o PAR OPERATION MANUAL 1 MANUAL DE OPERACION 69 \| uCongratulations upon your selection of a Casio CZ-I. The CZ-1 is a state-of-the-art musical instrument which incorporates the latest electronics technology to make its operation as easy as possible. Exceptional sound quality backed up by a host of sophisticated features and func- tions makes the CZ-1 a truly unique musical instrument. In order to enjoy the features and functions of the CZ-1 to their fullest, be sure to carefully read this manual and Sollow the instructions contained herein.CT ATRI Aa SteA CONTENTS CZ-1 MODES GENERAL GUIDE — FRONT PANEL .. GENERAL GUIDE — REAR PANEL PART 1_NORMAL MODE 1-1 RECALLING INTERNAL TONES 1-2 RECALLING PRESET TONES 1-3. RECALLING CARTRIDGE TONES 1-4 EFFECT/OVERALL CONTROL ..... 1-8 PD (PHASE DISTORTION) SOUND S 1-6 &STEP ENVELOPES 1-7 BLOCK CONFIGURATION . 48 DCO (DIGITAL CONTROLLED OSCILLATOR) 1-9 DCW (DIGITAL CONTROLLED WAVE) 4-10 DCA (DIGITAL CONTROLLED AMPLIFIER) . 1-11 VELOCITY 1-12 VIBRATO/OCTAVE 1-13 DETUNE/LINE SELECT . 1-14 RING/NOISE MODULATION 1-15 NAME ....... 116 PARAMETER COPY .. 4-17. INITIALIZE . 4-18 COMPARE/RECALL .. 1-19 TONE DATA WRITE/SAVEILOAD 1-20 EXCHANGE .. PART 2 TONE MIX MODE 40 24 TONE MIX SETTINGS ...... 22 EFFECT/OVERALL CONTROL 2:3 TONE MIX MODE SOUND CREATION PART 3_ KEY SPLIT MODE 341 KEY SPLIT SETTINGS ....... 32 EFFECT/OVERALL CONTROL .. 33 KEY SPLIT MODE SOUND CREATION PART 4 OPERATION MEMORY MODE. 41 OPERATION MEMORY OVERVIEW 42 OPERATION RECALL 43 OPERATION DATA WRITE 4-4 OPERATION DATA MODIFICATION 4-5 OPERATION DATA SAVE/LOAD .. 46 EXCHANGE .. PART 5 MIDI 5:1 COMMUNICATION DATA .. 5-2 COMMUNICATION SETTINGS .. 53 TONE, OPERATION DATA COMMUNICATION SYSTEM INITIALIZE ... CARE OF YOUR UNIT ....... SPECIFICATIONS ..i | The CZ-1 is a fully digital synthesizer under control of an LSI (large-scale integrated circuit). CASIO's original PD sound source teams up with the sound creation concepts found in traditional analog models to produce sounds of unbelievable quality and depth MODES. ‘The operation of the CZ-1 can be divided into four major modes, the details of which are explained below. @ NORMAL MODE @ Recall and play of tones stored in memory @ Modification of recalled tone data to form new tones @ Creation of totally new tones @ Application of various effects to tones © Storage of tones to internal memory or to RAM car- {ridges (optional) M@ TONE MIX MODE @ Recall of two tones for mixing @ Modification of recalled tones into new tones @ Setting of level balance and detune for two mixed tones @ Writing of mixed tones to operation memory M@ KEY SPLIT MODE @ Recall of two tones for assignment to UPPER key- board and LOWER keyboard @ Modification of recalled tones into new tones. @ Setting of keyboard split point @ Independent setting of level and effect for each tone © Writing of spit to operation memory @ OPERATION MEMORY MODE @ Storage of panel settings (operation) made in NORMAL, TONE MIX and KEY SPLIT modes @ Recall of operation memory contents @ Writing of al stored operation memory data to RAM cartridgesGENERAL GUIDE—FRONT PANEL e 4 ® oO @OVERALL CONTROL SECTION @MODE SELECT SECTION @SOLO KEY @mio1 KEY @PROGRAMMER SECTION @LIQUID CRYSTAL DISPLAY (LCD) @DATA ENTRY SECTION @CARTRIDGE/MIDI KEY @EFFECT SECTION @PARAMETER SECTION @MODULATION WHEEL @PITCH BEND WHEEL @KEYBOARD@ OVERALL CONTROL SECTION ee ed Indicator LL ae — ie | conus contro. net MASTER TUNE key _ KEY TRANSPOSE key ——=—1 MODULATION ONIOFF key PORTAMENTO ONIOFF key*MIDI ON/OFF key ‘Switches between MIDI ON and MIDI OFF modes. MIDI ON is in effect and the indicator is lit when the power of the keyboard is switched ON. In the MIDI OFF mode, the indicator is not lit, and MIDI message communica. tions are impossible. eMASTER TUNE key ‘Adjusts the pitch of the keyboard within a range of = 100 cents (one semitone). The standard pitch is set at A4=442Hz, *KEY TRANSPOSE key Transposes the key of the keyboard at semitone steps within the range of G~F# *MODULATION ON/OFF key ‘Switches modulation ON and OFF. When ON, the in- dicator lights, and modulation is applied in accordance with the position of the MODULATION WHEEL @ and the keyboard after touch setting. @ MODE SELECT SECTION *PORTAMENTO ON/OFF key ‘Switches portamento ON and OFF. When ON, the in- dicator lights, and portamento is applied in accordance with the portamento time which is set using the PORTAMENTO key in the EFFECT SECTION ©. *GLIDE ON/OFF key ‘Switches glide ON and OFF. When ON, the indicator, lights, and glide is applied in accordance with the NOTE and TIME values which are set using the GLIDE key in the EFFECT SECTION @. *VOLUME (master volume) Adjusts the output level through line out and the head- phone volume. *STEREO CHORUS (chorus control) Adjusts the strength of the chorus effect. The chrous effect becomes stronger as the setting moves towards MAX, and weaker as MIN is approached. Indicator NORMAL key NORMAL key Sets the NORMAL mode. *TONE MIX key ‘Sets the TONE MIX mode. *KEY SPLIT key Sets the KEY SPLIT mode @ SOLO key OPERATION MEMORY key KEY SPLIT key TONE MIX key *OPERATION MEMORY key Sets the OPERATION MEMORY mode. * The mode indicators light to indicate the current mode setting. One of the mode indicators lights to indicate the current mode setting. The NORMAL, TONE MIX, and KEY SPLIT indicators can only be litwhile the OPERATION MEMORY mode is in effect. ‘Switches the solo function ON and OFF. When ON, the indicator lights and monophonic play only is possible on the keyboard. When OFF, the keyboard is capable of up to 16-note polyphonic. ~6-@ MIDI key ‘Switches the MIDI sendireceive mode ON and OFF. When ON, the indicator lights and data send/receive operations with the MIDI musical instrument or computer connected to the MID! terminals on the rear panel become possible (see page 52). @ PROGRAMMER SECTION CARTRIDGE key EXCHANGE key *MEMORY BANK keys Used to select one of eight memory banks (A through H). The indicator above the bank which is selected lights when its key is pressed. *MEMORY NO. keys Used to select one of eight memory numbers (1 through 8). The indicator above the bank which is selected lights when its key is pressed. *CARTRIDGE key Switches ON and OFF when a ROM cartridge or RAM carttidge (both optional are loaded. When ON, select. ed tone data can be recalled directly from the loaded cartridge. *EXCHANGE key ‘Swaps the memory banks and memory numbers of two tones selected from among the 128 internal and car- tridge tones. © LIQUID CRYSTAL DISPLAY (LCD) MEMORY NO. keys MEMORY BANK keys COMPAREJRECALL key WRITE key *COMPARE/RECALL key Compares original tone data with tone data created by altering the original tone data. The newly created data is temporarily stored in the COMPARE/RECALL area ‘automatically, and the indicator above this key lights when tone data is altered. Pressing this key so the in- dicator is OFF recalls the original tone, while pressing again so the indicator is ON recalls the newly created tone. The CZ-1 is equipped with a COMPARE/RECALL area capable of storing a total of up to five tones: 1 in the NORMAL mode, 2 in the TONE MIX mode, 2 in the KEY SPLIT mode. °WRITE key Writes tone data newly created using the PARAMETER SECTION @ at a selected location on an internal memory or a RAM cartridge, and operation data set on the panel to a selected operation memory. The 32-character liquid crystal display shows the current status of the CZ-1, including such data as tone number, tone name, parameter name, and data, All settings should be performed while monitoring the values on this display. ee@ DATA ENTRY SECTION °VALUE keys Used to change the data (values) that appear on the LCD ©. Each press of the &) key decreases a value by 1, while each press of the (4) key increases a value by 1. Holding either key down causes high speed con- tinous decreasefincrease of a value. These keys are also used for cartridge data SAVE and LOAD oper- ations “In the case of KEY TRANSPOSE, these keys are used to change the key name (represented by alphabetic characters) rather than numeric values. For MASTER TUNE, these keys change the pitch of the keyboard, but the LCD does not show any numeric value. *ENV POINT keys Used to specify the SUSTAIN POINT and END POINT for each of the six envelopes in the dual-line 0Cco, DCW, DCA envelopes of the PARAMETER SECTION @. = PAGE (UP/DOWN) |—CURSOR keys }—ENVELOPE POINT keys °PAGE keys Scrolls the data shown on the LCD © to display the various parameters shown in the table below. The UP. key scrolls the display up, while the DOWN key scrolls the display down *CURSOR keys Used to move the cursor" — below data) on the LCD ©. The G) key moves the cursor to the left, while the © moves the cursor to the right, when multiple Parameters are being displayed. “These keys are also used as YES ((3)) and NO (() keys in data SAVE/LOAD operations, and when ini- tializing the keyboard memory contents. SECTION] MOOE [DATA SAVELOAD errect PARAMETER | pact\ xey|nonuat [TONE wx [ev seu or Jcanrmocenaoy | mwnseuarten roucH [ew ‘own [one NO, [uv Leva [LOWER UPPER] POLY (a cantaioae Hoo wre serie [eee fm ras eon re crcrus oworr| ocr Shier [au azTER TOUGH [crn oN Lv CARTRIDGE/MIDI key Used to SAVE data for the 64 internal tones or 64 operation memories from the keyboard to a RAM cartridge (option- al) oF to LOAD data from a cartridge to the keyboard, After scrolling, using the PAGE UP key, these keys are also used for data transmission between two CZ-1’s or between a C2-1 and other Casio synthesizers, “When the CARTRIOGE KEY of the PROGRAMMER SECTION is used, specific tones are directly recalled from 8 cartridge, so internal tone data is no affected. In the case of the CARTRIDGE/MIDI key, however, all 64 tones on the cartridge are written to the keyboard's internal memory by the LOAD operation, -8-@ EFFECT SECTION PORTAMENTO/ ae GUDE/ ‘SWEEP TIME key NOTE TIME key *PORTAMENTO key Used to set the portamento time. Portamento is. applied in accordance with the value set when the PORTAMENTO ON/OFF key in the OVERALL CONTROL SECTION ©) is ON. *GLIDE key Used to set the glide pitch difference and time. Glide is applied in accordance with the values set when the GLIDE ON/OFF key in the OVERALL CONTROL SECTION @ is ON. PARAMETER SECTION °BEND RANGE key Used to set the range for the PITCH BEND WHEEL ®. *MODULATION WHEEL/ AFTER TOUCH key Used to set the range for the MODULATION WHEEL, @, the modulation range for the keyboard after touch, and the volume range for the keyboard after touch. These parameters are displayed using the PAGE UP/DOWN keys. The modulation effect is applied when the MODULATION ON/OFF key in the OVERALL CONTROL SECTION @) is ON. “EEEEL oO ® D @ eo € @WAVEFORM key Pressed to select the LINE 1 waveform (basic waveform). ®DCO ENV key Pressed to set the LINE 1 pitch envelope. ©DCW KEY FOLLOW key Pressed to cause the waveform for the LINE 1 DCW to approach a sine wave (cosine wave) at the higher range of the keyboard. © @DCW ENV key Pressed to set the LINE 1 wave envelope. @©DCA KEY FOLLOW key Pressed to cause the envelope for the LINE 1 DCW to shorten (timewise) at the higher range of the keyboard. @DCA ENV key Pressed to set the LINE 1 amp envelope.@®LEVEL key Pressed to set the overall volume level for the LINE 1 DCA. @®VELOCITY key Pressed to set the degree of change in accordance with the key touch strength for the LINE 1 amp (volume), wave (timbre), and pitch (pitch) envelopes. @WAVEFORM key Pressed to select the LINE 2 waveform @DCO ENV key Pressed to set the LINE 2 pitch envelope. ®DCW KEY FOLLOW key Pressed to cause the waveform for the LINE 2 DCW to approach a sine wave (cosine wave) at the higher range of the keyboard. @DCW ENV key Pressed to set the LINE 2 wave envelope. @®DCA KEY FOLLOW key Pressed to cause the envelope for the LINE 2 DCW to ‘shorten (timewise) at the higher range of the keyboard. @DCA ENV key Pressed to set the LINE 2 amp envelope. @LEVEL key Pressed to set the overall volume level for the LINE 2 DCA. @VELOCITY key Pressed to set the degree of change in accordance with, the key touch strength for the LINE 2 amp (volume), wave (timbre) and pitch (pitch) envelopes. @ MODULATION WHEEL @VIBRATO key Pressed to set vibrato for each tone in accordance with four parameters: wave, delay, rate, depth. @OCTAVE key Pressed to raise or lower the pitch of a tone in one- octave steps. @DETUNE key Pressed to set differences in pitch between LINE 1 and LINE 1’, or LINE 2 and LINE 2’. @LINE SELECT key Pressed to select a line or line combination for sound creation. Each press of this key changes the line set- ting in the sequence: I~ Q— 0+ @- M+ (, and a indicator lights to show the current selection. @RING key Pressed to apply ring modulation to either LINE 1° or LINE 2’ @NOISE key Pressed to apply noise modulation to either LINE 1’ or LINE 2" @NAME key Pressed to allow writing of a name up to 16 characters tong for atone. @PARAMETER COPY key Used to copy waveform and envelope parameter data between LINE 1 and LINE 2 in single-parameter units, INITIALIZE key Pressed to initialize each data value. This key is held down and the parameter key for the value to be initial- ized is pressed simultaneously. Turning this wheel when the MODULATION ON/OFF key in the OVERALL CONTROL SECTION @ is ON adjusts vibrato depth in accordance with the range set using the MODULATION WHEEL/AFTER TOUCH key in the EFFECT SECTION @. “Turning the wheel has no effect at all when the MODUALTION ON/OFF key is OFF. @ PITCH BEND WHEEL Turning this wheel controls pitch in accordance with the range set using the BEND RANGE key in the EFFECT SECTION @. @® Keyboard A 61-key, 5-octave, 16-note maximum polyphonic keyboard with initiaV/after touch sensors. "8-note polyphonic when 20C0 is being used, 4-note polyphonic when TONE MIX is being used, monophonic when SOLO is ON. -10Ut aes ae The CZ-1 does not come equipped with a built-in speaker, so either headphones or a keyboard amp and speaker system must be used to produce sound. *CONNECTION DIAGRAM (CZ-1 REAR PANEL) @ FOOT VOLUME jack @ LINE OUT jack (PIL) @ Power switch © SUSTAIN jack AC power terminal 9 come slot @ PROTECT switch @ PHONES jack RAM cartridge RA-6 (optional) or ROM cartridge (optional) Household outlet, mci | (mains) ‘Accessory power cord i onMlot termina O° | Sustain pedal ome — (sP-1) wee Keyboard amp (AS-3000, AS-2000) Headphones (CP-2)© Power switch Switches power ON and OFF. @ AC power terminal For connection of the accessory AC power cord. @© Cartridge slot For loading of ROM cartridge or RAM cartridge, both optional @ PROTECT switch Protects internal tone data and operation memory data from inadvertent erasure. MEMORY. PROTECTION FUNCTION This function protects memory contents by mak- ing WRITE operations impossible while the PROTECT switch is in the ON position. It also pro- tects against loss of internal memory data by load- ing data from an optional RAM cartridge. ane “Always leave the PROTECT sutich in the | [_ ON setting except during WRITE, EX- CHANGE, SAVE and LOAD operations. Normal setting *Memory protection power supply The contents of the internal memory of the CZ-1 are protected by a lithium battery with a life of ap- proximately 5 years. Memory contents may be al- tered or lost entirely when the battery weakens, so be sure to have the battery replaced by an authorized service person before the end of the battery's life is reached. © SUSTAIN For connection of the optional sustain pedal (SP-1) for control of the sustain effect. Connection of a sustain Pedal gives the pedal priority over manual settings. “In the KEY SPLIT mode, panel settings allow sustain Pedal control to be applied independently to the UPPER and LOWER keyboard tones, FOOT VOLUME For connection of the optional foot volume pedal (VP-2) for foot control of the overall volume level 12- @ LINE OUT (R/L) For connection to keyboard amplifiers, external audio equipment, ete. * Stereo outputs provided when speakers are attached to each jack. Connection to a single jack provides monaural output (A and B output mixed). STEREO OUTPUT Terminal” AlA+B [2 |MoDE] CHORUS oy lore esc a von ome, | soma, TONE! =ON | TONE + TONE®| ‘TONE! ES ne TONE2 = OFF oes oa Usa ee le BREE: [erensionen) Loven “Stereo chorus effect adjusted by the chorus control is applied to tones where CHORUS = ON. MONAURAL OUTPUT (one jack only) ‘Connection «a Output ag Sith Wass Nae a Monaural pag ree utp ynaural plu¢ vie [Mons pa | mixed sctut | PHONES (Headphone jack) For connection of optional headphones (CP-2). Output from the speakers is automatically cut when head- phones are connectedNORMAL MODE (1) NORMAL MODE SETTING © First switch the power of the unit ON. At this time, the LCD should appear as illustrated below: @ The NORMAL mode will already be set if it was in effect when the power of the keyboard was switched OFF. Otherwise, press the NORMAL key in the MODE SELECT SECTION. 21413RECALLING:INTERNAL TONES (2) INTERNAL TONES 64 different tones are preset in memory for the inter- nal tones. Internal tones are selected using the MEMORY BANK keys (A~H) and the MEMORY NO. keys (1 ~8) in the PROGRAMMER SECTION to speci- fy tone numbers. MEMORY BANK keys ‘Any tone name up to 16 characters long can be assigned. *risiintompal tones are preset al Ny hat are Identical to the 64 Fioros a he fe piseet jones (see) -13The internal ROM of the CZ-1 is programmed with 64 preset tones which can be called whenever needed for play or for modification into internal tones. Press a MEMORY BANK key and MEMORY NO. key to specify the preset tone of your choice while holding down the INITIALIZE key in the PARAMETER SECTION. MEMORY BANK keys MEMORY NO. keys ‘This operation does not erase or otherwise affect the internal tone in the memory with the same number as that selected. ‘The preset tone selected is called to the COMPARE! RECALL area of the PROGRAMMER SECTION, and this situation will be indicated by the lit indicator above the COMPARE/RECALL key. The name of the preset, tone called will be shown on the LCD. ee ams The indicator above the COMPARE/RECALL key will go ON and OFF with each press of the key. The in- ternal tone with the same number as that specified is called when the indicator is OFF. Preset tone name «The COMPARE/RECALL area is used for ter- porary storage of tone data. The WRITE proce- dure (see page 36) should be used to write the called preset tone to the internal bank. The ‘SYSTEM INITIALIZE operation should be used to write all preset tones to the internal bank. “Tone data stored in the COMPARE/RECALL, area is retained even when the power of the key- board is switched OFF. : x go To TT ER] 1 | BRASS AGO, GUAR BRASS 4 PIANO 7 2 | BRASS 2 JAZZ GUITAR SAXOPHONE PIANO 2 3 | BRASS 3 ELEC. GUITAR | cELLO PIANO 3 | strINcs 1 SLAP BASS | Lute ELEC. PIANO 8. sTRINGs 2 SYNTH. BASS WHISTLE HONKY-TONK 6 || STRINGS 3 ELEC. BASS 1 HARMONICA FUNKY CLAVI. 1 7,| staINes 4 ELEC. BASS 2 RECORDER FUNKY CLAVL 2 8 | ORCHESTRA HARP KOTO HARPSICHORD E FE a 2H 1 | SAZZ ORGAN TMUSIC'BOX ‘SYNTH. STRINGS ‘SYNTH, DRUMS 7 2 | uaz ORGAN 2 VIBRAPHONE FAT ENSEMBLE SYNTH. DRUMS 2 3 | PIPE ORGAN 1 | XYLOPHONE, ‘SITAR ‘CONGA 4 | PIPE ORGAN 2 | MARIMBA SYNTH. LEAD 1 STEEL ORUM 8 | accoroion MALLET LOG SYNTH. LEAO 2 SWEEP SOUND 2 8 | voice 1 AFRO-PERCUSSION | SYNTH. LEAD 3 MOTORCYCLE 7 | voice 2 BELLS SYNTH, LEAO 4 JET ROAR a |vorce s | METALLIC SOUND SWEEP SOUND 1 TYPHOON SOUND -14--ING:CARTRIDGE: 7: Sas eit ONES. PO RART TS, Loading ROM cartridges or RAM cartridges (both optional) into the keyboard allows direct access to 64 cartridge tones in addition to the 128 internal and preset tones. ¢DIRECT CARTRIDGE TONE ACCESS © Load an optionally available ROM cartridge or RAM cartridge into the cartridge sot on the rear panel of the keyboard. ROM cartridge: (option) RAM cartridge: RA-6 (option) @ Press the CARTRIDGE key in the PROGRAMMER, ‘SECTION so that the indicator above the key lights. @ Select a tone number using the MEMORY BANK keys and the MEMORY NO. keys in the PROGRAM- MER SECTION. The name of the tone selected will appear on the LCD as illustrated below. RTRIDGE* A-1 SYNTH, BRAS: 1 ‘Tone name for tone written con cartridge Use the LOAD operation (see page 36) to write the called cartridge tone to the internal bank. The LOAD operation can also be used to write all the cartridge tones to the internal bank. ‘The four effects shown below can be applied in the NORMAL mode. STEREO CHORUS ON/OFF, MASTER TUNE, and KEY TRANSPOSE are also possible in this mode. ‘iB agi Poramciers (EFFECT SEGTION TE CONTROL PORTAMENTO SWEEP =0,1/TIME 00-99 ON/OFF GUIDE TONE = —12~ + 2/TIME = 0099 on/orF PITCH BEND RANGE=0-¥2 ENO WHEEL MOD. WHEEL DEPTH =00—99 MOD. WHEEL Moo. WHEE OO .AFTER TOUCH DEPTH =00~99 Kay ar touch [AMP-AFTER TOUCH RANGE™=00 15 Kay ar touch “All four effects are applied in the same way for all tones. 15-(1) PORTAMENTO The portamento effect of the CZ-1 can be applied using either a fixed period in accordance with the PORTAMENTO TIME setting or a variable period in ac- cordance with the difference in the pitch. Application et portamento also cites cording to whether or not the SOLO key is ON or OFF. @ PORTAMENTO SWEEP/ TIME SETTING The LCD will appear as illustrated below when the PORTAMENTO key in the EFFECT SECTION is ON. SWEER=0 01) O0'STIME<99 ‘The SWEEP parameter is set to a value of 0 or 1 to determine whether the portamento is according to a fixed period or a variable period. Pressing the VALUE. G key in the DATA ENTRY SECTION sets SWEEP to 1, while pressing the (] key sets SWEEP to 0. This value sets a fixed period portamento. As shown in the illustration, the pitches change over the same Period of time for portamento CG and C-+C (one oc- tave higher) ‘SWEEP =0 Time —Lights (a i einer Sane 0 18 ay das ARDS 61 OETA #¢',No modulation applied *| *Of the four vibrato parameters (WAVE, DELAY, RATE, DEPTH) In the PARAMETER SECTION, only the DEPTH setting affects the after touch of the keyboard. The VIBRATO DEPTH assigned to each tone in memory is applied when the MODULATION ON/OFF key is set to OFF. “The operation with the greatest effect takes priority when the MODULATION WHEEL is operated while strong pressure is applied to the keyboard. However, DEPTH cannot exceed a value of 99. @-2 MODULATION AFTER TOUCH DEPTH SETTING The LCD will appear as illustrated below when the MODULATION WHEEL/AFTER TOUCH key in the EFFECT SECTION is ON and the PAGE UP key in the DATA ENTRY SECTION is pressed once. 3 —tights AFTER TOUCH DEPTH: (005 DEPTH 339) ‘MOD. after touch depth ~18- ‘The MODULATION DEPTH range can be set within a range of 00~99 using the VALUE [Gl] keys in the DATA ENTRY SECTION. The larger the value, the greater the MODULATION DEPTH range. @-1 AFTER TOUCH VOLUME CONTROL Volume can be controlled by the after touch of the key- board in accordance with the sensitivity set by the AMP. AFTER TOUCH RANGE in the EFFECT SECTION. ‘Modulation and volume can be controlled simultane- ‘ously by after touch when the MODULATION ON/OFF key is ON. @-2 AMP. AFTER TOUCH RANGE SETTING The LCD will appear as illustrated below when the MODUALTION WHEEL/AFTER TOUCH key in the EFFECT SECTION is ON and the PAGE UP key in the DATA ENTRY SECTION is pressed twice. —tights fel + Ge... a er on Gi AMP. AFTER TOUCH RANG! (00SRANGES 15) AMP. AFTER TOUCH RANGE The AMP. (amplification) range can be set within a range of 00~15 using the VALUE (¥]G@] keys in the DATA ENTRY SECTION. The larger the value, the greater the AMP. range.RANGE =00 ...... No change in volume no matter how strongly the keyboard is pressed. RANGE .. Maximum difference in volume be- tween normal and strong keyboard pressure, “Maximum key pressure results in volume equal to that Produced when RANGE =00 (see illustration). Volume Strongest pressure Volume ditference Normal pressure ‘Appage display function is employed on the CZ-1 to allow effective setting operations of the various Parameters available. When the MODULATION WHEEL/AFTER TOUCH key in the EFFECT SEC- TION is ON, for example, the page display func- tion allows scrolling among the WHEEL DEPTH, MOD. AFTER TOUCH DEPTH, and AMP. AFTER TOUCH RANGE to set the various parameters. Each press of the PAGE UP or PAGE DOWN key scrolls the displays as illustrated below. NOD, WHEEL DEPTH=33 + NOD.AFTER TOUCH DEPTH ¥ ANP.AFTER TOUCH RANGE: “PAGE UP _<>PAGE DOWN (5) CHORUS ON/OFF The built-in STEREO CHORUS of the CZ-1 can be switched ON and OFF using the DATA ENTRY SEC- TION. The strength of the effect applied is adjusted using the CHORUS CONTROL in the OVERALL CONTROL SECTION. The LCD shows the selected tone number and name in the NORMAL mode when no changes are being made in parameters. +INTERMAL* B-2 JAZZ GUITAR ‘The CHORUS ON/OFF display appears when the PAGE UP or PAGE DOWN key is pressed while this display is being shown. er) CHORUS OFE J: Q ON/OFF display Either of the VALUE (2) @) keys can be used to switch the current setting to ON/OFF. When this effect is ON, the same chorus effect is applied to all tones in accor- dance with the CHORUS CONTROL setting in the OVERALL CONTROL SECTION. (6) MASTER TUNE The LCD will appear as illustrated below when the MASTER TUNE key in the OVERALL CONTROL SEC- TION is ON. MASTER TUNE PUSH VALUE KEY Each press of the VALUE (@) key in the DATA EN- TRY SECTION raises the pitch by 1.7 cents, while each press of the () key lowers the pitch by 1.7 cents.(7) KEY TRANSPOSE The LCD will appear as illustrated below when the KEY TRANSPOSE key in the OVERALL CONTROL SEC- TION is ON. al KEY TRANSPOSE REVS ‘Cursor Each press of the VALUE (2) key in the DATA ENTRY ‘SECTION raises the key by one semitone, while each press of the (¥] key lowers the pitch by one semitone. Initia! value GRA AR BBA CCD EE PoP (8) SOLO The keyboard of the CZ-1 becomes monophonic when the SOLO key is ON, and the last keyboard key pressed is given priority. SOLO key ON Volume 7 4 fc key_ON KEY ON o @ KEY ON 1 cut when KEY ON 2 starts ‘SOLO key OFF Volumes Key ON KEY ON e KEY ON 1 continues even when KEY ON 2 starts (figure shows attenuating tones) The CZ-1 employs a unique, CASIO developed PD (Phase Distortion) sound source system. This system is capable of producing a variety of wave forms by distorting the read phase angles of sine and cosine waves that are written in ROM. The pattern of the read phase angle distortion is determined by the specification of the DCO (VCO of analog synthesizer) WAVE FORM. The magnitude (modulation depth) of the read angle distortion corresponds to the momen- tary value of the DCW (VCF of analog synthesizer) envelope. (Fig. 1) Phase angle Waveform Ae Polarity (+/—) cos0 reversed for sake of ‘example. Fig. 1 illustrates output of a non-distorted cosine wave when a cosine wave in ROM is read with a linear phase angle. The phase angle is read at a constant speed from 0 through 2, -20 What would happen if we increase the phase angle read speed from 0 through = and decrease it from x through 2x? (Fig. 2)‘As shown in Fig. 2, the phase angle read is distorted rather than linear, and the output cosine wave takes on what is close to a saw-tooth pattern. What would happen now if we further increase the phase angle read speed from 0 through x and decrease it from x through 2x? (Fig. 3) Fig. 3 shows that the output cosine wave is almost a Perfect saw-tooth pattern. ‘The revolutionary PD sound source system thus makes it possible to output waveforms that differ from cosine waves by simply distorting the cosine (or sine) wave ead from ROM. Figs. 1 through 3 illustrate the patterns produced by increasing the phase angle read speed from 0 through x while decreasing the speed from x through 2x. This, is the pattern effected when the SAW-TOOTH wave- form is selected in the OCO parameter. Read phase angles are also distorted in accordance with the selection of the other DCO parameter WAVE FORMs, thus making a variety of waveform outputs possible. The magnitude of the read phase angle distortion cor- responds to the momentary value (change over time) of the DCW envelope. When the DCW envelope is set, as shown in Fig. 4, an undistorted cosine wave is out- Put at point (@) distortion reaches its peak at point ©) , and a saw-tooth pattern as shown in Fig. 3 is output. Distortion is reduced (modulation becomes shallower) at point (6), and a pattern that is somewhere between a cosine wave and a saw-tooth wave as illustrated in Fig. 2 is output DOW envelope \ t KeyON Key OFF ‘When WAVE FORM is set to saw-tooth. ° ° DIN ° ° 1) The pattern of the read phase angle distortion ‘corresponds to the WAVE FORM setting of the DCO parameter. 2) The magnitude of the read output phase an- gle distortion (modulation depth) corresponds to the momentary value of the DCW envelope. ~21-‘The CZ-1 features a dual system DCO/DCWIDCA, and each system has its own independent envelope generator for control of changes in notes, timbres and volume over time. The envelope generators can set up to eight steps including setting of the sustain point (the level at which a note is sustained while a key is depressed). This provides greater versatility than the conventional ADSR generator and makes sound creation possi t T keyon key OFF 0 Pot “A, through Rs indicate the RATE (slope) of each vari- ous step, while L; through Ls indicate the LEVEL (des- tination level). Li is reached at a slope of Ri in STEP 1, La is reached at a slope of Ri in STEP 2, etc. Fig. 5 shows an example of an envelope employing 8 steps. There are two attacks before the sustain point, as well as a third attack atter the key is released, result- ing in an “after-envelope" 22- ies virtually unlimited. (Fig. 6) Conventional analog synthesizers } SUSTAIN Point 1 r Key ON Key OFF END Point ‘Analog synthesizers usually require the setting of enve- lopes according to 4 parameters: Attack time, Decay time, Sustain level and Release time (hence, the name ADSR system). With the envelope generator-of the CZ, only 3 step settings are required to attain the same effect.The PD sound source of the CZ-1 makes it a fully digital synthesizer. Actually, however, the DCO (pitch and basic waveform setting), DCW (timbre control), and DCA (volume control) digital circuits of the Parameter Section result in a block configuration that closely resembles an analog synthesizer. The block configuration of the CZ-1 consists of LINE 1 and LINE 2 which make up a dual system. DETUNE allows you to create differences between the sounds generated by LINE 1 and 2 to produce subtle nuances. With LINE SELECT, a single line can be output or combined with the detuned line for a total of 4 line output settings. €2-1 block configuration UNE? t ‘ENVELOPE | ENVELOPE t tt tft [vetociry } [fecoary fe satan] (vecocr] fe ow vieRATO TEVEL (locwe) (ee) VeLoary | [VeLoory] fe rama) [\at00 zl Fain] JT YT — fimeranw)[ewaiom] [ewmore] [aware t & une 2 ENVELOPE .... LEVEL .... Digital envelope generator (DEG) that sets envelopes, Parameter that independently sets the volume level for with up to 8 steps. Two lines consisting of DCO, DCW, LINE 1 and LINE 2. and DCA result in a total of 6 independent envelopes. VELOCITY Parameter which sets the degree of change in the enve- lope level according to the key touch pressure. In- dependent settings are possible for DCO, DCW, and DCA of both lines. ~23-DCO corresponds to the VCO of an analog synthesizer, and is comprised of WAVE FORM for selection of the basic waveform and ENV (pitch envelope) for control of the pitch over time for a pressed key. The dual system line pro- vides an independent DCO 1 and DCO 2 which can be used as desired. WAVE FORM Determines the basic waveform of a tone. Independent settings can be made using the DCO 1 and DCO 2 keys. ‘As can be seen in Fig. 8, there are eight types of basic, waveforms: from SAW-TOOTH to RESONANCE Ill. ‘Any one of these eight waveforms can be combined as shown in Fig. 9 to produce a total of 33 waveforms suitable for virtually any application. (Fig. 8) Noto SAVPELSE RESOWNCE 1 REBONANCE HL RESONANCE (Gaweroora) Gmancs) " (TaAPez00) (Fig. 9) and SQUARE [ Wn. Combination of SAW-PULSE and RESONANCE I “The three RESONANCE waveforms cannot be used in combination with each other. When the WAVEFORM key is ON, the LCD appears as shown in Fig. 10. (Fig. 10) Indicator lights ee WAVE FORM -24- Fig. 10 indicates that only the saw-tooth pattern is selected. (Only the FIRST waveform is applied when SECOND = 0 is displayed.) At this time, the VALUE keys can be used to set FIRST (the current position of the cursor) to a value from 1 through 8 to select the required waveform. Then the CURSOR keys can be used to move the cursor under the value of SECOND and another waveform can be set using the VALUE keys (see Fig. 11), This procedure is used to select one of the 33 combi- nations of basic waveforms. (Fig. 11) @ Either of the CURSOR keys is used to move the cursor. WAVE FORM FIRST=1 SECOND: @ The VALUE keys are used to change the numeric value. WAVE FORM FIRST=1 SECOND “Giving the same value to FIRST and SECOND is the same as when SECOND = 0. “FIRST = 1, SECOND = 2 produces the same effect as FIRST = 2, SECOND = 1 *DCO ENVELOPE (PITCH ENVELOPE) DCO controls changes in pitch over time. Independent envelopes can be set using the DCO 1 and DCO 2 ENV keys. The PITCH envelope sets the change in pitch over time up to8 levels for pressed keys in accordance with the RATE and LEVEL. Now let's set up an actual 4-step envelope as shown in Fig, 12.(Fig. 12) Pitch This pitch maintained tie ey is prosed. Sep oven 2] sven s|stera wo | 72 | 0 | 2 wo | | @ | 0 w= [gus | w ) €NO @ When the ENV key of the DCO 1 or DCO 2 is pressed, the following appears on the LCD. ‘SUS will be displayed if the displayed STEP is a sustain point END will be displayed if it is an end point. Pitch envelope STEP 1 selected. | PITCH STEP1_ + **) (90% mms99 00snin: 399 RATESmm LEWELSan) Destination level of step 1. Rate of step 1. @ Use the @) VALUE key to raise the RATE value to @ Use either one of the CURSOR keys to move the cursor under the LEVEL value. Use the (4) VALUE key to raise the LEVEL value to 99. This completes. the setting of STEP 1. @ Use the PAGE UP key to advance to STEP 2. After ensuring the STEP 2 is displayed, follow the same procedures outlined for STEP 1 to set the RATE to 72 and the LEVEL to 66. STEPZ_ 2 LEVEL= @ Press the ENV POINT SUSTAIN key to designate STEP 2 as a SUSTAIN POINT. ‘SUSTAIN POINT © Use the PAGE UP key to advance to STEP 3 and set the RATE to 60 and the LEVEL to 24. PITCH STEPS sht# RATE=66 LEVEL: @ Use the PAGE UP key to advance to STEP 4 and set the RATE to 20. Then press the ENV POINT END key to set the END POINT, and the LEVEL will automatically be set to 00. “Itis not necessary to press the END key if the END POINT is already set. END POINT FITCH STEPS EHD RATE=28 LEVEL=88) LEVEL of the last step is 00. impossible to advance from the present step if END POINT is specified. In this case, press the ENV POINT END key again to cancel the END point and then press the PAGE UP key. If an END point is cancelled within STEP 1 through 7, an END POINT is automatically designated in STEP 8 and previously set data is automati- cally restored. ‘The LEVEL for a STEP that includes an END POINT is fixed as 00 and cannot be changed. “When a SUSTAIN POINT is designated in a STEP, SUSTAIN POINTS which are set in other STEPs are cancelled. -25-*RATE/LEVEL NUMERIC VALUES | RATE The RATE indicates the slope (interior angle in relation to horizontal) of each step in the enve- lope. R = 99 indicates nearly 90° while R = 0 indicates nearly 0°. Since the value used is an absolute value, the slope increases and decreases in direct proportion with the value of R, regardless of whether the pattern shows a rise or fall. This means that a steep incline results in a quick level change while a gentle incline results in a slow level change. LEVEL ‘The LEVEL indicates up to what point each step rises or falls (destination level), and the range is, from 00 through 99. For the DCO envelope, LEVEL means the pitch height, and a value of 00 is the pitch of a pressed key. For the DCW enve- lope, L = 99 results in a basic waveform. For the DCA envelope, LEVEL means the volume. DCW corresponds to the VCF of an analog synthesizer, and is comprised of KEY FOLLOW for control of the wave- form corresponding to the keyboard range, and ENV (wave envelope). The dual system line provides an indepen- dent DCO 1 and DCO 2 which can be used as desired. ‘The LCD appears as in Fig. 14 when the DCW KEY FOLLOW key is pressed. (Fig. 14) KEY FOLLOW/DCW This parameter applies a different change in the DCW envelope level in accordance with the pitch of the key played. The DCW 1 and DCW 2 KEY FOLLOW keys, are used to independently set each key follow. Royton can steve ‘angna m0 Wough ae 36 = 9. The higher the note played, the closer, the waveform comes to being a sine (cosine) wave. (See Fig. 13.) (Fig. 13) KEY FOLLOW (sns9) WE RANG ‘The VALUE keys in the Data Entry Section are used to set the RANGE value within a range of 0 through 9, The greater the RANGE value the greater the wave- form level variance (timbre change rate) in the upper registers. A setting of 9 represents the maximum variance. 5 DD sine wave Kay follow (DCW) for saw-tooth pattern basic waveform. {AAPOR 26-DCW (WAVE) ENVELOPE This parameter controls the timbre (waveform) change ‘over time, and the DCW 1 and DCW 2 ENV keys are used to independently set the timbre envelopes. The timbre envelope is used to set the timbre (waveform) change over time for a pressed key in accordance with the RATE (slope) and LEVEL (destination level). Set- tings can be made to a maximum of 8 steps. (Fig. 15) WAVE FORM 1 (Saw-tooth) Basic cS This timbre waveform DSS... n (waveform) sus- ' Iw ‘tained while key is depressed. NIE a | a sine 0d £ i Time vas | «© | 2 | 0 Fsusceno.| ~~ | sus | exo (Fig. 16) WAVE FORM 7 (RESONANCE I!) Basic ye. wavetorm sud yl ts ta of Me Jacek | tas yarn Aad fd RINE she DOLE (Gikarers| 90 | 7s | ss | 90 | 0 Hiveisa] eo |e | = | 2 | oo jaus;enoa] = | = | sus The LCD appears as in Fig. 19 when the DCW 1 or DCW 2 ENV key is ON. (Fig. 17) ‘SUS will be displayed here if the ais- played STEP is a sustain point. END wife played tan oc por. Wave envelope STEP 1 is selected. STEP1 AVE Destination level of STEP 1 “Operational procedures are identical to those previ- ously explained for the DCO envelope (page 25). Data is set using the VALUE, CURSOR, PAGE UP/PAGE DOWN and ENV POINT SUSTAIN/END keys. -27-DCA corresponds to the VCA of an analog synthesizer and independent volume envelopes can be set using the DCA 1 and DCA 2 ENV keys. KEY FOLLOW/DCA This is the parameter that applies a variance to the DCA envelope in accordance with the pitch of the key played. The DCA 1 and DCA 2 KEY FOLLOW keys are used to independently set each key follow. ‘The higher the note played, the shorter the time of the volume envelope. (Fig. 18) b wel I { Voume Lh ion” ene Time becomes shorter. TONES, ‘The LCD appears as in Fig. 19 when the DCA KEY FOLLOW key is pressed. (Fig. 19) KEY FOLLOW AMP RAHGE=2 sns9 The VALUE keys are used to set the RANGE value within a range of 0 through 9. The greater the RANGE value the greater the time variance in the upper registers. A setting of 9 represents the largest variance. -28- *DCA (AMP) ENVELOPE This is the parameter that controls volume change over time, and the DCA 1 and DCA 2 ENV keys are used to independently set the volume of the envelopes. The volume change over time of a pressed key is set in ac- cordance with the RATE (slope) and LEVEL (destina- tion level). Settings can be made to a maximum of 8 steps, (Fig. 20) Piano amp envelope Volume Time The LCD appears as in Fig. 21 when the DCA 1 or DCA 2 ENV key is ON, (Fig. 21)‘Amp envelope STEP 1 Is selected, ‘SUS willbe displayed here ifthe dis- played STEP is a sustain point. END will be displayed if tis an end point. Destination level of STEP 1 Rate of STEP 1 Operational procedures are identical to those previous- ly explained for the DCO envelope (page 25). Data is set using the VALUE, CURSOR, ENV STEP and ENV POINT SUSTAIN/END keys. Velocity is a parameter that controls volume, timbre and pitch in accordance with the pressure (Initial touch) applied to the keys on the keyboard. There are three types of velocity forming a system which changes the all envelope levels. @ AMP VELOCITY Changes the levels of each step of the volume enve- lope in accordance with the pressure applied. @ WAVE VELOCITY ‘Changes the levels of each step of the timbre envelope in accordance with the pressure applied. @ PITCH VELOCITY ‘Change the levels of each step of the pitch envelope in accordance with the pressure applied. The three types of velocity for LINE 1 and LINE 2 are set independently by the VELOCITY key. The degree of change for the envelopes in accordance with key touch pressure can be set to one of 15 levels. The preset envelope level specified for DCA, DCW and DCO is reached when key pressure is at its maximum. Each envelope level is progressively lowered as key- touch pressure becomes weaker (seo Fig. 22). The Greater the velocity degree setting, the greater the change caused by different key touch pressure, (Fig. 22) 15 steps max. Leven Light touch =» Strong touch Initial touch AMP. WAVE {| pitcH eAMP VELOCITY Increases volume as key touch pressure becomes stronger and decreases volume when key touch is weaker. The LCD appears as illustrated in Fig. 23 when the VELOCITY key for LINE 1 or LINE 2 in the PARAMETER SECTION is ON. -29-A ile RR Rant Letts eas oaemeee (Fig. 23) AMP VELOCITY (00'5/, 2 15) WELOCITY AMP=ee.| WAVE=mm PITCH= 20] Cursor ‘The AMP VELOCITY can be set to a value within the range of 00 through 15 using the VALUE [4] keys in the data entry section. A value of 00 results in a fixed volume* regardless of the key touch pressure. The difference in volume caused by key touch pressure be- ‘comes greater as the value increases, with the greatest difference being caused by a value of 15. “Amp envelope set by DCA. (Fig. 24) Relation between AMP VELOCITY and AMP ENVELOPE vee, Swonger pressure LL Weaker pressure S. WAVE VELOCITY Increases high harmonic components as key touch pressure becomes stronger and decreases high har- monic components when key touch is weaker. The LCD appears as illustrated in Fig. 25 when the VELOCITY key for LINE 1 or LINE 2 in the PARAMETER SECTION is ON, and the cursor is moved to the WAVE VELOCI- TY values using the CURSOR (5) keys. (Fig. 25) WAVE VELOCITY (005m, mz 18) ‘The WAVE VELOCITY can be set to a value within the range of 00 through 15 using the VALUE @)G@] keys in the data entry section. A value of 00 results in a fixed timbre regardless of the key touch pressure. The differ- cence in timbre caused by key touch pressure becomes greater as the value increases, with the greatest differ- ence being caused by a value of 15. “Wave envelope set by DCW. -30 (Fig. 26) Relation between WAVE VELOCITY anc WAVE ENVELOPE ve, Stronger pressure Weaker pressure ¢PITCH VELOCITY Increases change in pitch as key touch pressure be comes stronger and decreases change in pitch when key touch is weaker. The LCD appears as illustrated in Fig. 27 when the VELOCITY key for LINE 1 or LINE 2 in the PARAMETER SECTION is ON, and the cur- sor is moved to the PITCH VELOCITY values using the CURSOR ©) GG) keys. (Fig. 27) WELOCITY AMP=ae AW ES mm: PITCI PITCH VELOCITY (00s: ms 18) ‘The PITCH VELOCITY can be set to a value within the range of 00 through 15 using the VALUE [¥]{@] keys in the data entry section. A value of 00 results in a fixed pitch regardless of the key touch pressure. The ditfer- ‘ence in pitch caused by key touch pressure becomes greater as the value increases, with the greatest differ- ence being caused by a value of 15. “Pitch envelope set by DCO. (Fig. 28) Relation between PITCH VELOCITY and PITCH ENVELOPE rl Stronger pressure Weale? pressure SS. ‘each other to form, @ single tone.*: Actual tone creation eramplae are over in the “SOUND DATA BOOK. {* “|VIBRATO and OCTAVE are parameters which are dependent upon the DCO tone control. VIBRATO sets the vibrato effect, while OCTAVE sets the octave shift. eVIBRATO VIBRATO corresponds to the LFO of an analog syn- thesizer, and it oscillates the low frequencies of the DCO to apply a vibrato effect. This key is used to set 4 parameters: WAVE, DELAY, RATE and DEPTH. The LCD appears as in Fig. 29 when the VIBRATO key is pressed. << —Indicator lights (Fig. 29) WAVE is the parameter that selects the vibrato waveform, and is set to a value in the range of 1 through 4 using the VALUE keys. The 4 waveforms are as follows: Vai 1 eee Ny THANE Wave 2 Wave 3 Wave 4 coccsmmnnnsn [| SQUARE @ DELAY is the parameter that sets the time from when a key is pressed until the point at which vibrato is applied. DELAY is set to a value in the range of 00 through 99 using the VALUE keys after the cur- sor is moved to the proper position with the CURSOR keys. The larger the value, the later vibra- to is applied, @ RATE is the parameter that sets the period (speed) of the vibrato. RATE is set to a value in the range of 00 through 99 using the VALUE keys after the cur- sor is moved to the proper position with the CURSOR keys. The larger the value, the faster the vibrato. @ DEPTH is the parameter that sets the depth of the vibrato. DEPTH is set to a value in the range of 00 through 99 using the VALUE keys after the cursor is moved to the proper position with the CURSOR keys. The larger the value, the deeper the vibrato. *OCTAVE This parameter is used to raise and lower pitch by one ‘octave, and each timbre can be set to a suitable pitch. ‘The LCD appears as in Fig. 30 when the OCTAVE key is ON. (Fig. 30) ‘The VALUE keys in the Data Entry Section are used to set the OCTAVE RANGE to a value of +1 (one oc- tave up), 0 or ~1 (one octave down). “The initial data settings for each preset and internal memory tone also include an OCTAVE RANGE setting, ~31-DETUNE and LINE SELECT play very important roles in the tone creation capabilities of the CZ-1. The parameters make it possible to combine tones created on LINE 1 with those on LINE 2, to detune the pitches between the two lines for mellower sound, and to apply other subtle nuances to tones, eDETUNE The pitch between different tones in DCO 1 and DCO. 2 can be detuned, the DCO 2 tone pitch only can be detuned, or a DCO 1 with detuned pitch can be used in combination with a pitch that has not been detuned {for the creation of a chorus effect. The result of a de- tuned Line [i] DCO is referred to as [11 , while that of a detuned Line (Z| DCO is ZI. ‘The LCD appears as in Fig. 31 when the DETUNE key Is ON. (The cursor is located below the OCT value.) (Fig. 31) Determines whether pitch is detuned upward (+) or downward (-). Pitch is detuned in 1 octave units (0~3). Pitch is detuned in 1/60 halftones, @ Determining the detune direction (up/down) Use the CURSOR keys to move the cursor under the (+/~) indicator and the VALUE keys to change be- tween plus and minus. Set to + to raise pitch and to = to lower pitch. ~32 @ Detuning in 1 octave units Move the cursor under the OCT value and use the VALUE keys to change the value within a range of 0 through 3. The pitch can be 2d or lowered up to 3 octaves in one octave units. @ Detuning in half tone (100 cents) units Move the cursor under the NOTE value and use the VALUE keys to change the value within a range of 0 through 11. The pitch can be raised or lowered up to 11 (100 cents). @ Fine detune Move the cursor under the FINE value and use the VALUE keys to change the value within a range of 0 through 60. The pitch can be raised or lowered up to 1/60 half tones (approximately 1.7 cents). “Using data @ through @ in combination makes it pos- sible to detune within a range of + 4 octaves. If OCT, NOTE and FINE are all set to 0, LINE [i] = LINE @ and LINE @] = LINE eLINE SELECT This function makes it possible to select the best line ‘combination for the type of sound being produced. The data settings for each preset and internal memory tone also include LINE settings. The line setting changes in the following order each time the LINE SELECT key is pressed: arr sLine select [7] 16-note polyphonic for creation of simple sounds. eLine select [2] 16-note polyphonic for monitoring LINE (2 during + @ tone creation eLine select [1] + 2] 8-note polyphonic for creating sounds with complex harmonics structures. Same as({]+[ZIwhen all detune values (OCT, NOTE, FINE) are set to 0.