the preset tones should be used as the orig-inal tone.

(2) Volume Characteristic ParametersThese parameters control how the tone changes over time,from when the keyboard key is pressed until the tone de-cays. You can specify changes in volume and sound charac-teristics.

� Attack timeThis is the rate or time it takes for the tone to reach its high-est volume level. You can specify a fast rate, where the tonereaches its highest volume level immediately, a slow ratewhere it gradually rises, or something in between.

� Release timeThis is the rate or time it takes for the tone volume to fall tozero. You can specify a release that ranges from a sudden fallto zero, to one that gradually falls to zero.

� Cutoff FrequencyThe cutoff frequency is a parameter for adjusting timbre bycutting any frequency that is higher than a specific frequen-cy. A larger cutoff frequency produces a brighter (harder) tim-bre, while a smaller frequency produces a darker (softer) tim-bre.

Time

Note ends

Key pressed

A RKey released

Envelope

A: Attack timeR: Release time

Level

Cutoff frequency

Frequency

E-39

Saving User TonesThe group of tone numbers from 238 through 247 (User 01through User 10) is called the “user area” because they are re-served for storage of user tones. After you recall a preset toneand change its parameters to create your own user tone, youcan store it in the user area for later recall. You can recall yourtones using the same procedure that you use when selecting apreset tone.

❚ NOTE• The keyboard is shipped from the factory with tone number

000 (piano) assigned to the user area.• Note that creating a user tone (000 to 227) does not change the

preset tone. It creates a new version of the preset tone for stor-age in the user area.

• You cannot use a drum set tone (228 to 237) as the basis of auser tone.

703A-E-041A

� ResonanceResonance enhances the harmonic components in the vicini-ty of the cutoff frequency, which creates a distinctive sound.A larger resonance value enhances the sound as shown inthe figure.

❚ NOTE• With some tones, a large resonance value can cause distor-

tion or noise during the attack part of the tone.

(3) Tone Pitch Parameters� Vibrato Type, Vibrato Delay, Vibrato Depth, Vi-

brato RateThese parameters adjust the vibrato effect, which causes pe-riodic changes in the tone.

� Octave ShiftThis parameter controls the octave of all tones.

(4) Tone Characteristic Setting Parameters� LevelThis parameter controls the overall volume of the tone.

� Touch SenseThis parameter controls changes in volume and timbre inaccordance with the relative amount of pressure applied tothe keyboard keys. You can specify more volume for strongerpressure and less volume or a lighter pressure, or you can spec-ify the same volume regardless of how much pressure is ap-plied to the keys.

� Reverb Send, Chorus Send, DSP Line , DSP Type,DSP Parameter

These parameters control the effects applied to tones.

Level

Cut off frequency

Small ValueResonance

Large Value

FrequencyTone numbers

000 ~ 099

00 ~ 99

100 ~ 227

228 ~ 237

238 ~ 247

Tone

Panel Tone

Advanced Tone

GM tone

Drum Set

User Area

Select the preset tone

Change parameters

Save as an original tone

E-40

Creating a User ToneUse the following procedure to select a preset tone and changeits parameters to create a user tone.

1. First, select the preset tone you want to use as abasis for your user tone.

2. Press the SYNTH button.• This enters the Synth Mode, which is indicated by the

indicator next to SYNTH on the display screen.

3. Use [�] and [�] (CURSOR) to display the pa-rameter whose setting you want to change.

• Each press of [�] or [�] (CURSOR) changes to thenext parameter. See “Parameters and Their Settings”on this page for information on setting range for eachparameter.

4. Use [+] and [–] to change the setting of the cur-rently selected parameter.• You can also use the number buttons to input a value

to change a parameter setting. See “Parameters andTheir Settings” on this page for information on set-ting range for each parameter.

5. After you are finished editing the sound, pressthe SYNTH button to exit the Synthesizer Mode.

❚ NOTE• See “Storing a User Tone In Memory” on page E-42 for details

on saving user tone data to memory so it is not deleted.

703A-E-042A

Currently selected parameter

Parameter setting value

A t k T i me

V i b D e l a y

A t k T i me

R e l . T i me

V i b . T y p e

Parameters and Their SettingsThe following describes the function of each parameter andprovides it’s set range.

� Attack Time (Range: –64 to 00 to +63)Time it takes before the tone sounds after a key is pressed

� Release Time (Range: –64 to 00 to +63)Time the tone continues to sound after a key is released

� Vibrato Type (Vibrato Waveform)(Range: See below.)

Specifies the vibrato type (waveform).

� Vibrato Delay (Range: –64 to 00 to +63)Specifies the amount of time before vibrato starts.

Value Meaning Waveform

Sin Sine Wave

tri Triangle Wave

SAU Sawtooth Wave

Sqr Square Wave

V i b D e l a y

[�]/[�] CURSOR

SYNTH

[+]/[–]

E-41703A-E-043A

� Vib.Depth (Vibrato Depth) (Range: –64 to 00 to +63)Depth of the vibrato effect

� Vib.Rate (Vibrato Rate) (Range: –64 to 00 to +63)Rate (speed) of the vibrato effect

� Cut Off Freq. (Cutoff frequency)(Range: –64 to 00 to +63)

High-band cutoff for the harmonic components of the tone

� Resonance (Range: –64 to 00 to +63)Resonance of the tone

� Oct.Shift (Octave Shift) (Range: –2 to 0 to +2)Up/down octave shift

� Level (Range: 000 to 127)This parameter controls the overall volume of the tone. Thegreater the value, the greater the volume. Setting a level ofzero means that the tone does not sound at all. This parame-ter can be set in a range of 000 to 127.

V i b D e p t h

V i b . R a t e

C - o f f F r q

R e s o n a n

O c t S h i f t

L e v e l

T c h S e n s e

� Touch Sensitivity (Range: –64 to 00 to +63)This parameter controls changes in the volume of the tone inaccordance with the pressure applied to the keyboard keys.A greater positive value increases the volume of the outputas pressure increases, while a negative value decreases vol-ume with increased keyboard pressure. A setting of zero spec-ifies no change in output volume in accordance with key-board pressure. This parameter can be set in a range of –64 to+63.

� Reverb Send (Range: 000 to 127)This parameter adjusts reverb.

� Chorus Send (Range: 000 to 127)This parameter adjusts chorus.

� DSP Line (Settings: on, oFF)This parameter controls whether or not the DSP effect is used.

� DSP Type (Range: 000 to 109)This parameter specifies a type when a DSP effect is beingused.

� DSP ParameterThis setting specifies DSP parameters. See “DSP Parameters”on page E-25, “Effect List” on page A-10, and “DSP Algo-rithm List” on page A-12 for more information.

❚ NOTE• If you store an original tone with the DSP line turned on (see

next page), simply recalling the tone automatically changesthe DSP line, DSP type, and DSP parameter settings. This sim-plifies the recall of original tones that include a DSP effect.

• An indicator appears next to DSP on the display while you aremaking DSP type or DSP parameter settings.

R v b S e n d

C h o S e n d

DS P L i n e

O v r d r i v e

E-42

Storing a User Tone In MemoryThe following procedure shows how to store a user tone inmemory. Once a tone is stored, you can call it up just as youdo with a preset tone.

To name a user tone and store it in memory

1. Select a preset tone to use as the basis for theuser tone, press the SYNTH button to enter theSynthesizer Mode, and make the parameter set-tings you want.

2. After making parameter settings to create the usertone, press [�] (ENTER).

3. Use [+] and [–] to change the user area tone num-ber on the display until the one where you wantto store the tone is shown.• You can select any tone number from 238 to 247.

4. Press [�] (ENTER) to save the user tone.• The message “Save OK” appears momentarily on the

display, followed by the tone or rhythm selectionscreen.

• To abort the save operation at any time, press theSYNTH button or the [�] (EXIT) button to exit theSynthesizer Mode. Pressing the SYNTH button again(before selecting another tone) returns to the Synthe-sizer Mode with all of your parameter settings still inplace.

S a v e N o .

703A-E-044A

User Tone Creation HintsThe following hints provide helpful advice on making usertone creation a bit quicker and easier.Use a preset tone that is similar to the one you are trying tocreate.Whenever you already have a rough idea of the tone you aretrying to create, it is always a good idea to start with a presettone that is similar.

� Experiment with various different settings.There are no real rules about what a tone should sound like.Let your imagination run free and experiment with differentcombinations. You may be surprised at what you can achieve.

[+]/[–][�] ENTER

SYNTH

E-43703A-E-045A

��

E-44

Registration Memory

Registration Memory FeaturesRegistration memory lets you store up to 16 keyboard setups(4 sets x 4 banks) for instant recall whenever you need them.The following is a list of settings that are saved in registra-tion memory.

Registration Memory Settings• Tone• Rhythm• Tempo• Split on/off• Split point• Layer on/off• Mixer settings (Channels 1 to 10)• Effect settings• Equalizer settings• Touch Response settings• Assignable jack setting• Transpose• Tuning• Accompaniment volume setting• Harmonize on/off

❚ NOTE• Registration memory functions are disabled while you are us-

ing the Synthesizer, Song Memory or demo tune function.• In addition to preset tones, user tones created by altering syn-

thesizer parameters and stored in user memory are also savedto registration memory.

Initial SettingsBANK 0

703A-E-046A

REGISTRATION

STOREBANK

Area TONE RHYTHM

1* OVD ROCK ORGAN +

DANCE 1 ALTO SAX

2* VELO.ALTO SAX +

DISCO SOUL ELEC.PIANO

3* VELO.CLARINET +

MID BIG BAND TENOR SAX

4 * VELO.ALTO SAX + JAZZ COMBO TRUMPET

BANK 2

Area TONE RHYTHM

1* VELO.TRUMPET +

POLKA ACCORDION

2* VELO.FLUTE +

BOSSA NOVA 1 NYLON STR.GUITAR

3* VELO.TENOR SAX +

REGGAE 1 STEEL DRUMS

4 * STEREO STRINGS + BROADWAY GLOCKENSPIEL

BANK 3

BANK 1

Area TONE RHYTHM

1* VELO.ALTO SAX +

POP ROCK ORGAN

2 * E.PIANO PAD + WHISTLE POP BALLAD

3 * MORE DISTORTION GT ROCK 2

4 ELEC.GUITAR BLUES

Area TONE RHYTHM

1* OVD ROCK ORGAN +

8 BEAT DANCE TENOR SAX

2* VELO.ALTO SAX +

16 BEAT 2 GRAND PIANO

3* TREMOLO E.PIANO +

16 BEAT BALLAD 3 MODERN E.PIANO

4 GRAND PIANO 8 BEAT 1

* : Advanced tone

E-45703A-E-047A

Setup NamesYou can assign setups into one of 16 areas, which you canselect using BANK buttons 1 through 4 and the four REGIS-TRATION buttons. Area names range from 0-1 through 3-4as shown below.

1 Use the BANK button to select the bank. Each press ofBANK cycle through the bank numbers from 0 to 3.

2 Pressing one of the REGISTRATION buttons (1 to 4) se-lects the corresponding area in the currently selected bank.

❚ NOTE• Whenever you save a setup and assign it a setup name, any

setup data previously assigned to that name is replaced withthe new data.

• You can use the keyboard’s MIDI capabilities to save your set-up data to a computer or other external storage device. See“Using the Data Download Service” on page E-68 for details.

To Save a Setup in RegistrationMemory

1. Select a tone and rhythm, and otherwise set upthe keyboard the way you want it.• See “Registration Memory Settings” on page E-44 for

details on what data is stored in the registration mem-ory.

2. Use the BANK button to select the bank youwant.• If you do not perform any operation for about five

seconds after pressing the BANK button, the displayreturns to the contents in step 1, above.

• Bank 1 selected.

BANK STORE

21

0-1 0-2 0-3 0-4

1-1 1-2 1-3 1-4

3-1 3-2 3-3 3-4

2-1 2-2 2-3 2-4

1 2 3 4

BANK 0

BANK 1

BANK 2

BANK 3

B a n k

S t o r e

3. While holding down the STORE button, press aREGISTRATION button (1 to 4).• The following display appears when you press the 2

button.

4. Release the STORE and REGISTRATION buttons.

❚ NOTE• The setup is saved as soon as you press a REGISTRATION

button in step 3, above.

To Recall a Setup from RegistrationMemory

1. Use the BANK button to select the bank.• If you do not perform any operation for about five

seconds after pressing the BANK button, the keyboardautomatically clears the registration memory recallscreen.

2. Press the REGISTRATION button (1 to 4) for thearea whose setup you want to recall.

• The setup name along with the message “Recall” ap-pears on the display.

❚ NOTE• If you press a REGISTRATION button without using the BANK

button to select a bank first, the last bank number selected isused.

B a n k

R e c a l l

E-46

This keyboard lets you record up to two separate songs insong memory for later playback. There are two methods youcan use to record a song: real-time recording where you recordthe notes as you play them on the keyboard, and step record-ing where you input chords and notes one-by-one.

❚ NOTE• Layer and split cannot be used while standing by for recording

or while recording is being performed in the Song MemoryMode. Also, layer and split are automatically turned off when-ever the keyboard goes into record standby or starts record-ing.

TracksKeyboard song memory records and plays back much like astandard tape recorder. There are a total of six tracks, each ofwhich can be recorded separately. Besides notes, each trackcan have its own tone number. Then when you play back thetracks together, it sounds like an entire six-piece band. Dur-ing playback, you can adjust the tempo to change the speedof playback.

Song Memory Function

703A-E-048A

Selecting a TrackUse the SONG MEMORY TRACK buttons marked CHORD/TR1 through TR6 to select the track you want.

Song Memory Track Buttons

Track 1 Track 5Track 3

Track 6

Track 4

Track 2

BANK STORE

Track 1

Start End

Track 2

Track 3

Track 4

Track 5

Track 6

Auto accompaniment (Rhythm, Bass, Chord 1/2/3), Keyboard play

Keyboard play

Keyboard play

Keyboard play

Keyboard play

Keyboard play

Melody data recorded in track.

❚ NOTE• With this keyboard, Track 1 is the basic track, which can be

used to record keyboard play, along with Auto Accompaniment.Tracks 2 through 6 can be used for keyboard play, so they arecalled melody tracks. Tracks 2 through 6 are used to add otherparts to what is recorded in Track 1.

• Note that each track is independent of the others. This meansthat even if you make a mistake while recording, you only needto re-record the track where the mistake was made.

• You can use different Mixer settings for each track (page E-35).

Basic Song Memory operationsThe status of the Song Memory changes each time you pressthe SONG MEMORY button.

Playback

Real-time Recording

Step Recording

Normal

P l a y

S t e p R e c

R e c o r dFlash

Flash

SONG MEMORY TRACK[+]/[–]

SONG MEMORY

START/STOP

E-47703A-E-049A

Song number (0 or 1)

R e c o r d

Using Real-time RecordingWith real-time recording, the notes you play on the keyboardare recorded as you play them.

To record with real-time recording

1. Press the SONG MEMORY button twice to enterreal-time record standby.• Perform step 2, below, within five seconds after en-

tering record standby.

2. Use the [+] and [–] buttons to select a song num-ber.

• The above song number screen remains on the dis-play for about five seconds. If it disappears beforeyou have a chance to select a song number, use theSONG MEMORY button again to re-display it.

3. Press the CHORD/TR1 button, which is one ofthe SONG MEMORY TRACK buttons, to selectTrack1.

• The level meters for tracks 11 through 16 are shownon the display while the keyboard is in record stand-by, so you can easily check which tracks are alreadyrecorded. See “Level Meter Contents During Record/Edit Standby” on page E-53 for details.

4. Make the following settings.• Tone number• Rhythm number• Tempo• MODE switch

5. Press the START/STOP button to start recording.• When recording starts, the REC indicator flashes on

the display. After a few moments the indicator stopsflashing, and remains on the display.

6. Play something on the keyboard.• You can also record Auto Accompaniment chords by

selecting the applicable mode with the MODE switch.• Optional pedal operation is also recorded. See “Track 1

Contents After Real-time Recording”.

7. Press the START/STOP button to end recordingwhen you are finish playing.

• If you make a mistake while recording, you can stopthe record operation and begin over again from step1, or you can use the editing function (page E-55) tomake corrections.

❚ NOTE• Using real-time recording to record to a track that already con-

tains recorded data replaces the previous recording with thenew one.

Track 1 Contents After Real-time Record-

ingIn addition to keyboard notes and accompaniment chords,the following data is also recorded to Track 1 during real-time recording. This data is applied whenever Track 1 isplayed back.

• Tone number• Rhythm number• INTRO/ENDING 1 button, INTRO/ENDING 2 button,

VARIATION/FILL-IN 1 button, VARIATION/FILL-IN 2button, SYNCRHO/FILL-IN NEXT button operations

• Pedal operations (option)• Effect type• Accompaniment volume

❚ NOTE• Starting a record operation also records the Mixer settings for

the other tracks to the song header.

E-48

SONG MEMORY TRACK[+]/[–]

SONG MEMORY

START/STOPSYNCHRO/FILL-IN NEXT

703A-E-050A

Mixer Mode SettingsChannel 1 Mixer parameters (page E-36) are automaticallyrecorded to Track 1. You can use the Mixer to change each ofthe parameters.

Memory CapacityThe keyboard has memory for approximately 3,500 notes. Youcan use all 3,500 notes for a single song, or you can dividememory between two different songs.• The measure number and note number flash on the dis-

play whenever remaining memory is less than 100 notes.• Recording automatically stops (and auto-accompaniment

and rhythm stops playing if they are being used) whenev-er memory becomes full.

• The same memory area is used for song memory and userrhythm memory. Because of this, the number of notes youcan store in song memory is lower when there is userrhythm data stored in memory. You can clear memory con-tents and free up more space for song memory space usingthe Initialize / Delete setting menu (page E-65).

Memory Data Storage• Whenever you make a new recording, anything previous-

ly stored in memory is replaced.• Memory contents are retained as long as the keyboard is

being supplied with electrical power. Unplugging the ACadaptor when batteries are not loaded or when loaded bat-teries are dead cuts off the keyboard’s electrical power sup-ply, clearing all data stored in memory. Plug the keyboardinto a wall outlet with the AC adaptor before replacing bat-teries.

• Turning off the keyboard while a record operation is inprogress causes the contents of the track your are currentlyrecording to be lost.

• Remember that you can dump memory contents to anoth-er MIDI device using the procedure described under “Us-ing the Data Download Service” on page E-68.

Track 1 Real-time Recording VariationsThe following describes a number of different variations youcan use when recording to Track 1 using real-time recording.All of these variations are based upon the procedure describedunder “To record with real-time recording” on page E-47.

� To record without rhythmSkip step 5. Real-time recording without a rhythm starts whenyou press a keyboard key.

� To start recording with synchro startIn place of step 5, press the SYNCHRO/FILL-IN NEXT but-ton. Auto-accompaniment and recording will both start whenyou play a chord on the accompaniment keyboard.

� To record using an intro, ending, or fill-inDuring recording, the INTRO/ENDING 1/2, SYNCHRO/FILL-IN NEXT, and VARIATION/FILL-IN 1/2 buttons (pag-es E-31 to 32) can all be used as they normally are.

� To synchro start Auto Accompaniment with anintro pattern

In place of step 5, press the SYNCHRO/FILL-IN NEXT but-ton and then INTRO/ENDING 1 or INTRO/ENDING 2 but-ton. Auto-accompaniment will start with the intro patternwhen you play a chord on the accompaniment keyboard.

� To start Auto Accompaniment part way into arecording

In place of step 5, press the SYNCHRO/FILL-IN NEXT but-ton and then play something on the melody keyboard to startrecording without Auto Accompaniment. When you reachthe point where you want accompaniment to start, play achord on the accompaniment keyboard to start Auto Accom-paniment.

E-49

Recording Melody and Chords withStep RecordingWith step recording, you can record Auto-Accompanimentchords and notes, and even specify note lengths one by one.Even those who find it difficult to play along on the key-board with an Auto-Accompaniment can create Auto-Accom-paniments based on their own original chord progressions.The following shows the type of data that can be recorded inTracks 1 through 6.

Track 1: Chords and Auto-AccompanimentTracks 2 through 6: Keyboard play

With step recording, first record the chords and Auto-Accom-paniment in Track 1. Next, record the melody in Tracks 2through 6.

❚ NOTE• Use the procedure under “To record to Tracks 2 through 6 us-

ing step recording” on page E-52 for details on how to recordto Tracks 2 through 6.

• You can use Track 1 for the melody if you do not plan to recordchords or Auto-Accompaniment. Select Track 1 and then per-form the procedure under “To record to Tracks 2 through 6 us-ing realtime recording” on page E-52 to record. In this case,set the MODE switch to NORMAL before you start recording.

To record chords with step recording

1. Press the SONG MEMORY button three times toenter step recording standby, and then use the[+] and [–] buttons to select either 0 or 1 as thesong number.

2. Make the following settings.• Rhythm number• MODE switch

3. Press the CHORD/TR1 button, which is one ofthe SONG MEMORY TRACK buttons, to selectTrack1.• When recording starts, the REC indicator flashes on

the display. After a few moments the indicator stopsflashing, and remains on the display.

4. Press the SYNCHRO/FILL-IN NEXT button.

703A-E-051A

Flash

S t e p R e c

Playing Back from Song MemoryOnce you record tracks to song memory, you can play themback to see what they sound like.

To play back from song memory

1. Use the SONG MEMORY button to enter play-back standby, and then use the [+] and [–] but-tons to select a song number (0/1).

• The above song number screen remains on the dis-play for about five seconds. If it disappears beforeyou have a chance to select a song number, use theSONG MEMORY button again to re-display it.

2. Press the START/STOP button to playback thesong you selected.• You can use the TEMPO buttons to adjust the play-

back tempo.• Press the START/STOP button again to stop playback.

❚ NOTE• You can play along on the keyboard using layer (page E-57)

and split (page E-57) during playback.• Pressing the START/STOP button to start playback from song

memory always starts from the beginning of the song.• The entire keyboard functions as a melody keyboard, regard-

less of the MODE switch setting.

To turn off a specific trackPress the SONG MEMORY TRACK button of the track youwant to turn off, or use the Mixer (Page E-35) to turn off thechannel of the track.

P l a y

Playback standbySong number

E-50

Track 1 Contents After Step RecordingIn addition to chords, the following data is also recorded toTrack 1 during step recording. This data is applied wheneverTrack 1 is played back.

• Rhythm number• INTRO/ENDING 1 button, INTRO/ENDING 2 button,


Specifying Chords in the Normal ModeWhen the MODE switch is set to NORMAL during step re-cording, you can specify chords using a method that is dif-ferent from CASIO CHORD and FINGERED fingerings. Thischord specification method can be used to input 18 differentchord types using only two keyboard keys, so chords can bespecified even if you don’t know how to actually play them.

To specify a chord, hold down the key on the root input key-board that specifies the root, and press the key in the chordtype input keyboard to specify the chord type. When input-ting a chord with a specified bass note, pressing two keys ofthe root input keyboard causes the lower note to be specifiedas a bass note.

11111Major22222Minor33333Augmented44444Diminished55555Suspended four66666Seventh77777Minor seventh88888Major seventh99999Minor major seventh

703A-E-052A

00000Seventh flat fiveAAAAAMinor seventh flat fiveBBBBBSeventh suspended fourCCCCCDiminished seventhDDDDDMinor add ninthEEEEEAdd ninthFFFFFMinor sixthGGGGGSixthHHHHHSix ninth

Root input keyboard Chord type input keyboard

START/STOP

5. Play a chord.• Use the chord play method that is specified by the

current MODE switch setting (FINGERED, CASIOCHORD, etc.).

• When the MODE switch is set to NORMAL, specifythe chord using the root input keyboard and chordtype input keyboard. See “Specifying Chords in theNormal Mode” on this page for details.

* 96 clocks = 1 beat

6. Input the length of the chord (how long it shouldbe played until the next chord is played).• Use the number buttons to specify the length of the

chord. See “Specifying the Length of a Note” on pageE-51 for details.

• The specified chord and its length are stored in mem-ory and the keyboard stands by for input of the nextchord.

• Repeat steps 5 and 6 to input more chords.

7. After you are finished recording, press theSTART/STOP button.• This enters playback standby for the song you have

just recorded.• To play back the song at this time, press the START/

STOP button.

❚ NOTE• Use the procedure under “Correcting Mistakes While Step

Recording” on page E-54 to correct input mistakes you makeduring step recording.

• You can add on to a track that already contains recorded databy selecting that track in step 3 of the above procedure. Doingso automatically locates the step recording start point at thefirst beat immediately following the previously recorded data.

• Inputting “0” as the chord length in steps 5 and 6 of the aboveprocedure specifies a rest, but the rest is not reflected in theaccompaniment contents when the accompaniment is played.

Chord name Measure, beat, and clock atcurrent location*

C h o r d

E-51703A-E-053A

Track 1 Step Recording VariationsThe following describes a number of different variations youcan use when recording to Track 1 using step recording. Allof these variations are based upon the procedure describedunder “To record chords with step recording” on page E-49.

� To start accompaniment with an intro patternIn step 4, press INTRO/ENDING 1 or INTRO/ENDING 2button after the SYNCHRO/FILL-IN NEXT button.

� To switch to a rhythm variationIn step 5, press VARIATION/FILL-IN 1 or VARIATION/FILL-IN 2 button immediately before inputting the chord.

� To insert a fill inIn step 5, press VARIATION/FILL-IN 1 or VARIATION/FILL-IN 2 button at the measure or beat immediately beforethe chord or beat where you want to insert the fill in.

� To insert an endingIn step 5, press INTRO/ENDING 1 or INTRO/ENDING 2button at the measure or beat immediately before the chordwhere you want to insert the ending.

IMPORTANT!The length of the ending depends on the rhythm you are us-ing. Check the length of the pattern you are using and set thelength of the chord accordingly in step 6. Making the chordtoo short in step 6 can result in the ending pattern being cutoff.

� To step record chords without rhythmSkip step 4. The specified chord of the length specified bythe number buttons is recorded. A rest can be specified here,so an original chord pattern can be created.

� To add chord accompaniment part waythrough rhythm play

In Place of step 4 at the start of the recording, press VARIA-TION/FILL-IN 1 or VARIATION/FILL-IN 2 button and in-put rests. Then in step 5, input the chords. Only rhythm isplayed where you input the rests, and then chord play startsafter the rests.

Example 2: To input Gm/C, hold down C and G on the rootinput keyboard and press the m key on the chordtype input keyboard.

Specifying the Length of a NoteDuring step recording, the number buttons are used to spec-ify the length of each note.

� Note lengthsUse number buttons [1] through [6] to specify whole notes( ), half notes ( ), quarter notes ( ), eighth notes ( ), 16thnotes ( ), and 32nd notes ( ).Example: To specify a quarter note ( ), press [3].

� Dots ( ) and triplicates ( )While holding down the [7] (dot) or [9] (triplicate), use but-tons [1] through [6] to input the lengths of the notes.Example: To input a dotted eighth notes ( ), hold down

[7] and press [4].

� TiesInput the first and then the second note.

Example: To input , press [4] and then [8]. Next, press[5]. This note will be tied to the next note youinput (16th note in this example).

� RestHold down [0] and then use number buttons [1] through [9]to specify the length of the rest.Example: To input an eighth note rest, hold down [0] and

press [4].

Hold down key to specify on bass and chord root.

Press key to specify chord type.

(G)(C) (m)

Hold down key to specify chord root.

Press key to specify chord type.

(G) (m7)

Example 1: To input Gm7, hold down G on the root inputkeyboard and press the m7 key on the chord typeinput keyboard.

E-52 703A-E-054A

Recording Multiple TracksTrack 1 of the keyboard’s song memory records Auto Accom-paniment and keyboard play. In addition, there are five oth-er melody tracks that you can use to record melody partsonly. You can record different tones to the melody tracks andbuild a full ensemble of instruments for your recordings. Theprocedure you use for recording to Tracks 2 through 6 is iden-tical to the one you use when recording to Track 1.

To record to Tracks 2 through 6 using real-

time recording

You can record to Tracks 2 through 6 while playing back whatyou originally recorded on Track 1 and any other tracks thatare already recorded.

1. Press the SONG MEMORY button twice to enterrecord standby, and then use the [+] and [–] but-tons to select a song number (0/1).• The song number you select should be the one where

you previously input Track 1.

2. Use the SONG MEMORY TRACK buttons to se-lect the track you want to record to (2 through6).• While the keyboard is in record standby, the display

shows the level meters for channels 11 through 16, soyou can check which tracks have already been record-ed. See “Level Meter Contents During Record/EditStandby” on page E-53 for details.

3. Make the following settings.• Tone number• Tempo (to set playback of the recorded tracks to a tem-

po that is easy for you to follow)

4. Press the START/STOP button to start recording.• At this time, the contents of any tracks that are al-

ready recorded start to play back.• Optional pedal operation you perform is also record-

ed.

5. Use the keyboard to play what you want torecord the track you selected.

6. Press the START/STOP button to end recordingwhen you are finished.

Track Contents After Real-time RecordingIn addition to keyboard notes, the following data is also re-corded to the selected track during real-time recording. Thisdata is applied whenever the track is played back.

• Tone number• Optional pedal operations

❚ NOTE• Starting a record operation also records the Mixer settings for

the other tracks to the song header.

To record to Tracks 2 through 6 using step

recordingThis procedure describes how to input notes one-by-one,specifying each note’s pitch and length.

1. Press the SONG MEMORY button three times toenter real-time record standby, and then use the[+] and [–] buttons to select a song number (0/1).• The song number you select should be the one where

you previously input Track 1.

Number buttons

[+]/[–]START/STOP

SONG MEMORY TRACK

SONG MEMORY

S t e p R e c

E-53

Recording trackNot recording track

703A-E-055A

2. Use the SONG MEMORY TRACK buttons to se-lect the track you want to record to (2 through6).Example: Select Track 2.

3. Specify a tone number.• After changing the tone number, press any keyboard

key to clear the tone number and name screen, andreturn to the note input screen.

4. Use the keyboard keys to input notes, or the [0]button to input rests.• When touch response is turned on, the amount of

pressure you use to press the keyboard keys is alsorecorded. You can also use keyboard keys to inputchords.

5. Use the number buttons to input the length ofthe note or rest (page E-51).

6. Repeat steps 4 and 5 to input more notes.

7. Press the START/STOP button to end recordingwhen you are finished.

❚ NOTE• Use the procedure under “Correcting Mistakes While Step

Recording” on page E-54 to correct input mistakes you makeduring step recording.

• You can add on to a track that already contains recorded databy selecting that track in step 2 of the above procedure. Doingso automatically locates the step recording start point at thefirst beat immediately following the previously recorded data.

• Whenever you are recording to Tracks 2 through 6, the entirekeyboard functions as a melody keyboard, regardless of thecurrent MODE switch setting.

Track Contents After Step RecordingIn addition to notes and rests, the following data is also re-corded to the track during step recording. This data is ap-plied whenever the track is played back.

• Tone number

Level Meter Contents During Record/Edit

StandbyChannels 11 through 16 correspond to Tracks 1 through 6.Whenever the keyboard is in record or edit (page E-55) stand-by, the level meter display shows which tracks already con-tain recorded data and which are still empty. Tracks withfour lit segments already contained recorded data, whiletracks with one lit segment are not yet recorded.

Flash

E-54

Correcting Mistakes While Step Re-cordingMemory data can be thought of as a musical score thatprogresses from left to right, with the input point normallyat the far right of the recorded data.The procedure described here lets you move the input pointto the left in order to make changes in data you have alreadyinput. Note, however, that moving the input point to the leftand changing data automatically deletes all of the data re-corded to the right of the input point.

To correct mistakes while step recording

1. Without exiting step recording, use the [�] (CUR-SOR) button to move the input point to the left.• The REC indicator disappears from the display, and

the STEP indicator flashes.

2. Monitoring the data on the display, use [�] and[�] (CURSOR) to move the input point to thedata you want to change.Example: To re-record all note data following the note

A3 located at Measure 120, Beat 1, Clock 0.

[+]/[–]

YES

[�]/[�] CURSOR

[�] ENTERSONG MEMORY TRACK

SONG MEMORY

��• • • • • • • • • • • • • •

C 4A3 �

Measure 120/Beat 1/Clock 0 (Input point moved to using [�] and [�] (CURSOR))

Data flow

�• • • • • • •

Measure 120/Beat 1/Clock 0(Step re-recording begins from here.)

Data flow

All data tothe right

is deleted.

703A-E-056A

3. Press the [�] (ENTER) button, and then press the[�] (CURSOR) button.

4. Press the YES button.• This deletes all data from the location you specified

and enters step record standby.• Pressing the [�] (EXIT) button or the NO button can-

cels deleting the data.

❚ NOTE• If you move the input position to the end of the data with the

[�] (CURSOR) button, the REC indicator appears on the dis-play, and the STEP indicator stops flashing and remains on thedisplay.

N o t e A 3

N o t e C # 4R e w r i t e ?

��• • • • • • • • • • • • • • ��• • • • • • • • • • • • • •

C 4� C 4�

Measure 126/Beat 3/Clock 48(Normal input point)

Measure 126/Beat 3/Clock 0(Previous data)

Use [�] and [�] (CURSOR) to move left and right.

Press [�] (CURSOR).

Data flowData flow

E-55703A-E-057A

To delete specific note data

1. Perform steps 1 and 2 under “To correct mis-takes while step recording” above to display thenote you want to delete.

2. Press the [�] (ENTER) button.

3. In response to the “Delete?” message that ap-pears on the screen, press the YES button to de-lete the displayed note.

Editing Memory ContentsAfter you record to keyboard memory, you can recall indi-vidual notes and parameter settings (such as tone number)and make any changes you want. This means you can cor-rect misplayed notes, make changes in tone selections, etc.

The following types of data can be edited.• Note intensity• Notes• Chords• Tone numbers• Rhythm number• INTRO/ENDING 1 button, INTRO/ENDING 2 button,


To edit memory contents

1. Press the SONG MEMORY button three times toenter step recording standby, and then use the[+] and [–] buttons to select either 0 or 1 as thesong number.

2. Use the SONG MEMORY TRACK buttons to se-lect the recorded track that you want to edit.

3. Press the [�] (CURSOR) button to enter the ed-iting mode.• The REC indicator disappears from the display, and

the STEP indicator flashes.

Flash

S t e p R e c

4. Use the [�] and [�] (CURSOR) buttons to moveto the location in track where the note or pa-rameter you want to change is located.

Note editing example

5. Make any changes in the value that you want.• The actual procedures you use to change a parameter

depend on the type of data it contains. See “EditingTechniques and Display Contents” on page E-56 fordetails.

6. Repeat steps 4 and 5 to edit other parameters.

7. Press the START/STOP button to end editingwhen you are finished.

❚ NOTE• The only parameters that can be editted for Tracks 2 through 6

are notes and tone numbers.• In the case of real-time recording, you later can change tone

numbers you specified while recording to Tracks 1 through 6 isin progress.

• You can only change tone numbers that were originally set forTracks 2 through 6 using step recording.

• In the case of real-time recording, you later can change rhythmnumbers you specified while recording to Track 1 is in progress.

• You can only change rhythm numbers that were originally setfor Track 1 using step recording.

• You cannot use the edit procedure to add more data to a re-cording.

• You cannot move portions of a recording to a different locationwithin the recording.

• Note lengths cannot be changed.

N o t e C 4

PitchVelocityParameter beingedited

E-56

❚ NOTE• In the case of real-time recording, you later can change tone

numbers you specified while recording to Tracks 1 through 6 isin progress.

• You can only change tone numbers that were originally set forTracks 2 through 6 using step recording.

� To change a rhythm numberUse the number buttons or [+] and [–] buttons to change arhythm number.

❚ NOTE• In the case of real-time recording, you later can change rhythm

numbers you specified while recording to Track 1 is in progress.• You can only change rhythm numbers that were originally set

for Track 1 using step recording.

� To change a rhythm controller operation *

* INTRO/ENDING 1 button, INTRO/ENDING 2 button,VARIATION/FILL IN 1 button, VARIATION/FILL IN 2button, SYNCRHO/FILL IN NEXT button operations

Press the rhythm controller button you want to change to.

703A-E-058A

[+]/[–]

YES

[�]/[�] CURSOR

[�] ENTERSONG MEMORY TRACK

SONG MEMORY

N o t e G 4

N o t e G 4

C h o r d

G r a n d P n o

P o p

I n t / E n d 1

Editing Techniques and Display ContentsThe following describes the editing techniques you can useto change the various parameters stored in memory.

� To change the key pressure (velocity) of a noteUse the number buttons or [+] and [–] to adjust the key pres-sure.

� To change the pitch of a noteInput a new note on the keyboard or use [+] and [–] buttonsto change the pitch of a note. The pitch you specify here isreflected in the keyboard and the notes shown in the staff onthe display.

IMPORTANT!Whenever editing memory contents, never change a note soit is identical to the note before or after it. Doing so may alterthe length of the changed note and the note before or after it.Should this happen, you will have to re-record the entiretrack.

� To change a chordUse the chord fingering method selected by the MODE switch(FINGERED, CASIO CHORD, etc.) to input a chord.

� To change a tone numberUse the number buttons or [+] and [–] buttons to change atone number.

E-57

4. Press the [�] or [�] (CURSOR) button to dis-play the track delete screen.

5. Use the SONG MEMORY TRACK buttons to se-lect the recorded track or tracks whose data youwant to delete.

Track delete standby

• You can specify more than one track for deletion bypressing more than one track select button.

• To deselect a track, simply press its track select but-ton again.

6. Press the YES button.• This causes the message “Sure?” to appear, confirm-

ing whether you really want to delete the track.

7. Press the YES button to delete the track.

❚ NOTE• You cannot change the song number while in track delete stand-

by.• In the above procedure, you cannot select any track that does

not contain any recorded data.• Pressing the SONG MEMORY button while in track delete

standby returns to record standby.

Editing a SongYou can perform the following operations in the song edit-ing mode.

• Delete a song• Delete a track• Song header data rewrite (Panel Record)

To delete a song

1. Press the SONG MEMORY button once to enterplayback standby.

2. Use the [+] and [–] buttons to select the numberof the song you want to delete.

3. Press the [�] (ENTER) button.• This displays the song delete screen.

4. Press the YES button.• This causes the message “Sure?” to appear, confirm-

ing whether you really want to delete the song.

5. Press the YES button to delete the song and re-turn to playback standby.

To delete a specific track


2. Use the [+] and [–] buttons to select the numberof the song that contains the track you want todelete.


Recorded track

Track being deleted (Multipletracks can be specified.)

T r . D e l . ?

Number of the song that contains the track(cannot be changed)

Track delete standby

703A-E-059A

E-58

To rewrite song header data (Panel

Record)You can use a procedure called “Panel Record” to change theinitial Mixer, tempo and other settings stored in the songheader.


2. Use the [+] and [–] buttons to select the numberof the song that contains the header data youwant to rewrite.

3. Make the changes you want to the header data.


5. Press the [�] or [�] (CURSOR) button to dis-play the panel record screen.• This causes the message “Pnel Rec?” to appear on the

display.

6. Press the YES button to rewrite the header data.

SONG MEMORY

[+]/[–]

YES

[�]/[�] CURSOR

[�] ENTER

703A-E-060A

E-59

Using SplitWith split you can assign two different tones (a main toneand a split tone) to either end of the keyboard, which letsyou play one tone with your left hand and another tone withyour right hand. For example, you could select STRINGS asthe main (high range) tone and PIZZICATO STRINGS as thesplit (low range) tone, putting an entire string ensemble atyour fingertips.Split also lets you specify the split point, which is the loca-tion on the keyboard where the changeover between the twotones occurs.

❚ NOTE• Leave the MODE switch in the NORMAL or FULL RANGE

CHORD position.

3. Select the layered tone.Example: To select “064 FRENCH HORN” as the lay-

ered tone, use the number buttons to input0, 6 and then 4.

4. Now try playing something on the keyboard.• Both tones are played at the same time.

5. Press the LAYER button again to unlayer the tonesand return the keyboard to normal.

❚ NOTE• The main tone sounds over Channel 1, while the layered tone

sounds over Channel 2. You can also use the Mixer to changethe tone and volume settings for these channels.

• Layer cannot be used while standing by for recording or whilerecording is being performed in the Song Memory Mode.

This section describes how to use layer (to play two toneswith a single key) and split (to assign different tones to ei-ther end of the keyboard), and how to make touch response,transpose, and tuning settings.

Using LayerLayer lets you assign two different tones (a main tone and alayered tone) to the keyboard, both of which play wheneveryou press a key. For example, you could layer the FRENCHHORN tone on the BRASS SECTION tone to produce a richand brassy sound.

LAYER

To layer tones

1. First select the main tone.Example: To select “065 BRASS SECTION” as the main

tone, press the TONE button and then usethe number buttons to input 0, 6 and then 5.

2. Press the LAYER button.

Keyboard Settings

703A-E-061A

Main Tone (BRASS SECTION) + Layered Tone (FRENCH HORN)

B r s S e c t

S t r i n g s

Selected layer tone Lit

F r . H o r n

LAYER

E-60 703A-E-062A

LAYERTOUCH/TRANSPOSE/SETTING

[+]/[–]

SPLIT

TONE

Main Tone (STRINGS)

Split point

Split Tone(PIZZICATOSTRINGS)

S t r i n g s

P i z z . S t r

SPLIT

To split the keyboard

1. First select the main tone.Example: To select “050 STRINGS” as the main tone,

press the TONE button and then use the num-ber buttons to input 0, 5 and then 0.

2. Press the SPLIT button.

3. Select the split tone.Example: To select “048 PIZZICATO STRINGS” as the

split tone, use the number buttons to input 0,4 and then 8.

G 3

Split Tone (PIZZICATO STRINGS)+

Layered Split Tone(STRINGS)

Main Tone (BRASS SECTION)+

Layered Tone (FRENCH HORN)

Split point

4. Specify the split point. While holding down theSPLIT button, press the keyboard key where youwant the leftmost key of the high end range to be.Example: To specify G3 as the split point, press the G3

key.

A c o . B a s s

Selected split tone Lit

5. Now try playing something on the keyboard.• Every key from F�3 and below is assigned the PIZZI-

CATO STRINGS tone, while every key from G3 andabove is assigned the STRINGS tone.

6. Press the SPLIT button again to unsplit the key-board and return it to normal.

❚ NOTE• The main tone sounds over Channel 1, while the split tone

sounds over Channel 3. You can also use the Mixer to changethe tone and volume settings for these channels.

• Split cannot be used while standing by for recording or whilerecording is being performed in the Memory Mode.

• When the MODE switch is set to CASIO CHORD or FINGERED,the accompaniment keyboard range is in accordance with thesplit point you specify with the above procedure.

Using Layer and Split TogetherYou can use layer and split together to create a layered splitkeyboard. It makes no difference whether you layer tonesfirst and then split the keyboard, or split the keyboard andthen layer tones. When you use layer and split in combina-tion, the high range of the keyboard is assigned two tones(main tone + layered tone), and the low range two tones (splittone + layered split tone).

LAYER SPLIT

E-61

To split the keyboard and then layer tones

1. Press the TONE button and then input the tonenumber of the main tone.Example: To set “065 BRASS SECTION” as the main

tone.

2. Press the SPLIT button and then input the num-ber of the split tone.Example: To set “048 PIZZICATO STRINGS” as the

split tone.

• After specifying the split tone, press the SPLIT but-ton to unsplit the keyboard.

3. Press the LAYER button and then input the num-ber of the layered tone.Example: To set “064 FRENCH HORN” as the layered

tone.

4. Press the SPLIT button or the LAYER button soboth of the SPLIT and LAYER indicators are dis-played.

5. Input the number of the layered split tone.Example: To specify the “050 STRINGS” tone, enter 0,

5, 0.

6. While holding down the SPLIT button, press thekeyboard key where you want the lowest note(the leftmost key) of the upper range (right siderange) to be.

7. Play something on the keyboard.• Press the LAYER button to unlayer the keyboard, and

the SPLIT button to unsplit it.

oFF Touch : 1 Light : 2 Normal : 3 Heavy

Off

❚ NOTE• The main tone sounds over Channel 1, the layer tone over Chan-

nel 2, the split tone over Channel 3, and the layer/split toneover Channel 4. You can also use the Mixer to change the toneand volume settings for these channels.

Using Touch ResponseWhen touch response is turned on, the relative volume ofsound output by the keyboard is varied in accordance withthe amount of pressure applied, just like an acoustic piano.

To turn touch response on and off

1. Press the TOUCH/TRANSPOSE/SETTING but-ton.• This displays the Touch Response setting screen.

2. Use the [+] and [–] buttons to select the touchresponse sensitivity level.

• “1 Light” outputs powerful sound even with light keypressure, while “3 Heavy” requires very heavy keypressure to output powerful sound.

• Pressing [+] and [–] at the same time returns sensitiv-ity to the “2 Normal” setting.

• When you select “oFF Touch”, the tone does notchange regardless of how much pressure you applyto the keyboard. This causes the TOUCH RESPONSEindicator to disappear from the display.

❚ NOTE• Touch response not only affects the keyboard’s internal sound

source, it also is output as MIDI data.• Song Memory playback, accompaniment, and external MIDI

note data does not affect the touch response setting.

F r . H o r n

S t r i n g s

T o u c h

703A-E-063A

B r s S e c t

P i z z . S t r

E-62 703A-E-064A

Transposing the KeyboardTranspose lets you raise and lower the overall key of the key-board in semitone units. If you want to play an accompani-ment for a vocalist who sings in a key that’s different fromthe keyboard, for example, simply use transpose to changethe key of the keyboard.

To transpose the keyboard

1. Press the TOUCH/TRANSPOSE/SETTING but-ton.

2. Press the [�] and [�] (CURSOR) buttons untilthe transpose screen appears on the display.

3. Use [+] and [–] to change the transpose settingof the keyboard.Example: To transpose the keyboard five semitones up-

wards.

• Pressing the TOUCH/TRANSPOSE/SETTING but-ton exits the transpose screen.

❚ NOTE• The keyboard can be transposed within a range of –24 (two

octave downwards) to +24 (two octave upwards).• The transpose setting also affects playback from song mem-

ory and Auto Accompaniment.

T r a n s .

T r a n s .

Tuning the KeyboardThe tuning feature lets you fine tune the keyboard to matchthe tuning of another musical instrument.

To tune the keyboard

1. Press the TOUCH/TRANSPOSE/SETTING but-ton.

2. Use the [�] and [�] (CURSOR) buttons to dis-play the tuning screen.

3. Use [+] and [–] to change the tuning setting ofthe keyboard.Example: To lower the tuning by 20.

• Pressing the TOUCH/TRANSPOSE/SETTING but-ton exits the transpose screen.

❚ NOTE• The keyboard can be tuned within a range of –99 cents to +99

cents.*100 cents is equivalent to one semitone.

• The tuning setting also affects playback from song mem-ory and Auto Accompaniment.

T u n e

T u n e

TOUCH/TRANSPOSE/SETTING

[+]/[–]

[�]/[�] CURSOR

E-63

Changing Other SettingsSetting TypesThe table below shows the parameters whose settings you can change.

Setting menu

Touch Response(Touch)

Transpose(Trans.)

Tune(Tune)

Display/Pedal(LCD/Jack)

MIDI(MIDI)

Initialize/Delete(Init/Del)

Page

E-61

E-62

E-62

E-65

E-65

E-65

Description

Specifies of how sound should change with keyboard pressure.

Adjusts of overall keyboard tuning by semitone units.

Fine adjustment of overall keyboard tuning.

Adjusts display brightness and assigns of effects to pedals.

MIDI settings

Initializes all settings to initial factory defaults, resets specific settings or deletes userrhythms.

703A-E-065A

E-64 703A-E-066B

To use the keyboard settings menu

1. Press the TOUCH/TRANSPOSE/SETTING button.

2. Use the [�] and [�] (CURSOR) buttons, and the [�] (EXIT) and [�] (ENTER) buttons to recall the itemswhose settings you want to change.

K e y b d C hC o n t r a s t

J a c k C h o r d

A c omp O u t

L o c a l

I n i t M i x ?

I n i t P a r ?

1 0 0 D e l ?

1 0 1 D e l ?

1 0 2 D e l ?

1 0 3 D e l ?

I n i t S y s ?

T o u c h T r a n s . T u n e L CD / J a c k M I D I I n i t / D e l

MAIN MENU

SUB MENU EXIT ENTEREXIT ENTEREXIT ENTER

3-1. Use the [+] and [–] buttons or the number buttons to change the values.• Settings you make are applied even if you do not press the [�] (ENTER) button.• See the following section titled “Setting Menu Items” for details on each setting.

� In case of an initialize or delete procedure

3-2. Press the YES button.• This causes the message “Sure?” to appear, confirming whether you really want to perform the initialize or delete opera-

tion.

3-3. Press the YES button to complete the operation.• This performs the initialize or delete operation and returns to the tone or rhythm selection screen.

4. After making the settings you want, press the TOUCH/TRANSPOSE/SETTING button or [�] (EXIT) button toreturn to the tone or rhythm selection screen.

TOUCH/TRANSPOSE/SETTING

[+]/[–]

YES

[�]/[�] CURSOR

[�] EXIT

[�] ENTER

Number buttons

E-65

Setting Menu Items

Description

Adjusts display contrast.

Assigns the sustain pedal effect to a pedal.Assigns the sostenuto pedal effect to a pedal.Assigns the soft pedal effect to a pedal.Assigns the START/STOP button function to a ped-al.

Specifies the send channel for main tone play.

Specifies whether accompaniment range MIDINote On messages received from an external de-vice should be interpreted as auto accompanimentchords.Specifies whether this keyboard’s accompanimentis sent as MIDI messages.Specifies whether the keyboard should sound theparts played on it.Initializes parameters assigned by the Mixer or byinput from an external sequencer.Initializes all parameters, except for the displaycontrast setting.

Deletes user rhythm No. 100 data.




Initializes to initial factory defaults.Deletes all data in the user area.

Sub menu

Contrast(Contrast)

Assignable Jack(Jack)

Keyboard Channel(Keybd Ch)

MIDI In Chord Judge(Chord)

Accomp MIDI Out(AccompOut)Local Control Setting(Local)Mixer Reset(InitMix?)Parameter Reset(InitPar?)User Rhythm No. 100 Delete(rHy 100 Del?)User Rhythm No. 101 Delete(rHy 101 Del?)User Rhythm No. 102 Delete(rHy 102 Del?)User Rhythm No. 103 Delete(rHy 103 Del?)System Delete(InitSys?)

Range

00 to 12

SUSSoSSFt

rhy

01 to 16

on/oFF

on/oFF

on/oFF

—

—

—

—

—

—

—

Default

06

SUS——

—

01

oFF

oFF

on

—

—

—

—

—

—

—

Main menu

Display/Pedal(LCD/Jack)

MIDI(MIDI)

Initialize/Delete(Init/Del)

703A-E-067B

E-66 703A-E-068A

MIDI

What is MIDI?The letters MIDI stand for Musical Instrument Digital Inter-face, which is the name of a worldwide standard for digitalsignals and connectors that make it possible to exchangemusical data between musical instruments and computers(devices) produced by different manufacturers. MIDI com-patible equipment can exchange keyboard key press, key re-lease, tone change, and other data as messages.Though you do not need any special knowledge about MIDIto use this keyboard as a stand-alone unit, MIDI operationsrequire a bit of specialized knowledge. This section providesyou with an overview of MIDI that will help to get you go-ing.

MIDI ConnectionsMIDI messages are send out through the MIDI OUT termi-nal of one device to the MIDI IN terminal of another ma-chine over a MIDI cable. To send a message from this key-board to another device, for example, you must use a MIDIcable to connect the MIDI OUT terminal of this keyboard tothe MIDI IN terminal of the other device. To send MIDI mes-sages back to this keyboard, you need to use a MIDI cable toconnect the other device’s MIDI OUT terminal to the MIDIIN terminal of this keyboard.To use a computer or other MIDI device to record and play-back the MIDI data produced by this keyboard, you mustconnect the MIDI IN and MIDI OUT terminals of both devic-es in order to send and receive data.

If a MIDI THRU function provided by the software is being run ona connected computer or other MIDI device, be sure to turn thiskeyboard’s “Local Control Setting” off (page E-65).

MIDI IN MIDI OUT

MIDI IN MIDI OUTREST

/YES/NO

(TIE) 3

FULL RANGE

MAX

MIN


CHORDFINGERED

CASIO CHORD

NORMAL

BANK STORE

Computer etc.

MIDI ChannelsMIDI allows you to send the data for multiple parts at thesame time, with each part being sent over a separate MIDIchannel. There are 16 MIDI channels, numbered 1 through16, and MIDI channel data is always included whenever youexchange data (key press, pitch bend operation, etc.).Both the sending device and the receiving machine must beset to the same channel for the receiving device to correctlyreceive and play data. If the receiving device is set to Chan-nel 2, for example, it receives only MIDI Channel 2 data, andall other channels are ignored.This keyboard is equipped with multi-timbre capabilities,which means it can receive messages over all 16 MIDI chan-nels and play up to 16 parts at the same time. Tone and vol-ume settings for each channel can be made using the key-board’s onboard Mixer, or by an external source that sendsrequired MIDI control messages.Keyboard operations performed on this keyboard is sent out byselecting a MIDI channel (1 to 16) and then sending the appro-priate message.

General MIDIGeneral MIDI standardizes MIDI data for all sound sourcetypes, regardless of manufacturer. General MIDI specifiessuch factors as tone numbering, drum sounds, and availableMIDI channels for all sound sources. This standard makes itpossible for all MIDI equipment to reproduce the same nu-ances when playing General MIDI data, regardless of themanufacturer of the sound source.This keyboard supports General MIDI, so it can be used toplay commercially available pre-recorded General MIDI dataand General MIDI data send to it from a personal computer.

E-67

Sending and Receiving MIDI Mes-sagesThis keyboard can send notes you play on the keyboard, aswell as auto accompaniment patterns and Song Memory play-back as MIDI messages to another device.

MIDI Send Data� Keyboard PlayEach keyboard part (Channels 1 through 4) is sent over itsown individual MIDI channel. When Auto Harmonize isturned on, harmonize notes are also sent over each individu-al MIDI channel.

� Auto Accompaniment PlayEach accompaniment part is sent over its own individualMIDI channel. The “Accomp MIDI Out” parameter (page E-65) is used to specify whether a part is sent.

MIDI Message Receive� Multi Channel ReceiveThe 16 mixer parts can be used to receive data over 16 MIDImessage channels at the same time.

� Chord Changes when Using Auto Accompani-ment

MIDI messages received from an external device can be in-terpreted as chord changes as specified by the fingerings sup-ported by the auto accompaniment system of this keyboard.Use the “MIDI In Chord Judge” parameter (page E-65) to turnthis capability on and off.

• See the MIDI Implementation Chart at the back of this Us-er’s Guide for more information about each MIDI message.

MIDI SettingsYou can change the settings of a number of parameters thatcontrol how MIDI messages are sent and received.

MIDI ParametersYou can use the parameter setting procedure (page E-63) tochange the settings of the MIDI parameters described below.See pages E-64 and E-65 for details about the setting menuand procedure.

� MIDI In Chord JudgeThis parameter determines whether note data received froman external device should be interpreted as an auto accom-paniment chord fingering. Turn on this parameter when youwant to control auto accompaniment chords from a comput-er or other external device.

• on ........... Causes note data input through MIDI IN to beinterpreted as auto accompaniment chord finger-ings. The channel specified by the keyboard chan-nel is used for specifying chords.

• oFF ......... Turns off “MIDI In Chord Judge”.

� Accomp MIDI Out (Accompaniment MIDI Out)Turn on this parameter when you want sound auto accom-paniment on an external devices sound source.

• on ........... Outputs auto accompaniment as MIDI messagesthrough the keyboard’s MIDI OUT terminal.

• oFF ......... Does not output auto accompaniment.

❚ NOTE• For details, go to the CASIO Website at the URL below.

http://world.casio.com

703A-E-069A

E-68 703A-E-070A

Using the Data Download ServiceAccompaniment, song, tone, DSP, and registration data, aswell as application software for transferring data betweenyour computer and the keyboard are all available for down-load at the CASIO MUSIC SITE*.

� Data and Application SoftwareData itself as well as application software for transferring databetween your computer and the keyboard are available fordownload at the CASIO MUSIC SITE.

� Application SoftwareYou can run the application software on your computer andtransfer data you download from the CASIO MUSIC SITE tothe keyboard, and also use your computer ’s hard disk forlong-term storage of data you transfer from the keyboard toyour computer.• See the instructions provided at the CASIO MUSIC SITE

for full information about how to download the applica-tion software and data.

• See the application software’s online help for informationabout how to use the software.

* CASIO MUSIC SITE

http://music.casio.com/

1. Go to the above URL.

2. Select a region or country.

3. Select a download service for the INTERNETDATA EXPANSION SYSTEM data.• Note that the service you should use depends on the

area or country.

To connect to a computerBe sure to turn off the keyboard and your computer beforeconnecting them. You should also set the volume controllerof the keyboard to a relatively low volume.

1. Connect the keyboard’s MIDI interface to yourcomputer’s MIDI interface.

2. Turn on the keyboard, and then turn on yourcomputer or other connected device.

3. Start up the software you want to use on yourcomputer.

❚ NOTE• When using the application software, make sure that the tone

setting screen (the screen that appears after turning on power)is on the keyboard’s display screen.

CASIO MUSIC SITE

MIDI IN

CTK-671

MIDI Interface

INOUT

MIDI OUT

Internet Service Provider

REST/YES/NO

(TIE) 3

FULL RANGE

MAX

MIN


CHORDFINGERED

CASIO CHORD

NORMAL

BANK STORE

E-69703A-E-071A

Troubleshooting

Problem Possible Cause Action See page

No keyboard Sound

Any of the following symptomswhile using battery power.• Dim power indicator• Instrument does not turn on.• Display that is flickering, dim, or

difficult to read• Abnormally low speaker/head-

phone volume• Distortion of sound output• Occasional interruption of sound

when playing at high volumes• Sudden power failure when

playing at high volumes• Flickering or dimming of the dis-

play when playing at high vol-ume

• Continued sound output evenafter you release a key

• A tone that is totally differentfrom the one that is selected.

• Abnormal rhythm pattern anddemo tune play

• Loss of power, sound distortion,or low volume when playingfrom a connected computer orMIDI device

Auto Accompaniment does notsound.

Sound output does not changewhen key pressure is varied.

Playing the keyboard sounds twotones.

Different tones sound when keysin different keyboard ranges arepressed.

1. Power supply problem.

2. Power is not turned on.

3. Volume setting is too low.

4. The MODE switch is in the CASIOCHORD or FINGERED position.

5. Local Control is off.6. Mixer channel 1 is turned off.7. Mixer channel 1 volume setting is

too low.

Low battery power

1. Accompaniment volume is set to000.

2. Auto Accompaniment part Chan-nels 6 through 10 are turned off.

3. Auto Accompaniment part Chan-nels 6 through 10 volume setting istoo low.

Touch response is turned off.

Layer is turned on.

Split is turned on.

1. Correctly attach the AC adaptor,make sure that batteries poles (+/–)are facing correctly, and check tomake sure that batteries are notdead.

2. Press the POWER button to turn onpower.

3. Use the VOLUME slider to increasevolume.

4. Normal play is not possible on theaccompaniment keyboard while theMODE switch is set to CASIOCHORD or FINGERED. Change theMODE switch setting to NORMAL.

5. Turn on Local Control.6. Use the Mixer to turn channel 1 on.7. Use the Mixer to raise the volume

setting for channel 1.

Replace the batteries with a set of newones or use the AC adaptor.

1. Use the ACCOMP VOLUME buttonto increase the volume.

2. Use the Mixer to turn the channelson.

3. Use the Mixer to raise the volumesetting for the applicable channel.

Press the TOUCH/TRANSPOSE/SET-TING button to turn it on.

Press the LAYER button to turn off lay-ering.

Press the SPLIT button to turn off split.

Page E-16

Page E-21

Page E-21

Page E-29

Page E-65Page E-35Page E-36

PagesE-16, 17

Page E-34

Page E-35

Page E-36

Page E-61

Page E-59

Page E-59

E-70 703A-E-072A

Problem Possible Cause Action See page

The key or tuning does not matchwhen playing along with anotherMIDI machine.

Parts suddenly drop out duringsong memory playback.

Some parts do not play at all dur-ing song memory playback.

Cannot record Auto Accompani-ment or rhythm.

Nothing happens when the LAY-ER or SPLIT button is pressed.

No sound is produced when play-ing MIDI data from a computer.

Playing on the keyboard produc-es an unnatural sound when con-nected to a computer.

Cannot record chord accompani-ment data on a computer.

1. The tuning or transpose parameteris set to a value other than 00.

2. Mixer coarse tune, fine tune, and/or octave shift settings are valuesother than 00.

The number of tones being played atthe same time exceeds the keyboard’slimitation.

1. Channels are turned off.2. Volume setting is too low.

A track other than Track 1 is selectedas the recording track.Tracks 2 through 6 are melody tracks.

1. One or more of the melody channels(2 through 4) is turned off.

2. The volume setting of one or moreof the melody channels (2 through4) is too low.

3. The keyboard is in record standby.

1. MIDI cables are not connected prop-erly.

2. Channel is turned off, or volumesetting is too low.

The computer’s MIDI Thru function isturned on.

Accomp MIDI Out is turned off.

1. Change the transpose or tuning pa-rameter value to 00.

2. Use the Mixer to change the coarsetune, fine tune, and/or octave shiftsettings to 00.

Use the Mixer to turn unneeded chan-nels off and decrease the number ofparts being played.

1. Use the Mixer to turn channels on.2. Use the Mixer to check the volume

setting.

Use the track select buttons to selectTrack 1.

1. Use the Mixer to turn on Channels2 through 4.

2. Use the Mixer to raise the volumesetting of Channels 2 through 4.

3. The LAYER and SPLIT buttons aredisabled during recording andrecord standby.

1. Connect MIDI cables properly.

2. Use the Mixer to turn the channelon, or raise the volume setting.

Turn off the MIDI Thru function on thecomputer or turn off Local Control onthe keyboard.

Turn on Accomp MIDI Out.

Page E-62

Page E-37

Page E-35

Page E-35

Page E-36

Page E-47

Page E-35

Page E-36

Page E-46

Page E-66

PagesE-35, 36

Page E-65

Page E-65

E-71

Model: CTK-671

Keyboard: 61 standard-size keys, 5 octaves with touch response (Off / Light / Normal / Heavy)

Tones: 348 total (100 panel tones + 128 GM tones + 10 drum sounds + 10 user tones + 100Advanced Tones); layer/split

Rhythm Instrument Tones: 61

Polyphony: 32 notes maximum (16 for certain tones)

Effects: DSP (110 types: internal, 10 user areas) + Reverb (16 types) + Chorus (16 types)

Equalizer: 10 types, 4 bands

Auto Accompaniment

Rhythm Patterns: 104 (internal, 4 user areas)

Tempo: Variable (226 steps, = 30 to 255)

Chords: 3 fingering methods (CASIO CHORD, FINGERED, FULL RANGE CHORD)

Rhythm Controller: START/STOP, INTRO/ENDING 1 and 2, VARIATION/FILL-IN 1 and 2, SYNCHRO/FILL-IN NEXT

Accomp Volume: 0 to 127 (128 steps)

One-touch Presets: Recalls settings for tone, tempo, layer on/off, and harmonize on/off in accordancewith rhythm.

Auto Harmonize: Automatic addition of notes that harmonize with melody note in accordance withspecified Auto Accompaniment chords.

Memory Function

Songs: 2

Recording Tracks: 6 (2 through 6 are melody tracks)

Recording Methods: Real-time, step

Memory Capacity: Approximately 3,500 notes (total for two songs)

* Same memory is shared for user rhythm storage.

Edit Function: Equipped

Demo Tunes: 2

Synthesizer Function

Parameters: Attack time; release time; resonance; cutoff frequency; vibrato type; vibrato delay;vibrato depth; vibrato rate; octave shift; level; touch sense; reverb send; chorus send;DSP line; DSP type and DSP parameter

Registration Memory

Number of Setups: 16 (4 setups x 4 banks)

Memory Contents: Tone select, Rhythm select, Tempo settings, Split on/off, Split point settings, Layeron/off, Mixer settings (Channels 1~10), Effect settings, Equalizer settings, Touch Re-sponse settings, Assignable jack setting, Transpose settings, Tuning settings, Accom-paniment volume settings, Harmonize on/off

Specifications

Tune Number Name Composer Play Time

0 Crystal Fountain Edward Alstrom 1:54

1 Night Breeze Hage Software 1:52

703A-E-073A

E-72 703A-E-074A

Mixer Function

Channels: 16

Parameters: Channel on/off; tone; part on/off; volume; pan pot; octave shift; coarse tune; finetune; reverb send; chorus send; DSP line

MIDI: 16 multi-timbre receive, GM Level 1 standard

Other Functions

Transpose: 49 steps (–24 semitones to +24 semitones)

Tuning: Variable (A4 = approximately 440Hz ±100 cents)

LCD: Adjustable contrast

Terminals

MIDI Terminals: IN, OUT

Sustain/Assignable Terminal: Standard jack (sustain, sostenuto, soft, rhythm start/stop)

Headphone/Output Terminal: Stereo standard jack

Output Impedance: 140�

Output Voltage: 4.5V (RMS) MAX

Power Supply Terminal: 9V DC

Power Supply: Dual power supply system

Batteries: 6 D-size batteries

Battery Life: Approximately 4 hours continuous operation on manganese batteries

AC Adaptor: AD-5

Auto Power Off: Turns power off approximately six minutes after last key operation. Enabled underbattery power only, can be disabled manually.

Speaker Output: 2.5W + 2.5W

Power consumption: 9V 7.7W

Dimensions: 96.0 x 37.5 x 14.7 cm (37 13/16 x 14 3/4 x 5 13/16 inch)

Weight: Approximately 5.8 kg (12.8lbs) (without batteries)

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nd B

by

adju

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e sp

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set

ting

(pag

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.

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ued

e ca

mbi

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gam

a d

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s ac

ord

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703A-E-155A

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use

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s, in

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ings

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dig

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los

acor

des

usa

dos

com

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ente

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luye

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idas

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A-10

No.

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play

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eTy

pe N

ame

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lgor

ithm

Lis

t on

pag

e A

-12

for

mor

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form

atio

n.*

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and

op

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Los

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en

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DSP

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mbi

én, l

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po

DSP

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end

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soci

ado

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tip

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SP.

Par

a m

ayor

in

form

ació

nve

a la

“L

ista

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os D

SP”

en la

pág

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A-11703A-E-157A

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26F

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07E

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20S

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21S

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M06

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M04

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M00

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[26]

M01

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[28]

M19

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M10

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M20

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Auto

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22LW

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M25

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A-12

DS

P A

lgo

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00 :

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ance

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dju

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the

trem

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rate

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1 :

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dep

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02 :

2Ban

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�Fu

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is a

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band

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aliz

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Low

Fre

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(20

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, 1 (

400H

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00H

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just

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low

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2 :

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req

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6.0K

Hz)

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dju

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3 :

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dju

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03 :

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onT

his

is a

thre

e-ba

nd e

qual

izer

.

�P

aram

eter

s

0 :

Low

Fre

quen

cy (

Ran

ge: 0

(20

0Hz)

, 1 (

400H

z),

2 (8

00H

z))

Ad

just

s th

e cu

toff

fre

quen

cy o

f th

e lo

w-b

and

equ

aliz

er.

1 :

Low

Gai

n (R

ange

: -12

, -11

, -10

to 0

to +

10, +

11,

+12

)A

dju

sts

the

gain

of t

he lo

w-b

and

equ

aliz

er.

2 :

Mid

Fre

quen

cy (R

ange

: 0 (1

.0K

Hz)

, 1 (1

.3K

Hz)

,2

(1.6

KH

z), 3

(2.0

KH

z), 4

(3.0

KH

z), 5

(4.0

KH

z),

6 (6

.0K

Hz)

, 7 (8

.0K

Hz)

)A

dju

sts

the

cent

er f

requ

ency

of

the

mid

-ban

deq

ual

izer

.

3 :

Mid

Gai

n (R

ange

: -12

, -11

, -10

to 0

to +

10, +

11,

+12

)A

dju

sts

the

gain

of t

he m

id-b

and

equ

aliz

er.

4 :

Hig

h F

req

uen

cy (

Ran

ge:

0 (

6.0K

Hz)

, 1

(8.0

KH

z), 2

(10K

Hz)

)A

dju

sts

the

cuto

ff fr

equ

ency

of t

he h

igh-

band

equ

aliz

er.

5 :

Hig

h G

ain

(Ran

ge: -

12, -

11, -

10 to

0 to

+10

, +11

,+

12)

Ad

just

s th

e ga

in o

f the

hig

h-ba

nd e

qual

izer

.

04 :

LF

O W

ah

�Fu

ncti

onT

his

is a

“w

ah”

effe

c t t

hat

c an

auto

mat

ical

lyaf

fect

the

freq

uenc

y in

acc

ord

ance

wit

h an

LFO

.

�P

aram

eter

s

0 :

Inp

ut L

evel

(Ran

ge: 0

to 1

27)

Ad

just

s th

e in

pu

t le

vel.

The

inp

ut

sign

al c

anbe

com

e d

isto

rted

whe

n th

e le

vel o

f the

sou

ndbe

ing

inpu

t, th

e nu

mbe

r of

cho

rds,

or

the

Res

o-na

nce

valu

e is

larg

e. A

dju

st t

his

par

amet

er t

oel

imin

ate

such

dis

tort

ion.

1 :

Res

onan

ce (R

ange

: 0 to

127

)A

dju

sts

the

reso

nanc

e of

the

sou

nd.

2 :

Man

ual

(Ran

ge: 0

to 1

27)

Ad

just

s th

e fr

equ

ency

use

d a

s th

e ba

sis

for

the

wah

filt

er.

3 :

LFO

Rat

e (R

ange

: 0 to

127

)A

dju

sts

the

rate

of t

he L

FO.

4 :

LFO

Dep

th (R

ange

: 0 to

127

)A

dju

sts

the

dep

th o

f the

LFO

.

05 :

Au

to W

ah

�Fu

ncti

onT

his

is a

“w

ah”

effe

c t t

hat

c an

auto

mat

ical

lyaf

fec t

th

e fr

equ

ency

in

ac c

ord

ance

wit

h t

he

leve

l of t

he in

pu

t sig

nal.

�P

aram

eter

s

0 :

Inp

ut L

evel

(Ran

ge: 0

to 1

27)

Ad

just

s th

e in

pu

t le

vel.

The

inp

ut

sign

al c

anbe

com

e d

isto

rted

whe

n th

e le

vel o

f the

sou

ndbe

ing

inpu

t, th

e nu

mbe

r of

cho

rds,

or

the

Res

o-na

nce

valu

e is

larg

e. A

dju

st t

his

par

amet

er t

oel

imin

ate

such

dis

tort

ion.

1 :

Res

onan

ce (R

ange

: 0 to

127

)A

dju

sts

the

reso

nanc

e of

the

sou

nd.

2 :

Man

ual

(Ran

ge: 0

to 1

27)

Ad

just

s th

e fr

equ

ency

use

d a

s th

e ba

sis

for

the

wah

filt

er.

703A-E-158A

A-13

3 :

Dep

th(R

ange

: -64

to 0

to +

63)

Ad

just

s th

e d

epth

of

the

wah

in

acc

ord

ance

wit

h th

e le

vel o

f the

inp

ut s

igna

l.Se

ttin

g a

pos

itiv

e va

lue

cau

ses

the

wah

fil

ter

to o

pen

in

dir

ect

pro

por

tion

wit

h t

he

size

of

the

inp

ut s

igna

l, p

rod

uci

ng a

bri

ght s

ound

.Se

ttin

g a

nega

tive

val

ue

cau

ses

the

Wah

fil

ter

to c

lose

in a

ccor

dan

ce w

ith

the

size

of

the

in-

pu

t si

gnal

, whi

ch p

rod

uce

s a

dar

k to

ne q

ual

-it

y. H

owev

er, l

arge

inp

ut r

e-op

ens

the

Wah

fil-

ter,

even

if it

is c

lose

d.

06 :

Co

mp

ress

or

�Fu

ncti

onC

omp

ress

es t

he in

pu

t si

gnal

, whi

ch c

an h

ave

the

effe

ct o

f su

pp

ress

ing

leve

l va

riat

ion

an

dm

akin

g i

t p

os s

ible

to

su

s tai

n d

amp

ened

sou

nds

long

er.

�P

aram

eter

s

0 :

Dep

th (R

ange

: 0 to

127

)A

dju

sts

com

pre

ssio

n of

the

aud

io s

igna

l.

1 :

Att

ack

(Ran

ge: 0

to 1

27)

Ad

just

s th

e at

tack

am

ount

of t

he in

pu

t sig

nal.

A s

mal

ler

valu

e c a

use

s p

rom

pt

c om

pre

s sor

oper

atio

n, w

hic h

su

pp

ress

es t

he a

ttac

k of

the

inp

ut s

igna

l.A

larg

er v

alu

es d

elay

s co

mp

ress

or o

per

atio

n,w

hich

cau

ses

atta

ck to

be

outp

ut a

s-is

.

2 :

Rel

ease

(Ran

ge: 0

to 1

27)

Ad

just

s th

e ti

me

from

the

poi

nt w

hen

the

in-

put s

igna

l dro

ps b

elow

a c

erta

in le

vel u

ntil

the

com

pre

ssio

n op

erat

ion

is s

top

ped

.W

hen

an a

ttac

k fe

elin

g is

des

ired

(no

com

pres

-si

on a

t the

ons

et o

f the

sou

nd),

set t

his

par

am-

eter

to a

s lo

w a

val

ue

as p

ossi

ble.

To h

ave

com

pre

ssio

n ap

plie

d a

t all

tim

es, s

et a

high

val

ue.

3 :

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

outp

ut l

evel

.T

he o

utpu

t vol

ume

chan

ges

in a

ccor

dan

ce w

ith

the

Dep

th s

etti

ng a

nd th

e ch

arac

teri

stic

s of

the

inp

ut

ton

e. U

se t

his

par

amet

er t

o co

rrec

t fo

rsu

ch c

hang

es.

07 :

Lim

iter

�Fu

ncti

onT

his

is

an e

ffec

tor

that

you

can

use

to

set

anu

pp

er li

mit

val

ue

on th

e le

vel o

f the

inp

ut s

ig-

nal.

�P

aram

eter

s

0 :

Lim

it (R

ange

: 0 to

127

)A

dju

sts

the

volu

me

leve

l fro

m w

hich

the

limit

is a

pp

lied

.

1 :

Att

ack

(Ran

ge: 0

to 1

27)

Ad

just

s th

e at

tack

am

ount

of t

he in

pu

t sig

nal.

2 :

Rel

ease

(Ran

ge: 0

to 1

27)

Ad

just

s th

e ti

me

from

whe

n th

e in

pu

t si

gnal

dro

ps

belo

w a

cer

tain

leve

l unt

il t

he li

mit

op

-er

atio

n st

ops.

3 :

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l bei

ng o

utp

ut.

The

out

put v

olum

e ch

ange

s in

acc

ord

ance

wit

hth

e L

imit

set

ting

and

the

char

acte

rist

ics

of th

ein

pu

t to

ne.

Use

th

is p

aram

eter

to

c orr

ect

for

such

cha

nges

.

08 :

Dis

tort

ion

�Fu

ncti

onT

his

e

f fe

ct

pr o

vid

es

Dis

t or t

ion

+

Am

pSi

mu

lato

r.

�P

aram

eter

s

0 :

Gai

n (R

ange

: 0 to

127

)A

dju

sts

the

inp

ut g

ain.

1 :

Low

(Ran

ge: 0

to 1

27)

Ad

just

s th

e lo

w-b

and

gai

n.T

he c

uto

ff f

requ

ency

dif

fers

acc

ord

ing

to t

hep

rese

t DSP

.

2 :

Hig

h (R

ange

: 0 to

127

)A

dju

sts

the

high

-ban

d g

ain.

The

cu

toff

fre

quen

cy d

iffe

rs a

ccor

din

g to

the

pre

set D

SP.

3 :

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

outp

ut l

evel

.

09 :

Ste

reo

Ph

aser

�Fu

ncti

onT

his

is a

ste

reo

phas

er th

at m

odul

ates

the

phas

ein

acc

ord

ance

wit

h a

sine

wav

e L

FO.

�P

aram

eter

s

0 :

Res

onan

ce (R

ange

: 0 to

127

)A

dju

sts

the

reso

nanc

e of

the

sou

nd.

1 :

Man

ual

(Ran

ge: -

64 to

0 to

+63

)A

dju

sts

the

phas

er s

hift

vol

ume,

whi

ch is

use

dfo

r re

fere

nce.

2 :

Rat

e (R

ange

: 0 to

127

)A

dju

sts

the

rate

of t

he L

FO.

3 :

Dep

th (R

ange

: 0 to

127

)A

dju

sts

the

dep

th o

f the

LFO

.

4 :

Wet

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

volu

me

leve

l of t

he e

ffec

t.

10 :

Ph

aser

�Fu

ncti

onT

his

is a

mon

aura

l pha

ser

that

mod

ula

tes

the

pha

se in

acc

ord

ance

wit

h a

sine

wav

e L

FO.

�P

aram

eter

s

0 :

Res

onan

ce (R

ange

: 0 to

127

)A

dju

sts

the

reso

nanc

e of

the

sou

nd.

1 :

Man

ual

(Ran

ge: -

64 to

0 to

+63

)A

dju

sts

the

phas

er s

hift

vol

ume,

whi

ch is

use

dfo

r re

fere

nce.

703A-E-159A

A-14

2 :

Rat

e (R

ange

: 0 to

127

)A

dju

sts

the

rate

of t

he L

FO.

3 :

Dep

th (R

ange

: 0 to

127

)A

dju

sts

the

dep

th o

f the

LFO

.

4 :

Wet

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he e

ffec

t sou

nd.

11 :

Ro

tary

�Fu

ncti

onT

his

is a

rot

ary

spea

ker

sim

ula

tor.

�P

aram

eter

s

0 :

Spee

d (R

ange

: Slo

w, F

ast)

Swit

ches

th

e sp

eed

mod

e be

twee

n f

ast

and

slow

.

1 :

Bre

ak (R

ange

: Rot

ate,

Sto

p)

Stop

s sp

eake

r ro

tati

on.

2 :

Fall

Acc

el (R

ange

: 0 to

127

)A

dju

sts

acc e

lera

tion

whe

n th

e sp

eed

mod

e is

swit

ched

from

fast

to s

low

.

3 :

Ris

e A

ccel

(Ran

ge: 0

to 1

27)

Ad

just

s ac

c ele

rati

on w

hen

the

spee

d m

ode

issw

itch

ed fr

om s

low

to fa

st.

4 :

Slow

Rat

e (R

ange

: 0 to

127

)A

dju

s ts

s pea

ker

rota

tion

sp

eed

of

the

s low

spee

d m

ode.

5 :

Fast

Rat

e (R

ange

: 0 to

127

)A

dju

sts

spea

ker r

otat

ion

spee

d o

f the

fast

spe

edm

ode.

12 :

Dri

ve R

ota

ry

�Fu

ncti

onT

his

is a

n ov

erd

rive

- r

otar

y sp

eake

r si

mu

la-

tor.

�P

aram

eter

s

0 :

Ove

rdri

ve G

ain

(Ran

ge: 0

to 1

27)

Ad

just

s ov

erd

rive

gai

n.

1 :

Ove

rdri

ve L

evel

(Ran

ge: 0

to 1

27)

Ad

just

s th

e ou

tpu

t lev

el o

f the

ove

rdri

ve.

2 :

Spee

d(R

ange

: Slo

w, F

ast)

Swit

ches

th

e sp

eed

mod

e be

twee

n f

ast

and

slow

.

3 :

Bre

ak (R

ange

: Rot

ate,

Sto

p)

Stop

s sp

eake

r ro

tati

on.

4 :

Fall

Acc

el (R

ange

: 0 to

127

)A

dju

sts

acce

lera

tion

whe

n th

e sp

eed

mod

e is

swit

ched

from

fast

to s

low

.

5 :

Ris

e A

ccel

(Ran

ge: 0

to 1

27)

Ad

just

s ac

cele

rati

on w

hen

the

spee

d m

ode

issw

itch

ed fr

om s

low

to fa

st.

6 :

Slow

Rat

e (R

ange

: 0 to

127

)A

dju

sts

spea

ker

rota

tion

sp

eed

of

the

slow

spee

d m

ode.

7 :

Fast

Rat

e (R

ange

: 0 to

127

)A

dju

sts

spea

ker r

otat

ion

spee

d o

f the

fast

spe

edm

ode.

13 :

En

han

cer

�Fu

ncti

onE

nh

ance

s th

e ou

tlin

es o

f th

e lo

w r

ange

an

dhi

gh r

ange

of t

he in

pu

t sig

nal.

�P

aram

eter

s

0 :

Low

Fre

quen

cy (R

ange

: 0 to

127

)A

dju

sts

the

low

ran

ge e

nhan

cer

freq

uen

cy.

1 :

Low

Gai

n (R

ange

: 0 to

127

)A

dju

sts

the

low

ran

ge e

nhan

cer

gain

.

2 :

Hig

h Fr

equ

ency

(Ran

ge: 0

to 1

27)

Ad

just

s th

e hi

gh r

ange

enh

ance

r fr

equ

ency

.

3 :

Hig

h G

ain

(Ran

ge: 0

to 1

27)

Ad

just

s th

e hi

gh r

ange

enh

ance

r ga

in.

14 :

Rin

g M

od

ula

tor

�Fu

ncti

onT

his

is a

rin

g m

odu

lato

r (A

M m

odu

lato

r) th

atm

akes

it

pos

sibl

e to

mod

ula

te t

he f

requ

ency

of in

tern

al o

scill

ator

(OSC

) in

acco

rdan

ce w

ith

an in

tern

al L

FO.

�P

aram

eter

s

0 :

OSC

Fre

quen

cy (R

ange

: 0 to

127

)Se

ts t

he

refe

ren

ce f

requ

ency

of

the

inte

rnal

OSC

.

1 :

LFO

Rat

e (R

ange

: 0 to

127

)A

dju

sts

the

rate

of t

he L

FO.

2 :

LFO

Dep

th (R

ange

: 0 to

127

)A

dju

sts

the

dep

th o

f the

LFO

.

3 :

Wet

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he e

ffec

t sou

nd.

4 :

Dry

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he o

rigi

nal s

ound

.

15 :

Lo

-Fi

�Fu

ncti

onT

his

is a

n ef

fect

or th

at r

epro

du

ces

a re

tro-

typ

eL

o-Fi

sou

nd u

sing

Noi

se G

ener

ator

1 (p

hono

-gr

aph

reco

rd p

laye

r ty

pe s

crat

ch n

oise

gen

era-

tor)

an

d N

ois e

Gen

erat

or 2

(FM

rad

io t

ype

whi

te n

oise

and

pin

k no

ise

cont

inu

ous

nois

ege

nera

tor)

, and

by

nois

e m

odu

lati

on (

amp

li-

tud

e m

odu

lati

on =

AM

) an

d d

isto

rtio

n of

fre

-qu

ency

cha

ract

eris

tics

.

�P

aram

eter

s

0 :

Noi

se L

evel

1 (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of N

oise

Gen

erat

or 1

.

1 :

Noi

se D

ensi

ty 1

(Ran

ge: 0

to 1

27)

Ad

just

s th

e no

ise

den

sity

of

Noi

se G

ener

ator

1.

2 :

Noi

se L

evel

2 (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of N

oise

Gen

erat

or 2

.

3 :

Noi

se D

ensi

ty 2

(Ran

ge: 0

to 1

27)

Ad

just

s th

e no

ise

den

sity

of

Noi

se G

ener

ator

2.

4 :

Tone

(Ran

ge: 0

to 1

27)

Ad

just

s th

e to

ne.

5 :

Res

onan

ce (R

ange

: 0 to

127

)A

dju

sts

the

reso

nanc

e of

the

sou

nd.

703A-E-160A

A-15

6 :

Bas

s(R

ange

: -64

to 0

to +

63)

Ad

just

s th

e vo

lum

e of

low

sou

nds.

7 :

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

outp

ut l

evel

.

16 :

1-P

has

e C

ho

rus

�Fu

ncti

onT

his

is m

onau

ral c

horu

s in

acc

ord

ance

wit

h a

sine

wav

e L

FO.

�P

aram

eter

s

0 :

LFO

Rat

e (R

ange

: 0 to

127

)A

dju

sts

the

rate

of t

he L

FO.

1 :

LFO

Dep

th (R

ange

: 0 to

127

)A

dju

sts

the

dep

th o

f the

LFO

.

2 :

Feed

back

(Ran

ge: -

64 to

0 to

+63

)A

dju

sts

the

feed

back

of t

he s

ound

.

3 :

Wet

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he e

ffec

t sou

nd.

17 :

Sin

2-P

has

e C

ho

rus

�Fu

ncti

onT

his

is s

tere

o ch

oru

s in

acc

ord

ance

wit

h a

sine

wav

e L

FO.

�P

aram

eter

s

0 :

LFO

Rat

e (R

ange

: 0 to

127

)A

dju

sts

the

rate

of t

he L

FO.

1 :

LFO

Dep

th (R

ange

: 0 to

127

)A

dju

sts

the

dep

th o

f the

LFO

.

2 :

Feed

back

(Ran

ge: -

64 to

0 to

+63

)A

dju

sts

the

feed

back

of t

he s

ound

.

3 :

Wet

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he e

ffec

t sou

nd.

18 :

3-P

has

e C

ho

rus

�Fu

ncti

onT

his

is 3

-pha

se c

horu

s in

acc

ord

ance

wit

h tw

oL

FOs

of w

ith

dif

fere

nt s

ine

wav

e ra

tes.

�P

aram

eter

s

0 :

Rat

e1 (F

ast L

FO R

ate)

(Ran

ge: 0

to 1

27)

Ad

just

s th

e ra

te o

f LFO

1.

1 :

Dep

th1

(Fas

t LFO

Dep

th) (

Ran

ge: 0

to 1

27)

Ad

just

s th

e d

epth

of L

FO1.

2 :

Rat

e2 (S

low

LFO

Rat

e) (R

ange

: 0 to

127

)A

dju

sts

the

rate

of L

FO2.

3 :

Dep

th2

(Slo

w L

FO D

epth

) (R

ange

: 0 to

127

)A

dju

sts

the

dep

th o

f LFO

2.

4 :

Wet

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he e

ffec

t sou

nd.

19 :

Tri 2

-Ph

ase

Ch

oru

s

�Fu

ncti

onT

his

is s

tere

o ch

oru

s in

acc

ord

ance

wit

h tr

ian-

gula

r w

ave

LFO

.

�P

aram

eter

s

0 :

LFO

Rat

e (R

ange

: 0 to

127

)A

dju

sts

the

rate

of t

he L

FO.

1 :

LFO

Dep

th (R

ange

: 0 to

127

)A

dju

sts

the

dep

th o

f the

LFO

.

2 :

Feed

back

(Ran

ge: -

64 to

0 to

+63

)A

dju

sts

the

feed

back

of t

he s

ound

.

3 :

Wet

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he e

ffec

t sou

nd.

20 :

Ste

reo

Del

ay 1

�Fu

ncti

onT

his

is d

elay

of s

tere

o in

pu

t and

ou

tpu

t.

�P

aram

eter

s

0 :

Del

ay T

ime

(Ran

ge: 0

to 1

27)

Ad

just

s th

e d

elay

tim

e.

1 :

Wet

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he e

ffec

t sou

nd.

2 :

Feed

back

(Ran

ge: 0

to 1

27)

Ad

just

s th

e re

pea

t of t

he d

elay

.

3 :

Hig

h D

amp

(Ran

ge: 0

to 1

27)

Ad

just

s d

amp

ing

of

the

hig

h-r

ang

e d

elay

sou

nd.

The

sm

alle

r th

e va

lue,

the

gre

ater

the

dam

p-

ing

of h

igh-

rang

e d

elay

sou

nd.

4 :

Rat

io L

(Ran

ge: 0

to 1

27)

Ad

just

s th

e d

elay

tim

e of

the

left

cha

nnel

.P

rop

orti

onal

to th

e va

lue

set f

or D

elay

Tim

e.

5 :

Rat

io R

(Ran

ge: 0

to 1

27)

Ad

just

s th

e d

elay

tim

e of

the

righ

t cha

nnel

.P

rop

orti

onal

to th

e va

lue

set f

or D

elay

Tim

e.

21 :

Ste

reo

Del

ay 2

�Fu

ncti

onT

his

is c

ross

feed

back

del

ay o

f ste

reo

inpu

t and

outp

ut.

�P

aram

eter

s

0 :

Del

ay T

ime

(Ran

ge: 0

to 1

27)

Ad

just

s th

e d

elay

tim

e.

1 :

Wet

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he e

ffec

t sou

nd.

2 :

Feed

back

(Ran

ge: 0

to 1

27)

Ad

just

s th

e re

pea

t of t

he d

elay

.

3 :

Hig

h D

amp

(Ran

ge: 0

to 1

27)

Ad

jus t

s d

amp

ing

of

the

hig

h-r

ang

e d

elay

sou

nd.

The

sm

alle

r th

e va

lue,

the

gre

ater

the

dam

p-

ing

of h

igh-

rang

e d

elay

sou

nd.

4 :

Rat

io L

(Ran

ge: 0

to 1

27)

Ad

just

s th

e d

elay

tim

e of

the

left

cha

nnel

.P

rop

orti

onal

to th

e va

lue

set f

or D

elay

Tim

e.

5 :

Rat

io R

(Ran

ge: 0

to 1

27)

Ad

just

s th

e d

elay

tim

e of

the

righ

t cha

nnel

.P

rop

orti

onal

to th

e va

lue

set f

or D

elay

Tim

e.

22 :

3-Ta

p D

elay

�Fu

ncti

onT

his

is le

ft/

cent

er/

righ

t 3-t

ap d

elay

.

703A-E-161A

A-16

�P

aram

eter

s

0 :

Del

ay T

ime

(Ran

ge: 0

to 1

27)

Ad

just

s th

e d

elay

tim

e.

1 :

Wet

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he e

f fec

t sou

nd.

2 :

Feed

back

(Ran

ge: 0

to 1

27)

Ad

just

s th

e re

pea

t of t

he d

elay

.

3 :

Hig

h D

amp

(Ran

ge: 0

to 1

27)

Ad

just

s d

amp

ing

of

the

hig

h-r

ang

e d

elay

sou

nd.

The

sm

alle

r th

e va

lue,

the

gre

ater

the

dam

p-

ing

of h

igh-

rang

e d

elay

sou

nd.

4 :

Rat

io L

(Ran

ge: 0

to 1

27)

Ad

just

s th

e d

elay

tim

e of

the

left

cha

nnel

.P

rop

orti

onal

to th

e va

lue

set f

or D

elay

Tim

e.

5 :

Rat

io C

(Ran

ge: 0

to 1

27)

Ad

just

s th

e d

elay

tim

e of

the

cent

er c

hann

el.

Pro

por

tion

al to

the

valu

e se

t for

Del

ay T

ime.

6 :

Rat

io R

(Ran

ge: 0

to 1

27)

Ad

just

s th

e d

elay

tim

e of

the

righ

t cha

nnel

.P

rop

orti

onal

to th

e va

lue

set f

or D

elay

Tim

e.

23 :

Gat

e R

ever

b

�Fu

ncti

onT

his

is a

fad

er th

at c

reat

es a

rtif

icia

l rev

erb

that

sou

nds

like

it is

bei

ng c

ut w

ith

a ga

te.

�P

aram

eter

s

0 :

LP

F (R

ange

: 0 to

127

)A

dju

sts

the

c uto

ff f

requ

ency

of

the

low

-pas

sfi

lter

.A

sm

alle

r va

lue

cuts

the

high

ran

ge.

1 :

HP

F (R

ange

: 0 to

127

)A

dju

sts

the

c uto

ff f

requ

ency

of

the

high

-pas

sfi

lter

.A

larg

er v

alu

e cu

ts th

e lo

w r

ange

.

2 :

Feed

back

(Ran

ge: 0

to 1

27)

Ad

just

s th

e re

pea

t of t

he r

ever

b.

3 :

Hig

h D

amp

(Ran

ge: 0

to 1

27)

Ad

just

s d

amp

ing

of

the

hig

h-r

ang

e d

elay

sou

nd.

The

sm

alle

r th

e va

lue,

the

gre

ater

the

dam

p-

ing

of h

igh-

rang

e d

elay

sou

nd.

4 :

Dif

fusi

on (

Ran

ge: 0

to 1

27)

Pro

vid

es fi

ne a

dju

stm

ent o

f the

rev

erb.

5 :

Wet

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he e

ffec

t sou

nd.

6 :

Dry

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he o

rigi

nal s

ound

.

24 :

Rev

erse

Gat

e R

ever

b

�Fu

ncti

onT

his

is g

ate

reve

rb w

ith

a re

vers

e ro

tati

on e

f-fe

ct.

�P

aram

eter

s

0 :

LP

F (R

ange

: 0 to

127

)A

dju

sts

the

c uto

ff f

requ

ency

of

the

low

-pas

sfi

lter

.A

sm

alle

r va

lue

cuts

the

high

ran

ge.

1 :

HP

F (R

ange

: 0 to

127

)A

dju

sts

the

c uto

ff f

requ

ency

of

the

high

-pas

sfi

lter

.A

larg

er v

alu

e cu

ts th

e lo

w r

ange

.

2 :

Feed

back

(Ran

ge: 0

to 1

27)

Ad

just

s th

e re

pea

t of t

he r

ever

b.

3 :

Hig

h D

amp

(Ran

ge: 0

to 1

27)

Ad

jus t

s d

amp

ing

of t

he

hig

h-r

ange

rev

erb

sou

nd.

The

sm

alle

r th

e va

lue,

the

gre

ater

the

dam

p-

ing

of h

igh-

rang

e re

verb

sou

nd.

4 :

Dif

fusi

on (R

ange

: 0 to

127

)P

rovi

des

fine

ad

just

men

t of t

he r

ever

b.

5 :

Wet

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he e

ffec

t sou

nd.

6 :

Dry

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he o

rigi

nal s

ound

.

25 :

Ref

lect

ion

�Fu

ncti

onT

his

is a

n ef

fect

or th

at e

xtra

cts

the

firs

t ref

lect

edso

und

from

a r

ever

b so

und

.

�P

aram

eter

s

0 :

Typ

e (R

ange

: 0 to

7)

Sele

cts

from

am

ong

the

eigh

t ava

ilab

le r

efle

c-ti

on p

atte

rns.

1 :

Wet

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he e

ffec

t sou

nd.

2 :

Feed

back

(Ran

ge: 0

to 1

27)

Ad

just

s th

e re

pea

t of t

he r

efle

cted

sou

nd.

3 :

Tone

(Ran

ge: 0

to 1

27)

Ad

just

s th

e to

ne o

f the

ref

lect

ed s

ound

.

26 :

Fla

ng

er

�Fu

ncti

onT

his

is a

flan

ger i

n ac

cord

ance

wit

h a

sine

wav

eL

FO.

�P

aram

eter

s

0 :

LFO

Rat

e (R

ange

: 0 to

127

)A

dju

sts

the

rate

of t

he L

FO.

1 :

LFO

Dep

th (R

ange

: 0 to

127

)A

dju

sts

the

dep

th o

f the

LFO

.

2 :

Feed

back

(Ran

ge: -

64 to

0 to

+63

)A

dju

sts

the

feed

back

of t

he s

ound

.

3 :

Wet

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he e

ffec

t sou

nd.

27 :

Rev

erb

�Fu

ncti

onT

his

is a

n ef

fec t

or t

hat

pre

serv

es t

he b

read

thof

a s

ound

by

add

ing

a re

verb

sou

nd.

�P

aram

eter

s

0 :

Tone

(Ran

ge: 0

to 1

27)

Ad

just

s th

e to

ne o

f the

rev

erb

sou

nd.

703A-E-162A

A-17

1 :

Tim

e (R

ange

: 0 to

127

)A

dju

sts

the

reve

rb ti

me.

2 :

Hig

h D

amp

(Ran

ge: 0

to 1

27)

Ad

just

s d

amp

ing

of t

he

hig

h-r

ange

rev

erb

sou

nd.

The

sm

alle

r th

e va

lue,

the

gre

ater

the

dam

p-

ing

of h

igh-

rang

e re

verb

sou

nd.

3 :

ER

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he in

itia

l ref

lect

ion.

4 :

Wet

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he e

ffec

t sou

nd.

28 :

2-Ta

p D

elay

�Fu

ncti

onT

his

is le

ft/

righ

t 2-t

ap d

elay

.

�P

aram

eter

s

0 :

Del

ay T

ime

(Ran

ge: 0

to 1

27)

Ad

just

s th

e d

elay

tim

e.

1 :

Wet

Lev

el (R

ange

: 0 to

127

)A

dju

sts

the

leve

l of t

he e

ffec

t sou

nd.

2 :

Feed

back

(Ran

ge: 0

to 1

27)

Ad

just

s th

e re

pea

t of t

he d

elay

.

3 :

Hig

h D

amp

(Ran

ge: 0

to 1

27)

Ad

jus t

s d

amp

ing

of

the

hig

h-r

ang

e d

elay

sou

nd.

The

sm

alle

r th

e va

lue,

the

gre

ater

the

dam

p-

ing

of h

igh-

rang

e d

elay

sou

nd.

4 :

Rat

io L

(Ran

ge: 0

to 1

27)

Ad

just

s th

e d

elay

tim

e of

the

left

cha

nnel

.P

rop

orti

onal

to th

e va

lue

set f

or D

elay

Tim

e.

5 :

Rat

io R

(Ran

ge: 0

to 1

27)

Ad

just

s th

e d

elay

tim

e of

the

righ

t cha

nnel

.P

rop

orti

onal

to th

e va

lue

set f

or D

elay

Tim

e.

�T

he

foll

owin

g “M

ult

i” a

lgor

ith

ms

are

us e

d i

nco

mbi

nati

on w

ith

the

algo

rith

ms

des

crib

ed a

bove

.P

aram

eter

s ar

e sh

ard

by

both

typ

es o

f alg

orit

hms.

M00

:M

ult

i00

(Sin

2-P

has

e C

ho

rus

– 2-

T ap

Del

ay)

�Fu

ncti

onT

his

is a

mu

lti e

f fec

tor

that

is r

elat

ed to

Sin

2-

Pha

se C

horu

s - 2

-Tap

Del

ay.

�P

aram

eter

s

0 :

Cho

rus

LFO

Rat

e

1 :

Cho

rus

LFO

Dep

th

2 :

Cho

rus

Feed

back

3 :

Cho

rus

Wet

Lev

el

4 :

Del

ay T

ime

5 :

Del

ay W

et L

evel

6 :

Del

ay F

eed

back

7 :

Del

ay H

igh

Dam

p

M01

:M

ult

i01

(3-P

has

e C

ho

rus

– 3-

T ap

De-

lay)

�Fu

ncti

onT

his

is a

mul

ti e

ffec

tor

that

is re

late

d to

3-P

hase

Cho

rus

- 3-T

ap D

elay

.

�P

aram

eter

s

0 :

Cho

rus

Rat

e 1

1 :

Cho

rus

Dep

th 1

2 :

Cho

rus

Rat

e 2

3 :

Cho

rus

Dep

th 2

4 :

Cho

rus

Wet

Lev

el

5 :

Del

ay T

ime

6 :

Del

ay W

et L

evel

7 :

Del

ay F

eed

back

M02

: M

ult

i02

(Ph

aser

– 3

-Ph

ase

Ch

oru

s)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

that

is r

elat

ed to

Pha

ser

- 3-P

hase

Cho

rus.

�P

aram

eter

s

0 :

Pha

ser

Res

onan

ce

1 :

Pha

ser

Man

ual

2 :

Pha

ser

Rat

e

3 :

Pha

ser

Dep

th

4 :

Cho

rus

Rat

e 1

5 :

Cho

rus

Dep

th 1

6 :

Cho

rus

Rat

e 2

7 :

Cho

rus

Dep

th 2

M03

: M

ult

i03

(Fla

ng

er –

2-T

ap D

elay

)

�Fu

ncti

onT

his

is a

mul

ti e

ffec

tor

that

is re

late

d to

Fla

nger

- 2-T

ap D

elay

.

�P

aram

eter

s

0 :

Flan

ger

LFO

Rat

e

1 :

Flan

ger

LFO

Dep

th

2 :

Flan

ger

Feed

back

3 :

Flan

ger

Wet

Lev

el

4 :

Del

ay T

ime

5 :

Del

ay W

et L

evel

6 :

Del

ay F

eed

back

7 :

Del

ay H

igh

Dam

p

M04

: M

ult

i04

(Ste

reo

Ph

aser

– S

tere

o D

elay

1)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

that

is r

elat

ed to

Ste

reo

Pha

ser

- Ste

reo

Del

ay 1

.

�P

aram

eter

s

0 :

Pha

ser

Res

onan

ce

1 :

Pha

ser

Man

ual

2 :

Pha

ser

Rat

e

3 :

Pha

ser

Dep

th

4 :

Pha

ser

Wet

Lev

el

5 :

Del

ay T

ime

6 :

Del

ay W

et L

evel

7 :

Del

ay F

eed

back

703A-E-163A

A-18

M05

:M

ult

i05

(En

han

cer

– 1-

Ph

ase

Ch

oru

s)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

rela

ted

to E

nhan

cer

- 1-

Pha

se C

horu

s.

�P

aram

eter

s

0 :

Enh

ance

r L

ow F

requ

ency

1 :

Enh

ance

r L

ow G

ain

2 :

Enh

ance

r H

igh

Freq

uen

cy

3 :

Enh

ance

r H

igh

Gai

n

4 :

Cho

rus

LFO

Rat

e

5 :

Cho

rus

LFO

Dep

th

6 :

Cho

rus

Feed

back

7 :

Cho

rus

Wet

Lev

el

M06

: M

ult

i06

(En

han

cer

– 2-

T ap

Del

ay)

�Fu

ncti

onT

his

is

a m

ult

i ef

fec t

or t

hat

is

rela

ted

to

En

-ha

ncer

- 2-

Tap

Del

ay.

�P

aram

eter

s

0 :

Enh

ance

r L

ow F

requ

ency

1 :

Enh

ance

r L

ow G

ain

2 :

Enh

ance

r H

igh

Freq

uen

cy

3 :

Enh

ance

r H

igh

Gai

n

4 :

Del

ay T

ime

5 :

Del

ay W

et L

evel

6 :

Del

ay F

eed

back

7 :

Del

ay H

igh

Dam

p

M07

: M

ult

i07

(En

han

cer

– F

lan

ger

)

�Fu

ncti

onT

his

is

a m

ult

i ef

fec t

or r

elat

ed t

o E

nh

ance

r -

Flan

ger.

�P

aram

eter

s

0 :

Enh

ance

r L

ow F

requ

ency

1 :

Enh

ance

r L

ow G

ain

2 :

Enh

ance

r H

igh

Freq

uen

cy

3 :

Enh

ance

r H

igh

Gai

n

4 :

Flan

ger

LFO

Rat

e

5 :

Flan

ger

LFO

Dep

th

6 :

Flan

ger

Feed

back

7 :

Flan

ger

Wet

Lev

el

M08

: Mul

ti08

(Sin

2-P

hase

Cho

rus

– Fl

ange

r)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

that

is r

elat

ed to

Sin

2-

Pha

se C

horu

s - F

lang

er.

�P

aram

eter

s

0 :

Cho

rus

LFO

Rat

e

1 :

Cho

rus

LFO

Dep

th

2 :

Cho

rus

Feed

back

3 :

Cho

rus

Wet

Lev

el

4 :

Flan

ger

LFO

Rat

e

5 :

Flan

ger

LFO

Dep

th

6 :

Flan

ger

Feed

back

7 :

Flan

ger

Wet

Lev

el

M09

:M

ult

i09

(S

in 2

-Ph

as

e C

ho

rus

–Tr

emo

lo)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

that

is r

elat

ed to

Sin

2-

Pha

se C

horu

s - T

rem

olo.

�P

aram

eter

s

0 :

Cho

rus

LFO

Rat

e

1 :

Cho

rus

LFO

Dep

th

2 :

Cho

rus

Feed

back

3 :

Cho

rus

Wet

Lev

el

4 :

Trem

olo

Rat

e

5 :

Trem

olo

Dep

th

M10

: M

ult

i10

(Ste

reo

Ph

aser

– A

uto

Pan

)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

that

is r

elat

ed to

Ste

reo

Pha

ser

- Au

to P

an.

�P

aram

eter

s

0 :

Pha

ser

Res

onan

ce

1 :

Pha

ser

Man

ual

2 :

Pha

ser

Rat

e

3 :

Pha

ser

Dep

th

4 :

Pha

ser

Wet

Lev

el

5 :

Au

to P

an R

ate

6 :

Au

to P

an D

epth

M11

: M

ult

i11

(Co

mp

ress

or

– L

o-F

i)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

rela

ted

to C

omp

ress

or -

Lo-

Fi.

�P

aram

eter

s

0 :

Com

pre

ssor

Dep

th

1 :

Com

pre

ssor

Att

ack

2 :

Com

pre

ssor

Lev

el

3 :

Lo-

Fi N

oise

1

4 :

Lo-

Fi N

oise

2

5 :

Lo-

Fi T

one

6 :

Lo-

Fi R

eson

ance

7 :

Lo-

Fi B

ass

M12

:M

ult

i12

(Rin

g M

od

ula

tor

– S

in 2

-Ph

ase

Ch

oru

s -

2-Ta

p D

elay

)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

that

is r

elat

ed t

o R

ing

Mod

ula

tor

- Sin

2-P

hase

Cho

rus.

�P

aram

eter

s

0 :

Rin

g O

SC F

requ

ency

1 :

Rin

g L

FO R

ate

2 :

Rin

g L

FO D

epth

3 :

Rin

g W

et L

evel

4 :

Rin

g D

ry L

evel

5 :

Cho

rus

LFO

Dep

th

6 :

Del

ay T

ime

7 :

Del

ay W

et L

evel

703A-E-164A

A-19

M13

: M

ult

i13

(Rin

g M

od

ula

tor

– D

isto

rtio

n)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

rela

ted

to

Rin

g M

odu

-la

tor

- Dis

tort

ion.

�P

aram

eter

s

0 :

Rin

g O

SC F

requ

ency

1 :

Rin

g L

FO R

ate

2 :

Rin

g L

FO D

epth

3 :

Rin

g W

et L

evel

4 :

Rin

g D

ry L

evel

5 :

Dis

tort

ion

Gai

n

6 :

Dis

tort

ion

Tone

7 :

Dis

tort

ion

Lev

el

M14

:M

ult

i14

(Lo

-Fi –

Ref

lect

ion

)

�Fu

ncti

onT

his

is

a m

ult

i ef

fec t

or r

elat

ed t

o L

o-Fi

- R

e-fl

ecti

on.

�P

aram

eter

s

0 :

Lo-

Fi N

oise

1

1 :

Lo-

Fi N

oise

2

2 :

Lo-

Fi T

one

3 :

Lo-

Fi R

eson

ance

4 :

Ref

lect

ion

Typ

e

5 :

Ref

lect

ion

Wet

Lev

el

6 :

Ref

lect

ion

Feed

back

7 :

Ref

lect

ion

Tone

M15

: M

ult

i15

(Dis

tort

ion

– L

o-F

i)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

rela

ted

to

Dis

tort

ion

-L

o-Fi

.

�P

aram

eter

s

0 :

Dis

tort

ion

Gai

n

1 :

Dis

tort

ion

Low

2 :

Dis

tort

ion

Hig

h

3 :

Dis

tort

ion

Lev

el

4 :

Lo-

Fi N

oise

1

5 :

Lo-

Fi N

oise

2

6 :

Lo-

Fi T

one

7 :

Lo-

Fi R

eson

ance

M16

: M

ult

i16

(Dri

ve R

ota

ry –

Ref

lect

ion

)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

rela

ted

to D

rive

Rot

ary

- Ref

lect

ion.

�P

aram

eter

s

0 :

Dri

ve R

otar

y G

ain

1 :

Dri

ve R

otar

y L

evel

2 :

Dri

ve R

otar

y Sp

eed

3 :

Dri

ve R

otar

y Sl

ow R

ate

4 :

Dri

ve R

otar

y Fa

st R

ate

5 :

Ref

lect

ion

Wet

Lev

el

6 :

Ref

lect

ion

Feed

back

7 :

Ref

lect

ion

Tone

M17

: M

ult

i17

(Ro

tary

– R

efle

ctio

n)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

rela

ted

to

Rot

ary

- R

e-fl

ecti

on.

�P

aram

eter

s

0 :

Rot

ary

Spee

d

1 :

Rot

ary

Bre

ak

2 :

Rot

ary

Slow

Rat

e

3 :

Rot

ary

Fast

Rat

e

4 :

Ref

lect

ion

Wet

Lev

el

5 :

Ref

lect

ion

Feed

back

6 :

Ref

lect

ion

Tone

M18

:M

ult

i18

(Co

mp

ress

or

– E

nh

ance

r -

2-Ta

p D

elay

)

�Fu

ncti

onT

his

is a

mu

lti e

f fec

tor

that

is r

elat

ed to

Com

-p

ress

or -

Enh

ance

r - 2

-Tap

Del

ay.

�P

aram

eter

s

0 :

Com

pre

ssor

Dep

th

1 :

Com

pre

ssor

Att

ack

2 :

Com

pre

ssor

Lev

el

3 :

Enh

ance

r L

ow G

ain

4 :

Enh

ance

r H

igh

Gai

n

5 :

Del

ay T

ime

6 :

Del

ay W

et L

evel

7 :

Del

ay F

eed

back

M19

: M

ult

i19

(Co

mp

ress

or

– S

tere

o D

elay

1)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

rela

ted

to C

omp

ress

or -

Ster

eo D

elay

1.

�P

aram

eter

s

0 :

Com

pre

ssor

Dep

th

1 :

Com

pre

ssor

Att

ack

2 :

Com

pre

ssor

Rel

ease

3 :

Com

pre

ssor

Lev

el

4 :

Del

ay T

ime

5 :

Del

ay W

et L

evel

6 :

Del

ay F

eed

back

7 :

Del

ay H

igh

Dam

p

M20

:M

ult

i20

(Ph

aser

– 1

-Ph

ase

Ch

oru

s –

Au

to P

an)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

that

is r

elat

ed to

Pha

ser

- 1-P

hase

Cho

rus

- Au

to P

an.

�P

aram

eter

s

0 :

Pha

ser

Res

onan

ce

703A-E-165A

A-20

1 :

Pha

ser

Man

ual

2 :

Pha

ser

Rat

e

3 :

Pha

ser

Dep

th

4 :

Cho

rus

LFO

Rat

e

5 :

Cho

rus

LFO

Dep

th

6 :

Au

to P

an R

ate

7 :

Au

to P

an D

epth

M21

:M

ult

i21

(Au

to W

ah –

Tri

2-P

has

e C

ho

-ru

s –

2-Ta

p D

elay

)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

that

is r

elat

ed t

o A

uto

Wah

- Tr

i 2-P

hase

Cho

rus

- 2-T

ap D

elay

.

�P

aram

eter

s

0 :

Wah

Res

onan

ce

1 :

Wah

Man

ual

2 :

Wah

Dep

th

3 :

Cho

rus

LFO

Rat

e

4 :

Cho

rus

LFO

Dep

th

5 :

Del

ay T

ime

6 :

Del

ay W

et L

evel

7 :

Del

ay F

eed

back

M22

:M

ult

i22

(LF

O W

ah –

Tri

2-P

has

e C

ho

-ru

s –

2-Ta

p D

elay

)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

that

is r

elat

ed t

o L

FOW

ah -

Tri 2

-Pha

se C

horu

s - 2

-Tap

Del

ay.

�P

aram

eter

s

0 :

Wah

Res

onan

ce

1 :

Wah

Man

ual

2 :

Wah

LFO

Rat

e

3 :

Wah

LFO

Dep

th

4 :

Cho

rus

LFO

Dep

th

5 :

Del

ay T

ime

6 :

Del

ay W

et L

evel

7 :

Del

ay F

eed

back

M23

:M

ult

i23

(Co

mp

ress

or

– S

in 2

-Ph

ase

Ch

oru

s –

Ref

lect

ion

)

�Fu

ncti

onT

his

is a

mu

lti e

f fec

tor

that

is r

elat

ed to

Com

-p

ress

or -

Sin

2-P

hase

Cho

rus

- Ref

lect

ion.

�P

aram

eter

s

0 :

Com

pre

ssor

Dep

th

1 :

Com

pre

ssor

Att

ack

2 :

Com

pre

ssor

Lev

el

3 :

Cho

rus

LFO

Rat

e

4 :

Cho

rus

LFO

Dep

th

5 :

Ref

lect

ion

Wet

Lev

el

6 :

Ref

lect

ion

Feed

back

7 :

Ref

lect

ion

Tone

M24

:M

ult

i24

(Dis

tort

ion

– 1

-Ph

ase

Ch

oru

s–

2-Ta

p D

elay

)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

that

is r

elat

ed to

Dis

tor-

tion

- 1-

Pha

se C

horu

s - 2

-Tap

Del

ay.

�P

aram

eter

s

0 :

Dis

tort

ion

Gai

n

1 :

Dis

tort

ion

Low

2 :

Dis

tort

ion

Hig

h

3 :

Dis

tort

ion

Lev

el

4 :

Cho

rus

LFO

Dep

th

5 :

Del

ay T

ime

6 :

Del

ay W

et L

evel

7 :

Del

ay F

eed

back

M25

:M

ult

i25

(Co

mp

ress

or

– D

isto

rtio

n –

2-

Tap

Del

ay)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

that

is r

elat

ed to

Com

-p

ress

or -

Dis

tort

ion

- 2-T

ap D

elay

.

�P

aram

eter

s

0 :

Com

pre

ssor

Dep

th

1 :

Dis

tort

ion

Gai

n

2 :

Dis

tort

ion

Low

3 :

Dis

tort

ion

Hig

h

4 :

Dis

tort

ion

Lev

el

5 :

Del

ay T

ime

6 :

Del

ay W

et L

evel

7 :

Del

ay F

eed

back

M26

:M

ulti2

6 (A

uto

Wah

– D

isto

rtio

n –

2-T a

pD

elay

)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

that

is r

elat

ed t

o A

uto

Wah

- D

isto

rtio

n - 2

-Tap

Del

ay.

�P

aram

eter

s

0 :

Wah

Man

ual

1 :

Wah

Dep

th

2 :

Dis

tort

ion

Gai

n

3 :

Dis

tort

ion

Tone

4 :

Dis

tort

ion

Lev

el

5 :

Del

ay T

ime

6 :

Del

ay W

et L

evel

7 :

Del

ay F

eed

back

M27

:M

ult

i27

(LF

O W

ah –

Dis

tort

ion

– 2

-Tap

Del

ay)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

that

is r

elat

ed t

o L

FOW

ah -

Dis

tort

ion

- 2-T

ap D

elay

.

�P

aram

eter

s

0 :

Wah

Man

ual

1 :

Wah

LFO

Rat

e

2 :

Wah

LFO

Dep

th

3 :

Dis

tort

ion

Gai

n

4 :

Dis

tort

ion

Lev

el

5 :

Del

ay T

ime

6 :

Del

ay W

et L

evel

7 :

Del

ay F

eed

back

703A-E-166A

A-21

M28

: M

ult

i28

(Dis

tort

ion

– 3

-Tap

Del

ay)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

that

is r

elat

ed to

Dis

tor-

tion

- 3-

Tap

Del

ay.

�P

aram

eter

s

0 :

Dis

tort

ion

Gai

n

1 :

Dis

tort

ion

Low

2 :

Dis

tort

ion

Hig

h

3 :

Dis

tort

ion

Lev

el

4 :

Del

ay T

ime

5 :

Del

ay W

et L

evel

6 :

Del

ay F

eed

back

7 :

Del

ay H

igh

Dam

p

M29

: M

ult

i29

(Dis

tort

ion

– P

has

er)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

rela

ted

to

Dis

tort

ion

-P

hase

r.

�P

aram

eter

s

0 :

Dis

tort

ion

Gai

n

1 :

Dis

tort

ion

Low

2 :

Dis

tort

ion

Hig

h

3 :

Dis

tort

ion

Lev

el

4 :

Pha

ser

Res

onan

ce

5 :

Pha

ser

Man

ual

6 :

Pha

ser

Rat

e

7 :

Pha

ser

Dep

th

M30

:M

ult

i30

(Dis

tort

ion

– S

in 2

-Ph

ase

Ch

o-

rus)

�Fu

ncti

onT

his

is a

mu

lti e

ffec

tor

that

is r

elat

ed to

Dis

tor-

tion

- Si

n 2-

Pha

se C

horu

s.

�P

aram

eter

s

0 :

Dis

tort

ion

Gai

n

1 :

Dis

tort

ion

Low

703A-E-167A

2 :

Dis

tort

ion

Hig

h

3 :

Dis

tort

ion

Lev

el

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CTK671-ES-1

MA0105-B 　　Printed in Malaysia

PCASIO COMPUTER CO.,LTD.6-2, Hon-machi 1-chome

Shibuya-ku, Tokyo 151-8543, Japan

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