Yamaha AN1x El kitabı

2

3

Contents

Playing Arpeggiated Chords...........................................35

Arpeggio MIDI Output....................................................37

Using The Step Sequencer

..........................................37

Step Sequencer On/Off .................................................38

Step Sequencer Hold Modes...........................................38

Voice Pattern And User Pattern Banks...............................39

Playing Step Sequencer Patterns......................................40

Step Sequencer Edit.......................................................44

Step Sequencer MIDI Output...........................................46

Using The Free EG

......................................................47

Free EG Parameters .......................................................47

Using The Control Features

.........................................49

Real-time Control............................................................49

Utility Control Assign Function.........................................50

Control Matrix...............................................................51

FEATURE REFERENCE

Voice Select

.................................................................52

Knob Edit

....................................................................53

Knob Parameters

.......................................................54

PEG/LFO......................................................................54

SYNC/FM ....................................................................58

VCO1 ..........................................................................61

VCO2 ..........................................................................63

VCF..............................................................................64

MIX/VCF ......................................................................66

VCA.............................................................................68

ASSIGN .......................................................................70

Panel Parameter Edit

..................................................71

Edit Procedure...............................................................71

Edit Parameters

..........................................................72

VOICE SCENE SETUP ....................................................72

VOICE COMMON ........................................................77

VOICE FREE EG ............................................................81

VOICE ARPEGGIO/SEQ ................................................85

SEQ EDIT/SETUP...........................................................89

UTILITY SETUP................................................................92

Voice Recall

................................................................96

Voice Initialize

............................................................97

Store

...........................................................................98

Voice Store....................................................................98

Scene Store...................................................................99

Factory Settings

........................................................100

APPENDIX

Voice Creation Examples

..........................................101

About MIDI

...............................................................109

Error Messages

.........................................................112

Troubleshooting

........................................................113

Blank Chart

..............................................................114

Specifications

............................................................116

Index

........................................................................117

PRECAUTIONS ............................................................

4

INTRODUCTION

How To Use This Manual

..............................................5

Main Features

...............................................................5

The AN1x At A Glance

.................................................6

The Making Of A Modern Classic

.................................8

What Is A Voice?

..........................................................9

AN1x Memory Structure

..............................................9

ANALOG PHYSICAL

MODELING SYNTHESIS

AN1x Tone Generator

................................................10

GETTING STARTED

System Examples

.......................................................12

Switching On The Power ................................................13

Playing The Demo Songs

............................................13

Basic Operation

..........................................................14

AN1x Operating Modes.................................................14

Selecting Voices.............................................................14

Using The Controllers .....................................................15

CONTROL Knobs And Parameter Groups.........................16

AN1x Quick Tour

........................................................17

Exploring The Factory-set Voices......................................17

Selecting Scenes And Scene Morphing

.......................19

Scene Memories............................................................19

Scene Control................................................................20

Scene Store Function......................................................21

Scene Load Function ......................................................22

Scene Swap Function .....................................................22

Selecting Layer Modes

................................................22

Layer Modes .................................................................22

Portamento Play

.........................................................24

Turning PORTAMENTO On And Off.................................24

Setting Portamento Time..................................................25

Selecting Portamento Modes ...........................................25

Selecting Parameter Groups

.......................................25

Using The CONTROL Knobs

........................................26

Assigning Parameters To Knobs.......................................27

Using The Panel Edit Matrix

.......................................28

Editing Voices

.............................................................29

Voice Edit Procedure ......................................................29

Creating Original Voices ................................................30

Store Operations

........................................................33

Turning ARPEGGIO/SEQ On And off

..........................33

Using The Arpeggiator

...............................................33

Arpeggiator On/Off ......................................................33

Arpeggio Hold Function..................................................34

Arpeggio Pattern Types...................................................34

Arpeggio Subdivide.......................................................34

4

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep these precautions in a safe place for future reference.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical

shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:

• Do not open the instrument or attempt to disassemble the internal parts

or modify them in any way. The instrument contains no user-

serviceable parts. If it should appear to be malfunctioning, discontinue

use immediately and have it inspected by qualified Yamaha service

personnel.

• Do not expose the instrument to rain, use it near water or in damp or

wet conditions, or place containers on it containing liquids which

might spill into any openings.

• If the AC adaptor cord or plug becomes frayed or damaged, or if there

is a sudden loss of sound during use of the instrument, or if any

unusual smells or smoke should appear to be caused by it,

immediately turn off the power switch, disconnect the adaptor plug

from the outlet, and have the instrument inspected by qualified Yamaha

service personnel.

• Use the specified adaptor (PA-3B or equivalent, recommended by

Yamaha) only. Using the wrong adaptor can result in damage to the

instrument or overheating.

• Before cleaning the instrument, always remove the electric plug from

the outlet. Never insert or remove an electric plug with wet hands.

• Check the electric plug periodically and remove any dirt or dust which

may have accumulated on it.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage

to the instrument or other property. These precautions include, but are not limited to, the following:

• Do not place the AC adaptor cord near heat sources such as heaters or

radiators, and do not excessively bend or otherwise damage the cord,

place heavy objects on it, or place it in a position where anyone could

walk on, trip over, or roll anything over it.

• When removing the electric plug from an outlet, always hold the plug

itself and not the cord.

• Do not connect the instrument to an electrical outlet using a multiple-

connector. Doing so can result in lower sound quality, or possibly

cause overheating in the outlet.

• Remove the adaptor plug from the outlet when the instrument is not to

be used for extended periods of time, or during electrical storms.

• Before connecting the instrument to other electronic components, turn

off the power for all components. Before turning the power on or off for

all components, set all volume levels to minimum.

• Do not expose the instrument to excessive dust or vibrations, or

extreme cold or heat (such as in direct sunlight, near a heater, or in a

car during the day) to prevent the possibility of panel disfiguration or

damage to the internal components.

• Do not use the instrument near other electrical products such as

televisions, radios, or speakers, since this might cause interference

which can affect proper operation of the other products.

• Do not place the instrument in an unstable position where it might

accidentally fall over.

• Before moving the instrument, remove all connected adaptor and other

cables.

• When cleaning the instrument, use a soft, dry cloth. Do not use paint

thinners, solvents, cleaning fluids, or chemical-impregnated wiping

cloths. Also, do not place vinyl or plastic objects on the instrument,

since this might discolor the panel or keyboard.

• Do not rest your weight on, or place heavy objects on the instrument,

and do not use excessive force on the buttons, switches or connectors.

• Do not operate the instrument for a long period of time at a high or

uncomfortable volume level, since this can cause permanent hearing

loss. If you experience any hearing loss or ringing in the ears, consult

a physician.

■ REPLACING THE BACKUP BATTERY

• This instrument contains a non rechargeable internal backup battery

which permits internal data to remain stored even when the power is

off. When the backup battery needs replacing, the message "Battery

Low" will display in the LCD. When this happens, immediately back up

your data (using an external device such as the floppy disk-based

Yamaha MIDI Data Filer MDF2), then have qualified Yamaha service

personnel replace the backup battery.

• Do not attempt to replace the backup battery yourself, in order to

prevent the possible serious hazards. Always have qualified Yamaha

service personnel replace the backup battery.

• Never place the backup battery in a location that a child can reach,

since a child might accidentally swallow the battery. If this should

happen, consult a physician immediately.

■ SAVING USER DATA

• Save all data to an external device such as the Yamaha MIDI Data Filer

MDF2, in order to help prevent the loss of important data due to a

malfunction or user operating error.

Yamaha cannot be held responsible for damage caused by improper use or

modifications to the instrument, or data that is lost or destroyed.

Always turn the power off when the instrument is not in use.

The LCD screens and diagrams in this owner's manual are for

instructional purposes only, and may be different from the ones on your

instrument.

5

How To Use This Manual

This owner’s manual provides your basic keys to unlocking the power of

the AN1x Control Synthesizer. It is divided into the following sections:

INTRODUCTION Provides a brief rundown of the AN1x’s main

features and description of all front and rear panel controls along

with information about the AN1x’s memory

structure

. We

recommend you take a few minutes and read the

INTRODUCTION section carefully before you get started in order

to familiarize yourself with the basic features and capabilities of

the AN1x.

ANALOG PHYSICAL MODELING SYNTHESIS Provides an

overview of the basic concept of the tone generation technology,

plus descriptions of basic terminology and a signal flow block

diagram,

in order to give you an understanding of what’s going on

inside the instrument as you twiddle the knobs and set parameters.

Congratulations! And thank you for choosing Yamaha. You are now the proud owner of the AN1x Control Synthesizer, a

fully-professional digital keyboard with powerful sound and versatile real-time control features. The AN1x is a modern

music dynamo capable of faithfully delivering the warm, fat, punchy sounds of the legendary analog synths—with the

same familiar oscillator, filter and other sound creation elements and intuitive, "hands on" style of operation—plus all the

sophisticated flexibility you'd expect from a professional digital synthesizer.

GETTING STARTED Provides a basic overview of how to set up

your AN1x and quickly familiarize yourself with all its key features

and operations. We recommend you actually be sitting in front of

your AN1x as you read through the GETTING STARTED section,

so you can try out each feature along the way to get a thorough

understanding of how the AN1x works.

FEATURE REFERENCE Provides a comprehensive explanation of

all AN1x features. This is in essence a dictionary which you can

refer to any time you need to know the details about any given

feature.

APPENDIX Provides information related to MIDI, troubleshooting,

and more.

A separate Data List book provides voice, Arpeggiator Type, Effect

Type and other lists and information.

Main Features

The AN1x Control Synthesizer is a truly innovative professional keyboard with enormously flexible

sound and performance capabilities. Following is a brief rundown of the main features:

Analog Physical Modeling synthesis

The AN1x generates amazingly high quality synth sounds in much the same way as traditional

legendary analog synthesizers—using voltage controlled oscillators and filters, low frequency

oscillators, ring modulator and voltage controlled amplifiers—but with the additional benefits

of digital multi-effects, MIDI control and much more.

128 voices and maximum 10 notes polyphony

The AN1x comes with an impressive array of 128 voices preprogrammed and ready to play, each of which

can be edited and overwritten to store your own. Ten notes of polyphony provide for versatile SINGLE,

DUAL and SPLIT play options.

Intuitive interface with "hands on" voice editing and multiple assignable

real-time controllers

The AN1x's eight CONTROL knobs and panel Edit matrix give you direct and instant access to

many parameters as you play. All controllers are assignable, including [PITCH] and

[MODULATION] wheels and various foot pedals, plus the [RIBBON] controller with horizontal slide

(X) and pressure (Z) control of filter, LFO, delay and more. The Control Matrix function permits

easy assignment of up to 16 sets of "source" controllers (MW, FC, Key Touch, etc.) to destination

parameters (VCA, Filter, LFO, etc.) for each Scene, all of which can be stored as voice data for

each voice.

2 Scene memories for each voice, with real-time morphing between Scenes

Each voice has two Scenes, each of which can be selected by pressing a [SCENE] switch. This

provides two distinct sounds within each voice available for instant recall as you play. You can

press both [SCENE] switches to activate the "Scene Control" function, and roll the

[MODULATION] wheel (or press a foot pedal or use any other continuous controller) to morph,

or cross-fade between the sounds of Scene 1 and Scene 2 as you play.

Six types of Layers to choose from for each voice

SINGLE, UNISON, DUAL, DUAL UNISON, SPLIT, and SPLIT UNISON Layer modes give you a

wide choice for control over how the two Scenes are configured to play in relation to each

other for each voice.

Arpeggiator with 30 patterns and various play options, plus MIDI data

output

The Arpeggiator lets you play perfect arpeggiated chords at the simple press of a key. You can

have the Arpeggiator play only one or both Scenes, or play one Scene to the left of the Split

Point while you play the other Scene normally to the right. You can choose from various types

of arpeggio patterns, including Up, Down, and Up&Down across one or more octaves, plus

various special patterns including Techno, House, Random, and more. The arpeggio pattern

data can be output via MIDI on its own MIDI channel.

Easy-play/edit “Step Sequencer” with 128 Voice Patterns and 128 User

Patterns

The Step Sequencer permits quick, easy creation of highly sophisticated looped patterns which

can be triggered from the keyboard in a variety of ways. Each individual step event (Note,

Velocity, Gate Time, and Control Change) can be accessed and edited by a specific CONTROL

knob, over a maximum of 16 steps. There are a variety of handy Step Sequencer edit and

play options, including “Play Effects” which give you detailed control over the “feel” of your

sequence. Pattern event data can be output via MIDI on its own MIDI channel.

4-track “Free EG” records and plays real-time changes of knob positions

for up to four different parameters

The 4-track Free EG lets you record real-time CONTROL knob movements, in order to “hand

draw” filter, resonance, LFO and many other available parameters over time—and have them

play back automatically by simply playing a voice. You can control up to four different

parameters independently, each recorded into its own Free EG track. Ideal for those times

when you wish you had an extra couple of pairs of hands, the Free EG lets you build up an

incredibly complex, completely unique voice.

Programmable multi-effects and 3-band EQ for each voice

The AN1x has three types of programmable multi-effects plus EQ built into the voice

architecture, which lets you customize the effects configuration for each voice. There are 8

Reverb effects, 5 Delay effects, 14 Variation effects (which includes Chorus, Auto Pan, Pitch

Change, Compressor, Distortion effects and more), and a stereo 3-band Equalizer. An Effect

Bypass function lets you bypass all effects or specific ones at the press of a switch.

PITCH

MODULATION

VOLUME

CTRL

SCENE

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

PW

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

PHONES

L / MONO

OUTPUT

R

DC IN POWER

FOOT

VOLUME

FOOT

CONTROLLER

FOOT

SWITCH

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

PW

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

IN

OUT

MIDI

THRU

PROGRAM CHANGE

VWX

MNO

7

YZ

8

PQR

5

GHI

2

–

4

DEF

1

ABC

0

OTHERS

STU

9

6

JKL

3

YES/ ENTERNO

DEMO

PORTAMENTO

STORE

ARPEGGIO/SEQ

LAYER

Mode

Poly

Temp

Track

Trigge

Comm

Arp /S

Knob

Event

Syste

Mstr Tu

KNOB PARAMETER GROUP

PEG/ LFOSYNC/FM

VCO1

VCO2

MIX/VCF

VCF

VCA

ASSIGN

[VOLUME] knob

This knob controls the AN1x’s overall

volume level output from the PHONES

and OUTPUT jacks. Turn the [VOLUME]

between left-most (minimum) and right-

most (maximum) positions to set the

proper listening level whether using

headphones or amplified speakers.

[SCENE] switches

Each of the AN1x's 128 voices has two Scene

memories, each of which are instantly accessible

by pressing the [SCENE 1] or [SCENE 2] switch.

Each Scene can have its own distinct sound.

Pressing both [SCENE] switches simultaneously

activates the Scene Control function, which lets you

"morph", or cross-fade between Scenes in real-

time using the assignable [MODULATION] wheel,

an assignable Foot Controller, or any other

continuous controller.

[RIBBON] controller

The assignable [RIBBON] controller gives you

horizontal slide (X) and pressure (Z) control of

designated controllable parameters as you play,

including filter cutoff, resonance, LFO, panpot,

reverb, and more.

[PITCH] wheel

The [PITCH] wheel lets you bend the pitch up or

down as you play. It is spring-loaded to

automatically return to center position when you let

go of it. You can use the Control Matrix to designate

specific Pitch Bend parameters for the upper and

lower bend ranges for each Scene.

[MODULATION] wheel

The assignable [MODULATION] wheel lets you

apply modulation or another designated

controllable parameter as you play, or morph

between Scenes when the Scene Control function is

active (and the [MODULATION] wheel is

designated as the source controller).

CONTROL knobs with push-switch (knob parameters)

The eight assignable CONTROL knobs are used for real-time control and edit of the various tone

generator parameters, depending on which KNOB PARAMETER GROUP select switch is currently

selected, plus instant access to each step event when the [EDIT ROTARY] switch is set to the SEQ

EDIT/SETUP menu. Press a CONTROL knob (push-switch) to confirm the current parameter in the LCD.

Turn a CONTROL knob left to decrease values or right to increase them. Make fine edit adjustments by

turning a knob while pressing it. Since all CONTROL knobs are assignable, you can have each one

access one of many different available parameters to give you maximum real-time control over specific

aspects of your sound, including versatile control of external instruments via MIDI output.

PROGRAM

The PROGRAM

used for selectin

currently selecte

Other functions

naming a User v

canceling ([NO]

operations.

LCD

The back-lit LCD

Display) provide

of information w

indicates the cu

status of the AN

voices, turn kno

switches.

KNOB PARAMETER GROUP switches

These switches determine which set of parameters are

controlled by the CONTROL knobs. The switches are

color coded in cross-reference to the parameter names

as printed in the same color on the panel beside each

knob. Whenever you select a voice, the [ASSIGN]

switch is automatically selected, to give you instant

access to your assigned CONTROL knob parameters.

The AN1x At A

Front Panel

Rear Panel

1 MIDI terminals

MIDI [IN], [OUT] and [THRU] terminals let you connect external MIDI

devices such as a MIDI keyboard, tone generator, sequencer or

computer or others, using a MIDI cable. [IN] is for input of MIDI data,

including data dumps from another AN1x or MIDI data storage

device. [OUT] is for output of MIDI data, including data dumps to

another AN1x or MIDI data storage device. [THRU] is for “daisy-

chain” connection of additional MIDI instruments, as the MIDI data

received at the AN1x’s [IN] terminal is passed along unchanged to

the [THRU] terminal.

2 [FOOTSWITCH

An optional Yamaha

used to control hold

3 [FOOT CONTRO

An optional Yamaha

used for control of va

assignment.

4 [FOOT VOLUM

An optional Yamaha

to regulate overall vo

5 [POWER] switc

Press the [POWER] s

FOOT

VOLUME

FOOT

CONTROLLER

FOOT

SWITCH

ON OFF

DC IN R L/MONO

OUTPUT PHONES

POWER

ASSIGNABLE

MIDI

OUTTHRU IN

6

T

DI

THRU

PROGRAM CHANGE

VWX

MNO

7

YZ

8

PQR

5

GHI

2

–

4

DEF

1

ABC

0

OTHERS

STU

9

6

JKL

3

YES/ ENTERNO

DEMO

PORTAMENTO

STORE

ARPEGGIO/SEQ

LAYER

CONTROL SYNTHESIZER

ANALOG PHYSICAL MODELING

CTRL

PEG

LFO2 LFO1

VCO

VCO1

SYNC

MASTER

SLAVE

FM

VCO2

MIX/VCF

MOD

RING

NOISE

VCA

VOLUME

AEG

FEEDBACK

VARI

EQ

DLY REV

EFFECT

Mode

Poly

Por t

Tempo Split Pnt

Track Common

Trigger

LoopType

Common

Arp /SEQ

Type/No

Knob

Event

1-8/9-16

System

Mstr Tune

Kbd Trans

VOICE

SCENE SETUP

VOICE

COMMON

VOICE

FREE EG

VOICE

ARPEGGIO/SEQ

SEQ

EDIT /SETUP

UTILITY

SETUP

LFO Rst

Ctrl Matrix

Set No

Vari EF/EQ

Param Data

Length

Key Track

KbdMode Hold

Step Hold

Pattern

Bank

Kbd Vel

MIDI

Tx Ch

Param Source

Dly/ Rev EF

Param

Track

Track No

SceneSw

MIDI

Ptn Tx Ch

No

Base Unit

DeviceNo Local

BulkDump

Length LoopType

Arpeggio

Subdivide

Play EF

Swing

Scene Sw

Track Job

Rec

Data

Depth

EF

Bypass

Layer

Pan

Separate

Unison

Detune

Name

Cursor Char

Copy Undo

Velocity

GateTime

Ctrl No

SEQ

Store

Ctrl

Device

Ctrl No

.

y

c

PROGRAM CHANGE keypad

The PROGRAM CHANGE keypad is primarily

used for selecting a voice or confirming the

currently selected voice name and number.

Other functions include selecting letters when

naming a User voice, and confirming ([YES]) or

canceling ([NO]) specific store and other

operations.

[PORTAMENTO] switch

For turning the portamento function on and off.

[LAYER] switch

For selecting one of the six Layer modes.

[STORE] switch

For initiating Store operations.

[ARPEGGIO/SEQ] switch

For turning the Arpeggiator or Step Sequencer

on and off.

DEMO

Pressing [PORTAMENTO] and [LAYER]

simultaneously lets you access the

Demonstration songs.

[EDIT ROTARY]

switch

The 6-position [EDIT

ROTARY] switch lets you

designate one of the six

Edit menus, as printed on

the panel to the right of

each menu.

LCD

The back-lit LCD (Liquid Crystal

Display) provides various types

of information which clearly

indicates the current operating

status of the AN1x as you select

voices, turn knobs and press

switches.

es

s

At A Glance

Synthesis Block Diagram

The Analog Physical Modeling synthesis

block diagram provides a handy visual

reference or reminder of how the signal

flows through the key blocks, or

components of the AN1x's tone

generation architecture, which is helpful

when manipulating the various

parameters during voice editing or real-

time sound control.

Parameter value [UP/DOWN] switches

These ten switches are used to access and edit specific parameters (as printed on the

panel), depending on which Edit menu is currently selected with the [EDIT ROTARY]

switch. Pressing the upper area of a parameter value [UP/DOWN] switch

increments the parameter value or setting, and pressing the lower area decrements

it. Simply pressing a switch once will display the parameter name and current value

or setting in the LCD. Thereafter, pressing or holding the upper or lower area of the

switch will change the value or setting accordingly.

Keyboard

The 61-key touch-sensitive

keyboard features Initial

(velocity) and After Touch

(pressure) control.

al MIDI

or

DI data,

ge

s to

sy-

data

ed to

2 [FOOTSWITCH] jack

An optional Yamaha FC4 or FC5 Footswitch connected to the [FOOTSWITCH] jack can be

used to control hold on/off, Portamento on/off and other discrete controllers.

3 [FOOT CONTROLLER] jack

An optional Yamaha FC7 foot controller connected to the [FOOT CONTROLLER] jack can be

used for control of various continuous or discrete controllers, depending on controller

assignment.

4 [FOOT VOLUME] jack

An optional Yamaha FC7 foot controller connected to the [FOOT VOLUME] jack can be used

to regulate overall volume (or any other assigned continuous controller function.).

5 [POWER] switch

Press the [POWER] switch to turn the AN1x on and off.

6 [DC IN] terminal

Connect the supplied Yamaha PA-3B Power Adaptor to the [DC IN] terminal.

(CAUTION: Do not attempt to use an AC adaptor other than the Yamaha PA-3B or

equivalent, since the use of an incompatible adaptor may cause irreparable damage to

the AN1x, and may even pose a serious shock hazard.)

7 OUTPUT jacks

The stereo OUTPUT jacks let you connect the AN1x to an external stereo

amplifier/speaker system. When using a mono system, connect it to the [L/MONO]

jack.

8 [PHONES] jack

The [PHONES] jack lets you connect a set of stereo headphones to the AN1x for private

listening.

7

8

The History…

Why is the “analog sound” so popular in a digital

age? What long and winding road had to be

traveled—just to end up right back where we started

from? Let’s take a quick look at how we got from there

to here, and where here really is, anyway.

Electronic music synthesis has been around in one form

or another since the beginning of the 20th Century. But

it wasn’t until the early 1970s that developments in

voltage controlled synthesis technology made the

concept practical—and affordable.

As such, the voltage controlled synthesizer became less

and less an experimental curiosity in the world’s great

universities and sound labs and more and more a

valid—and revolutionary—musical instrument in its own

right. It quickly became a staple in professional

recording studios, and its myriad sounds started

gracing the ears of millions through popular recordings

in literally all genres of music.

Then came the 1980s, and the introduction of wildly

popular, affordable-for-the-masses, great-sounding and

easy-to-use digital synths like the famous Yamaha DX7.

What followed was the MIDI revolution, which drove

the rapid development of ever-more-sophisticated multi-

timbral digital synthesizers and tone generators, along

with the overwhelming acceptance of digital sampling

which has literally changed the way we create and

listen to music. And all of which have gone hand-in-

hand with the desktop music revolution.

Most recently there has been the introduction of

breakthrough physical modeling synthesis technology,

which has been successfully applied to the accurate

reproduction of acoustic instrument sounds through

purely electronic means, as well as the creation of new

“hybrid-type” acoustic-oriented sounds.

The Making Of A Modern Classic

The classic analog synth sound is back with a vengeance and more popular than ever. Vintage analog synthesizers are hot

items, recirculating and finding their way into the arsenals of the world’s most innovative music makers, many of whom

weren’t even born when the voltage controlled synthesizer was coming of age more than a quarter of a century ago.

Enter the Yamaha AN1x Control Synthesizer—a modern classic in its own right—complete with the VCO, VCF, and VCA

blocks, or "modules" that give retro synths that famously fat, rich, warm sound, plus multiple knobs for controlling every nuance

of the sound, and even an on-board Arpeggiator and Step Sequencer for generating pattern loops at the press of a key.

What’s much more, however, is that the AN1x incorporates features that vintage synths could only dream about—like three on-

board programmable digital multi-effects units and a 3-band stereo EQ, a multiple controller-to-parameter assignment architecture,

a 4-track Free EG for “hand drawing” real-time knob position movements of up to four different tone generator parameters, plus

real-time morphing between two different sounds, and more—all of which can be customized for each of the 128 voices and

stored as individual voice data.

Enter Analog Physical

Modeling…

The classic analog synth never fell out of favor with the

world's most innovative musicians. That's because it

has a special punch, power, plus important elements of

interactivity that digital synths and samplers have

tended to lack by comparison.

And now, with the demand for that "classic analog

sound" due to the global popularity of techno, trance,

and other modern forms of dance music, it's hardly

surprising that Yamaha—a company consistently at the

very pinnacle of electronic musical instrument

technology—would react to that demand and create a

completely new performance-oriented "control

synthesizer" that takes the company's original

breakthroughs in physical modeling synthesis and uses

it to digitally "model" the analog sound-generating

components which gives voltage controlled synthesis its

unique character and virtually unlimited range of

sound.

And package it with a host of digital extras to bring

the technology full circle with a completeness and utility

never before possible.

In short, the AN1x is a logical—and timely—

development in the evolution of electronic musical

instrument history, based on the modern needs and

demands of the world’s cutting-edge musicians. And

once again, as is often the case with creations from

Yamaha, music history will never be the same.

All the tools are in the box. The rest is up to you….

9

What Is A Voice?

Over the years, the meaning of the term “voice”, when

applied to synthesizers, has varied depending on

manufacturers and models. In general, it means a sound,

which in some synths is called a “patch”, and in others a

“program”.

With the AN1x, a voice is a configuration of all tone

generator and other parameter settings, including effects

setups and data for a single Voice Pattern, but excluding

system settings or the bank of Step Sequencer User

Patterns. Therefore, each of the 128 voices in memory

can have its own unique configuration of all main

parameters.

AN1x Memory Structure

The AN1x has a simple and straightforward memory structure. There

are only two main types of data: voice data and system data. There

is also a separate memory for the Step Sequencer User Pattern bank.

Voice Data

Voice data is comprised of the various parameter

settings which make up each of the 128 User voices,

as follows:

● Tone generator settings based on CONTROL knob

positions for each KNOB PARAMETER GROUP

parameter, PORTAMENTO switch status, Scene

status and Scene-related parameters, including

Control Matrix assignments, Mode settings and

Variation Effect Dry:Wet setting.

● LAYER mode setting and Layer parameters including

Pan, Separation and Detune settings.

● VOICE COMMON (i.e., parameters which affect

both Scenes) settings including Tempo, Split Point,

Effect configurations and voice Name.

● Free EG parameter settings and track data and

other settings.

● ARPEGGIO/SEQ switch status and the various

Arpeggiator and Step Sequencer parameter

settings, including Play Effect settings, plus Step

Sequencer Voice Pattern data.

System Data

System data is made up of the various “global”

parameter settings which remain in effect regardless of

which voice is selected, as follows:

● UTILITY SETUP parameters, including the settings for

System tuning and keyboard transposition and

velocity, MIDI-related parameters, and Control

device and number assignments.

User Pattern Data

User Pattern data is made up of the Step Sequencer

User Pattern bank which holds 128 User Patterns.

Voice Data 128 User Voices

SCENE 1

Utility Setup Parameters

SYSTEM: MASTER TUNE, VELOCITY,

KEYBOARD TRANSPOSE

MIDI: TRANSMIT CHANNEL,

RECEIVE CHANNEL (each Scene),

PATTERN TRANSMIT CHANNEL,

DEVICE NUMBER, LOCAL,

BULK DUMP, EFFECT BYPASS

CONTROL: ASSIGNABLE KNOB CONTROL

CHANGE NUMBERS, CONTROLLER

CONTROL CHANGE NUMBERS

Layer Parameters

PAN, SEPARATE, DETUNE

Voice Common Parameters

TEMPO, SPLIT POINT, EFFECT, NAME

Pattern Parameters

ARPEGGIATOR or SEQUENCER,

ARPEGGIATOR PATTERN NUMBER,

VOICE PATTERN, KEYBOARD MODE, HOLD,

SCENE SWITCH, SUBDIVIDE (Arpeggiator only),

PLAY EFFECT (Arpeggiator = Velocity only)

Free EG Parameters

TRIGGER MODE, LOOP TYPE, LENGTH, KEY TRACK

SCENE 2

LAYER

(SINGLE/UNISON/

DUAL/DUAL UNISON/

SPLIT/SPLIT UNISON)

PORTAMENTO

(On/Off)

ARPEGGIO/SEQ

(On/Off)

Tone Generator Knob Parameters

PEG, LFO1, LFO2, VCO1, VCO2, SYNC, FM, MIXER

(NOISE, RING MODULATOR), VCF (FEG), VCA (AEG)

Scene Setup Parameters

POLY/MONO/LEGATO, PORTAMENTO MODE,

LFO RESET, CONTROL MATRIX (Assignments),

VARIATION EFFECT DRY:WET

System Data

Step Sequencer

(User Pattern Bank)

No (1 ~ 128)

10

AN1x Tone Generator

As the AN1x Tone Generator Block Diagram

illustrates, the VCO module generates the basic

signal, then passes it along the signal path to

the MIX/VCF module, which processes the signal

in a variety of ways before passing it on to the

VCA module, which amplifies the signal before

passing it along the signal path to the EFFECT

module comprised of three multi-effects units

and a stereo equalizer, after which the signal is

output from the AN1x's stereo outputs. Along

the way, various real-time and other controllers

can be applied to each module in a variety of

ways.

Oscillators, Filters And Amplifiers

What does it take to make a sound? And how does the

AN1x generate sounds?

In the simplest of terms, there are three basic elements which

make up a sound: pitch, or how low or high it is; tone, or

what its overall quality, or timbre is like; and amplitude, or

how loud the volume level is.

Synthesizers rely on three key electronic components to generate

sounds and electronically imitate the soundwaves of familiar musical

instruments, as well as create entirely unique sounds. In traditional

analog synthesis, the source sound pitch is generated by an

oscillator; its tone is created by a filter; and its volume is determined

by an amplifier. With the AN1x, these three elements are termed

the VCO (voltage controlled oscillator), the VCF (voltage controlled

filter), and the VCA (voltage controlled amplifier).

The “signal path” starts at the VCO, flows to the VCF, then

flows to the VCA. The signal is “processed” at each block, or

“module” along the way to the final output.

VCO VCF VCA OUT

The amplifier determines

the volume

The oscillator creates the source pitch

The filter determines the timbre

1 VCO

The VCO module is where the original sound waveform gets

generated. Although a single oscillator is enough to generate

the basic sawtooth, pulse (square) or other waves required

for different types of musical instrument sounds, the AN1x’s

VCO module is much more complex.

First, there’s a VCO1 which includes an additional saw2 and

mix wave, and which can be configured with one of three

“sync algorithms” that syncs “master” and “slave” oscillators

within the VCO1, and can be modulated by FM according to

the algorithm. Thus, when the sync is on, the VCO1 is

actually two oscillators in one, and three additional “inner”

waves are available.

The VCO1 is always fixed as the FM carrier, but the carrier

can either be the master or slave oscillator depending on the

selected algorithm. The FM modulator can be selected from a

second VCO (VCO2), the PEG, FEG, LFO1, LFO2 or others.

The Pitch Envelope Generator (PEG) lets you determine how

the pitch of the VCO changes over time, and the LFO can be

used to modulate the VCO to create vibrato.

For more information, see as follows:

VCO1 — page 61

VCO2 — page 63

SYNC/FM — page 58

PEG/LFO — page 54

2 MIX/VCF

The MIX/VCF module is where the mixing of VCO1,

VCO2, Ring Modulator, Noise and Feedback signals

take place, which can then be filtered by the VCF High

Pass Filter (HPF), Low Pass Filter (LPF), Band Pass Filter

(BPF) and Band Eliminate Filter (BEF). You can

determine the cutoff frequency of the VCF, as well as

amount of Resonance, or emphasis around the

frequency cutoff point. The Filter Envelope Generator

(FEG) lets you determine how the timbre of the signal

changes over time, and the LFO1 can be used to

modulate the VCF to create wah.

For more information, see as follows:

MIX/VCF — page 66

VCF — page 64

HPF — page 67

11

LPF, HPF, BPF, BEF — page 67

FEG — page 31

PEG/LFO — page 54

RING MODULATOR — page 66

NOISE — page 66

3 VCA

The VCA module is where the overall output level of

the signal gets determined, as well as the Feedback

level which gets “fed back” to the mixer in the

MIX/VCF module. The Amplitude Envelope Generator

(AEG) lets you determine how the volume of the signal

changes over time, and the LFO1 can be used to

modulate the VCA to create tremolo.

For more information, see as follows:

VCA — page 68

VOLUME — page 69

FEEDBACK — page 69

AEG — page 32

PEG/LFO — page 54

4 EFFECT

The EFFECT module is where three different types of

programmable effects, as well as programmable 3-band

EQ, can be applied. The 14 Variation Effects include

Chorus, Flanger, Phaser, Auto Pan, Rotary Speaker,

Pitch Change, Aural Exciter, Compressor, Distortion,

Overdrive, Amp Simulator and more. The 5 Delay

effects include Delay LCR, Delay LR, Echo, and Tempo

Delay, which automatically matches the delay time to the

current tempo setting. The 8 Reverb effects include

various Hall, Room and Stage types and more. Delay

and Reverb effects can be configured in a serial or

parallel connection, and specified effects or all effects

(excluding the EQ) can be bypassed at will. Controllers

can be designated to control specific effect parameters.

For more information, see as follows:

Vari EF/EQ — page 77

Dly/Rev EF — page 79

EF Bypass — page 80

5 CONTROL

Specific parameters of the VCO, MIX/VCF, VCF, VCA

and EFFECT modules, as well as the PEG, LFO1 and

LFO2 can be controlled by many different types of real-

time controllers, including [MODULATION] wheel,

[RIBBON] controller X- or Z-axis, the eight assignable

CONTROL knobs, a connected [FOOT CONTROLLER],

keyboard After Touch, and more, including MIDI

Control Change messages received at the MIDI [IN]

terminal.

The AN1x’s Control Matrix and UTILITY SETUP Control

Assign function work together flexibly to give you

complete authority over which on-board or external

controller controls which individual internal or external

parameter.

For more information, see as follows:

Control Features — page 49

Control Matrix — pages 51, 73

Utility Control Assign — pages 50, 95

VCO

VCO1

SYNC

MASTER

SLAVE

FM

VCO2

VCA

VOLUME

AEG

FEEDBACK

VARI

EQ

DLY REV

EFFECT

AN1x Tone Generator Block Diagram

MIX/VCF

MOD

RING

NOISE

FEG

MIX HPF

VCF

CTRL

PEG

LFO2 LFO1

12

To avoid possible damage to the speakers or other connected electronic devices, before switching on the

power of any device, make sure the AN1x’s [VOLUME] level and the volume levels of the connected

equipment are set to minimum positions.

The AN1x In A MIDI System

It’s easy to create a simple but powerful MIDI music

system with only a few basic components. The

illustration below shows how to connect the AN1x to a

Yamaha QY700 Music Sequencer.

You can have the AN1x’s Tempo setting control the

external sequencer’s clock, or the sequencer’s clock

control the speed of the AN1x’s Arpeggiator or Step

Sequencer.

For details about assigning AN1x MIDI transmit and receive channels, see page 93. For

details about assigning MIDI channels and other settings for the external sequencer or other

devices which may be connected, consult the owner’s manual for each. For more

information about MIDI, see the APPENDIX, page 109.

QY700

MIDI OUT

MIDI IN

AN1x

MIDI OUT

Amp

Mixer

AN1x

Speaker Speaker

Headphones

12345678910111213141516LR

L R INPUT

R OUTPUT

L

R OUTPUTPHONES

L

FC4 FC7

System Examples

There are many ways to incorporate the AN1x into

a simple or expanded music system. Following are

a few of the most common examples.

The AN1x By Itself

At the simplest level, all you need to do is connect

stereo headphones to the [PHONES] jack located on

the rear panel, and you’re ready to go. To use the

AN1x as a stand-alone performance instrument, simply

connect it to amplified speakers and optional FC Foot

Controller and Footswitch pedals as shown in the

diagram at right.

Setting Up Your AN1x

The AN1x Control Synthesizer is an ideal stand-alone performance-

based electronic musical instrument as well as a powerful component

in an expanded MIDI music system. Following are instructions for

proper setup of the AN1x and connection to external devices.

1. After carefully taking your new AN1x out of

the box, place it on a keyboard stand or on

top of a sturdy table or desk.

2. Next, connect the supplied Yamaha PA-3B (or

equivalent) Adaptor to the AN1x’s [DC IN]

connector located on the rear panel. Then

connect the adaptor to the nearest electrical

outlet.

3. Before switching on the power, connect any

peripheral devices such as amplified speakers,

FC Foot Controller or Footswitch pedals, or

external MIDI instruments.

Do not attempt to use an AC adaptor other than the PA-3B (or equivalent). Use of an

incompatible adaptor may result in irreparable damage to the AN1x, and could even pose a

serious shock hazard.

Always be sure to disconnect the power adaptor from the electrical outlet when the AN1x is

not in use.

FOOT

VOLUME

FOOT

CONTROLLER

FOOT

SWITCH

ON OFF

DC IN R L/MONO

OUTPUT PHONES

POWER

ASSIGNABLE

MIDI

OUTTHRU IN

PA-3B Adaptor

DC IN

13

Connecting The AN1x To

A MIDI Data Storage

Device

You can connect the AN1x to a MIDI data storage

device, such as the Yamaha MDF2 MIDI Data Filer, in

order to “bulk dump”, or save AN1x voice, Step

Sequencer and other data to floppy disks. This lets you

build up complete libraries of your favorite sounds,

sequences and settings, which you can easily load

back into the AN1x whenever you wish.

For information about how to perform Bulk Dump operations, see page 94.

Switching On The Power

Once all connections have been properly made, you’re

ready to switch on the power and start making music with

your AN1x.

1. Set the AN1x’s [VOLUME] knob to minimum

position.

2. Press the [POWER] switch, located on the rear

panel.

After a brief greeting message which appears in the LCD,

the AN1x will power up and be ready to go.

3. Gradually turn the [VOLUME] knob to the

right while playing the keyboard until you

achieve a comfortable listening level.

VOLUME

MDR SEO JOB UTIL

MIDI

MIDI DATA FILTER

CURSOR

- FILE DATA +

REC PAUSE START/STOP

TEMPO

MDF2, etc.

AN1x

MIDI IN

MIDI OUT

MIDI IN

MIDI OUT

Playing The Demo

Songs

The AN1x comes preprogrammed with

demonstration songs which provide dynamic

examples of just how powerful the AN1x really

is. To select and play a Demo, perform the

following operation:

1. Press the [PORTAMENTO] and [LAYER]

switches simultaneously. The word “DEMO”

will appear in the LCD.

2. Press a PROGRAM CHANGE switch (0 - 9) to

select one of the 10 Demo songs. After a

brief moment the Demo song will begin, and

continue playing until the end.

3. When the Demo is finished, simply press

[-/NO] to return to normal operating status.

The Demo song will continue playing repeatedly until you stop it. You can stop the

Demo song in the middle of play by pressing [-/NO].

PROGRAM CHANGE

VWX

MNO

7

YZ

8

PQR

5

GHI

2

–

4

DEF

1

ABC

0

OTHERS

STU

9

6

JKL

3

YES/ENTERNO

DEMO

PORTAMENTO LAYER

14

Selecting Voices

The AN1x comes with 128 voices already preprogrammed and

ready to play. Not only are these voices first-rate and highly

useful in their own right, they form a dynamic living example of

the AN1x’s vast sonic range and power, as well as provide an

excellent basis for study of how voices are constructed.

They are also great for use as a starting point for creating your

own voices—by making slight or significant modifications to suit

your needs or taste—which you can then store in the AN1x’s

memory for instant recall at any time.

Of course, if you want to roll up your sleeves and get your

hands on the VCO, VCF and VCA to build up an original

voice from scratch, you can easily initialize a voice (i.e.,

reset each parameter value to its initial setting) and start

from there. The AN1x even provides a few handy

templates which save you time and all the tedious effort by

making all the basic settings for certain types of sounds for

you, so you can pick up from there and concentrate on just

the fun and creative stuff. (See page 30).

Voice Select Operation

Each of the 128 voices has a Program Number

between 001 and 128. You select a voice using the

PROGRAM CHANGE keypad. There are two ways to

do so, as follows:

METHOD 1

Input a number between 1 and 128, then press

[ENTER].

METHOD 2

Press [+] or [–] to increment or decrement through

the voices sequentially.

The voice name, as well as voice Category and

Program Number, appears in the LCD.

PROGRAM CHANGE

VWX

MNO

7

YZ

8

PQR

5

GHI

2

–

4

DEF

1

ABC

0

OTHERS

STU

9

6

JKL

3

YES/ENTERNO

Basic Operation

You'll find the process of getting to know the

AN1x to be fun and inspiring—especially if you

keep a few fundamental things in mind as you

select and play the voices, try out the various

controls and experiment with the panel features

for the first time. Following are some important

aspects about basic operation of the AN1x

which will help you keep things in their proper

context from the very start.

AN1x Operating Modes

For the most part, except when performing a specific Store or

MIDI bulk dump operation, the AN1x is basically always in Voice

Play/Edit mode. This means that during play, as you turn the

various CONTROL knobs, change the parameter values or

settings using the Edit matrix [UP/DOWN] switches, select a

Layer mode, etc., you are actually editing the voice. (The “EDIT”

mark will appear in reverse type in the lower left area of the LCD

the first time any voice data is changed.)

However, these changes only remain in effect as long as the voice

is selected, unless you store the newly edited voice using a Voice

Store operation before selecting another voice. If you don’t store

the changes, they will be lost when you select a different voice.

The AN1x is a very forgiving instrument, however. A Voice

Recall function (see page 96) lets you retrieve the edited data.

Plus, if you turn the power off before storing an edited voice,

when you turn the power back on the edited parameter

settings will still be retained in the voice edit buffer.

There are various other modes, but these are simply sub-modes of

Voice Play/Edit mode (such as Step Sequencer mode for creating

and editing Voice and User Patterns; see page 37), since virtually

all panel settings—including Scene, Layer, Effects, Arpeggiator,

Step Sequencer settings, and more—are stored as voice data for

each voice (excluding system-related settings).

15

Voice Categories

Voices can be organized into Category types and

assigned a two-letter Category code during the voice

Name operation. For a list of the available Category

types, see page 81.

Scenes

Each voice has two “Scenes”, or two distinct sounds

available for instant recall at the press of a [SCENE]

switch. Since the specific Scene on/off status is stored

as voice data, when you select a voice an LED beside

one of the [SCENE] switches will light to indicate which

Scene is active. (If both Scene LEDs light, the Scene

Control on status has been stored as part of the voice,

which means you can morph, or cross-fade between

Scenes using the assignable [MODULATION] wheel or

any other assigned continuous controller as you play.)

For more information about Scenes, see page 19.

Voice Name Display

As you edit a voice by turning the knobs or changing

parameters in the Edit menu, the information in the

screen changes accordingly. To display the voice name

and number in the LCD at any time, press [-] or [+]

once.

Voice Recall

If you’re editing a voice, and inadvertently select

another voice before performing a Voice Store

operation, or simply change your mind, you can recall

the most recently edited voice data using the Voice

Recall function. For more information, see page 96.

–

YES/ENTERNO

or

Press once

Indicates a voice

has been edited

but not stored.

Knob position settings 2

Knob position settings 1

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

PW

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

PW

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

PW

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

PW

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

CTRL

SCENE

Using The Controllers

The AN1x has various on-board controllers which let you

control specific parameters in real-time as you play.

Besides keyboard Initial and After Touch, these include

[PITCH] wheel, [MODULATION] wheel and [RIBBON]

controller, as well as the eight assignable CONTROL

knobs.

PITCH Wheel

The [PITCH] wheel lets you bend the pitch up or down

by an assignable amount. The pitch bend “depth”

(range) can be different for each Scene, as set in the

Control Matrix.

The pitch bend range can be different for each Scene in each voice. You can also

use the [PITCH] wheel to control other parameters. For information, see page 51.

MODULATION Wheel

The [MODULATION] wheel lets you apply varying

amounts of modulation to the sound as you play,

depending on assignment by the Utility Control Assign

function (see page 50) or in the Control Matrix (see

page 51).

You can also assign volume, pan or one of many other parameters to be

controlled by the [MODULATION] wheel. For information, see page 95. The

[MODULATION] wheel can also be used to “morph” between Scenes when the

Scene Control function is activated. For information, see page 20.

MODULATION

Maximum

Minimum

PITCH

Bends the pitch up

Bends the pitch down

16

RIBBON Controller

The [RIBBON] controller lets you control two different

assignable parameters as you play. You can control

one parameter by sliding your finger along the X-axis,

and another by applying pressure to the Z-axis. You

can assign parameters to the [RIBBON] controller using

the Utility Assign Control function (see page 50) or the

Control Matrix (see page 51).

You can assign different parameters to the [RIBBON] controller for each voice. For

information, see page 75.

To activate the Z-axis you must apply considerable pressure. A light touch will only

apply to the X-axis.

When you release your finger from the [RIBBON] controller, the value may remain

at the same position as at the time of release, or reset to the center position

depending on the Control Matrix setting. (See page 73.)

CONTROL Knobs And

Parameter Groups

Which parameter is edited by each CONTROL knob for

each Scene depends on which KNOB PARAMETER

GROUP switch is currently selected, indicated by a lit LED

to the left of it. Pressing a CONTROL knob (push-switch) or

turning a knob will cause its parameter name and value to

display in the LCD.

When you select a voice the [ASSIGN] switch will

automatically be selected (unless the [EDIT ROTARY] switch

is set to SEQ EDIT/SETUP), which lets you access the eight

parameters assigned to the respective CONTROL knobs.

For more information about the Utility Control Assign function, see pages 50, 95.

KNOB PARAMETER GROUP

PEG/LFOSYNC/FM

VCO1

VCO2

MIX/VCF

VCF

VCA

ASSIGN

ASSIGN 4

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

Selected parameter group

Selected CONTROL knob parameter

X-axis

Minimum

Maximum

Z-axis

Apply pressure

When you set the [EDIT ROTARY] switch to the 5th position

(SEQ EDIT/SETUP menu), the CONTROL knobs will be

dedicated to the event parameters of the various steps

(beats) of the Step Sequencer.

In this situation, no LED will be lit in the KNOB

PARAMETER GROUP section, and the name of the current

step event parameters will appear in the LCD when you

turn or press a knob.

Simply pressing a KNOB PARAMETER GROUP switch will

revert the status back to normal tone generator parameter

control, as will selecting a different Edit menu with the

[EDIT ROTARY] switch. As long as the [EDIT ROTARY]

switch is still set to the SEQ EDIT/SETUP menu, however,

you can press the selected KNOB PARAMETER GROUP

switch again to revert to Step Sequencer control by the

knobs (i.e., you can toggle back and forth between knob

parameter control and step event data edit by pressing the

switch.)

For more information about the KNOB PARAMETER GROUP switches, see page 16.

For more information about the CONTROL knobs, see page 16. For information

about the Step Sequencer, see page 37.

Foot Controllers

The AN1x features [FOOT CONTROLLER], [FOOT VOLUME],

and [FOOTSWITCH] jacks for connecting various foot

pedals, each of which can be assigned to control one of

many types of available on-board and external parameters.

For more information about assigning controllers, see page 49.

Layer Modes And Portamento

One of six Layer modes can be assigned to each voice by

pressing the [LAYER] switch, and Portamento on/off status

can be set by pressing the [PORTAMENTO] switch.

For more information about Layer modes, see page 22. For more information

about portamento, see page 24.

DEMO

PORTAMENTO

STORE

ARPEGGIO/SEQ

LAYER

KNOB PARAMETER GROUP

PEG/LFOSYNC/FM

VCO1

VCO2

MIX/VCF

VCF

VCA

ASSIGN

ASSIGN 4

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

Knob

Event

1-8/9-16

SEQ

EDIT/SETUPStep Hold

Pattern

Bank

No

BaseUnit

Length LoopType Ctrl No

SEQ

Store

17

AN1x Quick Tour

This section provides a “hand’s on” journey through the key features you’ll access regularly as you

select voices, tweak sounds and adjust settings for the various parameters.

Exploring The Factory-set Voices

Taking the time to systematically explore various aspects of the 128 factory-set voices is an excellent way to get a thorough

understanding of the AN1x’s sonic range and power. It’s also a natural way to quickly familiarize yourself with some of the

fundamental operations you’ll use during performance as well as in voice, Arpeggiator, Step Sequencer and Free EG creation

and editing sessions.

Try the simple operations which follow as you select and play each preset voice, and take note of what happens to the sound

as you change the various settings. If, along the way, you stumble upon a sound you want to keep, simply perform a Voice

Store operation (see page 98). If, however, you mess up a sound too much, there’s no need to worry: Just reselect the same

voice to retrieve the original sound data and start over again! Unless you perform a Voice Store operation, no changes you

make will be permanent. Even if you do decide to store a voice, you need not worry about losing any of the factory-set

voices permanently, because the entire bank can be recalled (see page 100).

3 Compare Scenes, and morph between Scenes

using Scene Control.

● When you select a voice, the LED beside the

[SCENE 1] or [SCENE 2] switch (or both LEDs) will

be lit, indicating the Scene status which was stored

as voice data. Press each switch to compare the

difference between the sound of Scene 1 and

Scene 2.

● Press both [SCENE] switches simultaneously to

activate the Scene Control function, then roll the

[MODULATION] wheel forward and back to

morph, or cross-fade between Scenes as you play.

For more information about Scenes and Scene morphing, see page 19.

1 Select a voice.

● Use the PROGRAM CHANGE keypad to select a

voice (1 - 128).

For information about selecting voices, see Basic Operation, page 14.

2 Check LCD status.

● When you select a voice, first take a look at the

information which appears in the LCD, such as Poly

mode (“POLY”, “MONO”, “LEGATO”), Layer mode

(“SINGLE”, “UNISON”, “DUAL”, “SPLIT”, etc.), and

whether the Arpeggiator (“ARP”) or Sequencer

(“SEQ”) is on. This reveals the fundamental nature

of a voice at-a-glance.

This area displays Arpeggiator/

Sequencer on/off and hold status

This area displays Layer mode status

This area displays Poly mode status

VOLUME

CTRL

SCENE

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

PW

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

PHONES

L / MONO

OUTPUT

R

DC IN POWER

FOOT

VOLUME

FOOT

CONTROLLER

FOOT

SWITCH

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

PW

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

IN

OUT

MIDI

THRU

PROGRAM CHANGE

VWX

MNO

7

YZ

8

PQR

5

GHI

2

–

4

DEF

1

ABC

0

OTHERS

STU

9

6

JKL

3

YES/ ENTERNO

DEMO

PORTAMENTO

STORE

ARPEGGIO/ SEQ

LAYER

Mode

Poly

Port

Tempo Split Pnt

Track Common

Trigger

LoopType

Common

Arp/ SEQ

Type/No

Knob

Event

1-8/9-16

System

MstrTune

KbdTrans

VOICE

SCENE SETUP

VOICE

COMMON

VOICE

FREE EG

VOICE

ARPEGGIO/ SEQ

SEQ

EDIT /SETUP

UTILITY

SETUP

LFO Rst

Ctrl Matrix

Set No

Vari EF/EQ

Param Data

Length

Key Track

KbdMode Hold

Step Hold

Pattern

Bank

Kbd Vel

MIDI

Tx Ch

Param Source

Vari EF

Dry:Wet

Dly/ Rev EF

Param

Track

Track No

SceneSw

MIDI

Ptn Tx Ch

No

BaseUnit

Rx Ch

DeviceNo Local

BulkDump

Length LoopType

Arpeggio

Subdivide

Play EF

Swing

Scene Sw

Track Job

Rec

Data

Depth

EF

Bypass

Layer

Pan

Separate

Unison

Detune

Name

Cursor Char

Copy Undo

Velocity

GateTime

Ctrl No

SEQ

Store

Ctrl

Device

Ctrl No

KNOB PARAMETER GROUP

PEG/ LFOSYNC/FM

VCO1

VCO2

MIX/ VCF

VCF

VCA

ASSIGN

18

4 Turn the CONTROL knobs.

● Press a KNOB PARAMETER GROUP switch and turn

each CONTROL knob as you play each Scene to

hear how it affects the sound. There are eight

different groups of parameters assigned to the

knobs at the factory. These let you edit the tone

generator parameters as printed on the panel

beside each knob. Notice how easy it is to edit

and drastically change the voice.

For more information about using the CONTROL knobs, see page 26.

5 Compare Layer modes.

● Press the [LAYER] switch to compare the difference

of each of the six Layer modes as you play, one at

a time.

For more information about Layer modes, see page 22.

6 Change Poly mode setting.

● To hear how the keyboard Poly setting affects how

the voice can be played, set the [EDIT ROTARY]

switch to the VOICE SCENE SETUP menu and press

the Poly [UP/DOWN] switch to select POLY,

MONO or LEGATO. Then play the keyboard.

For more information about Poly mode, see page 72.

7 Turn [ARPEGGIO/SEQ] on and off.

● If the voice uses the Arpeggiator (“ARP” appears in

the LCD) or Sequencer (“SEQ” appears in the LCD),

press the [ARPEGGIO/SEQ] switch to turn it off

and hear how the voice sounds without the pattern.

● Pay attention to how the arpeggio or sequence is

triggered—either across the entire length of the

keyboard, or only to the left of the Split Point. In the

case of the Step Sequencer, some voices are

programmed to let you trigger a different pattern

from each key to the left of the Split Point.

● Set the [EDIT ROTARY] switch to the VOICE

ARPEGGIO/SEQ menu and press KbdMode

[UP/DOWN] once to confirm the setting which

determines how the pattern is triggered. Next, set

the [EDIT ROTARY] switch to the VOICE SCENE

SETUP menu and press Poly [UP/DOWN] and

compare the way the different Poly mode settings

affect the pattern as you play the keyboard.

● If the voice does not use the Arpeggiator or Step

Sequencer, press [ARPEGGIO/SEQ] to turn on the

Arpeggiator or Step Sequencer and hear how notes

and chords are affected.

For more information about the Arpeggiator, see page 33. For information about

the Step Sequencer, see page 37.

8 Change arpeggio Tempo, Pattern Type,

Subdivision, and Hold status.

● To speed up or slow down the Arpeggiator pattern

(or sequence), set the [EDIT ROTARY] switch to the

VOICE COMMON menu and press Tempo

[UP/DOWN] until you achieve the desired rate.

For more information about Tempo, see page 77.

● To try out the 30 different preset Arpeggiator

pattern types, set the [EDIT ROTARY] switch to the

VOICE ARPEGGIO/SEQ menu and press the

Type/No [UP/DOWN] switch and step through

each pattern.

For more information about the Type/No parameter, see page 34.

● To hear how the timing resolution of a pattern

changes with the 10 different Subdivide settings, set

the [EDIT ROTARY] switch to the VOICE

ARPEGGIO/SEQ menu and press Arpeggio

Subdivide [UP/DOWN] to step through each.

For more information about Arpeggio Subdivide, see page 34.

9 Change Effects and adjust EQ.

● To hear the different Variation and EQ effects and

settings, set the [EDIT ROTARY] switch to the VOICE

COMMON menu and press Vari EF/EQ Param

[UP/DOWN] and Data [UP/DOWN] switches

accordingly. Also press the Vari EF Dry:Wet

[UP/DOWN] to change the balance between “dry”

(normal) and “wet” (effected) signals.

For more information about Vari EF/EQ, see page 77.

● To hear the different Delay and Reverb effects and

settings, press Dly/Rev EF Param [UP/DOWN] and

Data [UP/DOWN] switches accordingly.

For more information about Dly/Rev EF mode, see page 79.

● To bypass specific or all effects and hear how the

voice sounds in its pristine state, press EF Bypass

[UP/DOWN] and change the status accordingly.

EF Bypass is a system parameter, and therefore will remain as you set it

regardless of which voice is selected. For more information, see page 80.

19

Assignable Real-time Controllers

You can assign specific parameters to the assignable

controller of your choice, including the eight CONTROL

knobs, [MODULATION] wheel, [RIBBON] controller (X-axis

and Z-axis) and keyboard After Touch, as well as (optional)

[FOOT VOLUME], [FOOT CONTROLLER] and

[FOOTSWITCH] pedals. Controller and parameter

assignments are made using the Control Matrix (see page

73) and the Utility Control Assign function (see page 95).

For more information about controllers, see Using The Control Features, page

49.

Selecting Scenes

And Scene Morphing

The AN1x’s Scene select and play functions offer

an exciting range of sophisticated and

convenient real-time sound control options that

let you express yourself musically in completely

unique ways. The [SCENE] switches let you select

a Scene or activate the Scene Control function.

Parameters Stored In Each Scene

• All parameter group CONTROL knob position settings

(except for the [ASSIGN] group).

• VOICE SCENE SETUP Menu Mode and Control Matrix

(excluding common) parameter settings.

• VOICE COMMON menu Vari EF Dry:Wet settings.

Scene Memories

Each voice has two Scene memories, each of which can

have a different edit using the CONTROL knobs. Either

Scene can be recalled at any time during play by pressing

[SCENE 1] or [SCENE 2]. An LED to the left of the selected

switch will light to indicate the active Scene.

Due to the virtually unlimited number of results possible by

selecting KNOB PARAMETER GROUP switches and turning

the CONTROL knobs, each of the two Scenes can be as

similar or radically different as you want. This gives you

two specific sounds to choose from at any time within each

of the 128 voices, at the simple press of a [SCENE]

switch.

Scenes are especially handy for creating slight variations

on the same sound for use during different parts of a

song—say, one with fast attack that cuts through the mix

during rhythmic phrases, and one with a slower attack

that’s more suitable for a pad. And of course, if the two

Scenes are completely different from each other—say one

sound prepared for verse and chorus, and another for a

solo break—it’s a lot simpler to switch back and forth

between Scenes than it is to switch between voices,

especially under the pressure of a live situation.

Knob position settings 2

Knob position settings 1

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

PW

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

PW

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

PW

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

PW

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

CTRL

SCENE

20

Scene Edit Buffers

When you select a voice, the two Scenes are loaded into the

Scene edit buffers. Since each Scene has its own buffer, you

can “work” on each Scene separately. For example, if

[SCENE 1] is selected and you edit its parameters by turning

the knobs, this data will be maintained in Scene 1 even if

you select [SCENE 2] and start editing it. When you switch

back to Scene 1, it will recall your edited data (and not the

original Scene 1 data stored with the voice).

There’s also a Scene Control buffer, where parameter

changes by moving the [MODULATION] wheel (as well as

CONTROL knob positions when Scene Control is active) take

place. This sound can be stored in either Scene edit buffer at

any time using the Scene Store operation.

Since Scene editing, as well as Scene Store, Load and Swap

operations (see pages 21, 22), are taking place in the Scene

edit buffers, you need not worry about losing your original

Scene data as stored with the selected voice, unless you

perform a Voice Store operation to the same voice location.

However, since the Scene buffer is volatile, you will lose your

edited Scene data unless you perform a Voice Store

operation before selecting another voice.

For information about performing a Voice Store operation, see page 98.

Scene

Scene Control

Buffer

Tone

Generator

Scene

Control knobs

1-8

Scene Edit

Buffers

Tone

Generator

Scene

Control knobs

1-8

Scene Edit

Buffers

CTRL

SCENE

Scene Control

The Scene Control function lets you “morph”, or cross-fade

between the two Scenes by rolling the assignable

[MODULATION] wheel, or using an assignable Foot

Controller or any other continuous controller.

For information about assigning controllers, see page 95.

The procedure for activating the Scene Control function is

as follows:

1. Press both [SCENE] switches simultaneously.

The LEDs to the left of both switches will light

to indicate that Scene Control is active.

2. Roll the [MODULATION] wheel forward and

back (or use a Foot Controller, etc.) as you

play.

The minimum value of the [MODULATION] wheel (or Foot

Controller, etc.) plays Scene 1; the maximum value plays

Scene 2; any position between the two extremes (between

a range of 0 and 127) will play a blend of both Scenes

accordingly.

MODULATION

Scene 1 setting

Scene 1/2

equal balance

Minimum

Maximum

Halfway

MODULATION

Scene 2 setting

MODULATION

Scene 2 settings

Scene 1 settings

MODULATION

Scene 1

Scene 2

VOLUME

CTRL

SCENE

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

PW

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

PW

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

VOLUME

CTRL

SCENE

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

PW

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

PW

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

CTRL

SCENE

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