CS1xE1.pdf

PRECAUTIONS

BEFORE PROCEEDING.

Following the important precautions below will help ensure you

many years of trouble free use from your CS1x.

LOCATION

• In order to avoid causing serious damage to

the CS1x, do not expose it to direct sunlight,

high temperatures, excessive humidity,

excessive dust or strong vibration.

• Always place the CS1x on a solid surface such

as a keyboard stand or a sturdy table or desk.

ELECTRICAL INTERFERENCE

• Avoid using the CS1x near televisions, radios

or other devices which generate

electromagnetic fields, since this may cause

the CS1x to malfunction, and possibly

generate interference noise in the other

devices.

diluted, mild detergent. Then wipe the

instrument thoroughly with a dry cloth.

• Avoid placing vinyl objects on top of the

instrument, since vinyl can stick to and

discolor the surface.

DATA BACKUP

• Yamaha recommends that you regularly save

your music data using an external MIDI data

storage device such as the Yamaha MDF2

MIDI Data Filer. Yamaha cannot be held

responsible for the accidental loss of CS1x

data.

POWER SUPPLY

• Turn the power switch off when the CS1x is

not in use.

BACK-UP BATTERY

• The CS1x contains a special long-life battery

that retains the contents of its User memory

when the power is turned off. The back-up

battery should last for several years. When it

needs to be replaced, the message "Battery

Low" will appear in the display when the

power is turned on. When this happens, have

the backup battery replaced by qualified

Yamaha service personnel. Do not attempt

to replace the backup battery yourself.

• Use only the supplied PA-3B or an equivalent

AC power adaptor. Use of an incompatible

adaptor may result in irreparable damage to

the CS1x, and could even pose a serious

shock hazard.

SERVICE AND MODIFICATION

• The CS1x contains no user serviceable parts,

so never open the case or tamper with the

internal circuitry in any way. Doing so may

result in electrical shock or damage to the

instrument. Refer all servicing to qualified

Yamaha service personnel.

• The power adaptor should be unplugged

from the AC outlet if the CS1x is not to be

used for an extended period of time.

• Unplug the CS1x during electrical storms.

HANDLING AND TRANSPORT

• Always handle the CS1x with care. Physical

shocks caused by dropping, bumping, or

placing heavy objects on it can result in

serious damage to the CS1x.

• Avoid plugging the CS1x into the same AC

outlet as appliances with high power

consumption such as electric heaters or

ovens. Also avoid using multiple-plug

adapters since these can result in reduced

sound quality and possibly even damage to

the instrument.

IMPORTANT NOTE

Yamaha cannot be held responsible for damage

to the CS1x resulting from improper handling

or operation, or for the accidental loss of CS1x

data.

• Never apply excessive force to the controls,

connectors or other parts.

• Disconnect all cables before moving the

CS1x. Always unplug cables by gripping the

plug firmly, and not by pulling on the cable.

UNPLUG ALL INSTRUMENTS

WHEN MAKING CONNECTIONS

• To avoid causing damage to the CS1x and

other devices to which it is connected, such

as a sound system or MIDI instruments, turn

off the power and unplug all related devices

prior to connecting or disconnecting audio

and MIDI cables.

NOTICES

• The company names and product names in

this owner's manual are the trademarks or

registered trademarks of their respective

companies.

• The LCD screens as illustrated in this owner's

manual are for instructional purposes, and may

appear somewhat different from the screens

which appear on your instrument.

CLEANING

• Never use chemical solvents or thinners to

clean the CS1x, since these will damage the

finish or dull the keys. Wipe the instrument

clean with a soft, dry cloth. If necessary, use

a soft, clean cloth slightly moistened with a

IMPORTANT! PLEASE READ

Introduction

In the beginning, there was the knob…

And the knob was good. Great, in fact.

You could just reach out and grab it. Turn it left. And turn it right.

Interact with it in realtime.

And there were knobs of all kinds. Knobs for changing the attack

and release times of a sound. Knobs for setting the cutoff filter and

resonance. And knobs for controlling many other aspects of analog

synthesizer sounds.

By twisting a knob one way and another, a vast, practically endless

variety of electronic sounds could be called forth. Fat sounds. Strange

sounds. Beautiful sounds. Magical sounds.

It was the 1960s, and such was the power of the knob that music

was changed forever.

And the term synthesizer became a household word.

But the knob was not perfect…

From the start the knob was brilliant and easy to grasp. It put the

musician in complete control of the sound. And opened up a whole

new world of sonic exploration.

It was the 1970s, and some of the greatest recordings in music history

were being made. Analog "synths" were finding their way into the stages,

studios and professional composing suites of the world.

But as simple, straightforward and powerful as analog synths were,

they were also for the most part priced out of reach of the struggling

musician. Plus they tended to be sensitive to slight fluctuations in electric

current which frequently wreaked havoc with pitch, thus making tuning

inherently unstable.

And there was no reliable way to save panel settings and original

sounds except for tediously scrawling lists and notes with pencil and

paper.

Surely there must be a better way.

Engineers the world over went to work searching for a better way,

and great strides were made in the development of more stable, lower

cost, and more convenient technologies.

A breakthrough in electronic sound synthesis was imminent.

Then came the miracle of digital…

The beginning of the 1980s saw breakthroughs in digital synthesizer

technology which was to once again revolutionize modern music.

Musicians everywhere embraced affordable new technologies like

FM, which could accurately reproduce the sound characteristics of

acoustic and other instruments, and AWM (PCM), which relied on

"samples" of actual instrument sounds to produce an amazing wealth

of musical textures and sonic options.

The new spate of digital synthesizers were—on the outside—much

more streamlined than analog synths, sporting a minimal array of buttons

and a display screen which provided information about each feature.

Overnight the knob was rendered virtually obsolete.

Unstable tunings were a thing of the past. Memory was the future.

Digital synths were—on the inside—more loaded than ever, as

hundreds of amazing acoustic and electronic sounds, or voices, could

be stored and recalled at the touch of a button. Scores of new and exciting

features were available. Entire panel settings and configurations could

also be stored for instant recall.

It was the digital revolution that made MIDI, GM, XG, sequencing,

sampling, looping, multitimbral play, DSP effects and many other

breakthroughs in electronic music technology possible.

Developments that have changed forever the way we teach, compose,

perform and listen to music.

Global design standards ensured that music hardware and software

products made by different manufacturers could work together

seamlessly.

But alas, digital did not create a perfect world.

on the panel.

A collection of six rotary Sound Control Knobs are irresistible to the

touch—and provide instant sonic results when turned.

Between the Sound Control Knobs, the clearly labeled panel switches,

and the back lit LCD, the current status of the CS1x is always crystal

clear.

The numeric keypad and other buttons—including Scenes, or

"snapshots" of knob positions—give you quick and easy access to any

parameter or setup you need, the moment you need it.

As such, the CS1x is an unprecedented realtime performance

instrument.

The hundreds of great sounding AWM2 (Advanced Wave Memory

2) instrument voices (created from high quality recordings of actual

instrument and other sounds), three digital effects units (with 11 Reverb,

11 Chorus and 43 Variation type effects) and scores of other parameters

can be configured in an almost unlimited variety of ways and stored in

memory for instant recall.

Performances, or complete configurations of up to four Layers

(voices) playing simultaneously, plus effect and other parameters, and

Multis, or a configuration of up to 16 Parts and other parameters for

multitimbral play (using an external sequencer or computer), provide a

unique array of options which make the CS1x a handy synth for literally

any type of music situation.

Thirty-two notes of polyphony ensure that you always have enough

available notes to play even the most demanding arrangement.

The on-board arpeggiator which can generate various types of

automatic arpeggios or be controlled by an external MIDI clock provides

an extremely useful tool for spicing up your masterpieces—or setting

the dance floor on fire.

Chaos reigned over the land…

As convenient, dynamic and accessible as digital synthesis was, still

it was not perfect. It had certain limitations, though different ones than

analog synthesis.

Streamlined panel layouts and the demise of the knob meant that

all those hundreds of great new features had to be organized and stacked

in pages and subpages of hidden menus—which might mean several

presses of one or more buttons just to find a feature, and several more

to actually manipulate it.

And the steep learning curve of many digital synthesizers became a

legend unto itself. Alarmingly, the synth was on its way to becoming a

thing of science, rather than an intuitive musical instrument.

It was, therefore, inevitable that many would come to mourn

nostalgically for the days of simplicity—for the knob. For those warm,

fat, wonderful analog sounds. For fewer hidden features.

And for a simpler, easier to use electronic instrument.

There was a definite need for an analog-style digital synthesizer

that would have intuitive knobs plus all the benefits of digital memories

and other convenient—especially interactive—features.

One that could satisfy even the most die-hard advocate of analog or

digital synthesis.

A perfectly versatile synthesizer as attractive to first-time synth

owners as to desktop music hobbyists, serious amateurs, and even

seasoned professionals.

A powerful stand-alone performance instrument with hot dance

music and other versatile voices, as suited for the cutting edge as for the

classics.

An ideal multitimbral MIDI component which could fit right into

even the most sophisticated expanded system.

One with extremely modest pricing for such powerful utility.

It was only a matter of time before the thunder of analog would

unite with the lightning of digital to once again challenge convention

and ultimately change the landscape of music possibilities yet once more.

Go forth and multiply…

As simple—yet powerful—as the CS1x is on its own, it has also

been specially engineered to easily fit right into any type of expanded

music system you wish to create.

General MIDI (GM) compatibility makes the CS1x an ideal

multitimbral tone generator for accurately playing any of the many

Standard MIDI File or other commercially available GM music data using

an external sequencer.

XG compatibility makes the CS1x completely state of the art—

conveniently able to take advantage of the expanded sound and

expressive capabilities that this exciting new format will offer in the

coming months and years.

A TO HOST terminal and HOST SELECT switch provides for direct

interface with either PC and Macintosh computers, thus enabling you

to easily jump right into the "desktop music" revolution without the

need for any additional peripheral interfacing equipment.

If you're a first-time synthesizer owner, the CS1x lets you expand

your music system at your own pace.

First you might want to add an affordable Yamaha QY series

sequencer and take advantage of the CS1x's powerful multitimbral

capabilities. With a QY sequencer you can record and play back up to

16 music "parts", each on an independent MIDI channel—just like a

multitrack recorder, but with virtually unlimited editing capabilities.

Next you might want to add the compact, low-cost Yamaha SU10

sampler which lets you capture music phrases and other sounds to add

an entirely unique dimension to your music.

Finally you might want to add a computer which will let you take

advantage of the many different types of music software products now

available plus those yet to come.

With the CS1x at the heart of your system, you're ready to grow

your own unique music system and take your musical capabilities as far

as you want— naturally .

And Yamaha heard their cries…

Fortunately Yamaha recognized that something new and significant

must be created to bring together the best of both analog and digital

worlds.

The result was the Yamaha Control Synthesizer CS1x.

The CS1x takes the best of analog—simplicity of use, natural

interactivity, thick sound, and, of course, the knob—and unites it with

the best of digital—reliable pitch, plenty of memory, one-touch setting

reconfigurations, hundreds of voices, MIDI, and much, much more—

to begat a truly unique "control" synthesizer.

One with all the familiar concepts loved by both analog and digital

afficianados. One destined to satisfy even the most meticulous purist in

each camp.

Nothing to hide…

Perhaps the most striking—certainly refreshing—aspect of the CS1x

Control Synthesizer is the way it wears its heart on its sleeve.

What you see is what you get: all features are self-evidently displayed

CS1x MAIN

The CS1x is specially designed with an intuitive, interactive user interface

through lots of dedicated panel controls and sound editing features which

can easily be manipulated in realtime during performance. Main features

include:

• 6 Sound Control Knobs for direct access to key parameters of the currently

selected voice as you play, and 2 Scene memories for instant recall of

specified Sound Control Knob positions. You can use the Modulation

Wheel or a connected Foot Controller for continuous changes between

Scene 1 and Scene 2 parameter values.

• 480 GM- and XG-compatible AWM2 instrument voices and 11 drum

voices, or kits, in Multi Play mode. Additional voices are available in

Performance mode which can be assigned to the Performances.

• Performance mode with complete configurations of Layers (4 voices either

stacked or in sophisticated keyboard and velocity splits), digital effects

and other parameters. There are a total of 128 Preset Performances and

128 User Performances.

• Multi Play mode for multitimbral play of up to 16 different Parts (across

16 MIDI channels; when using an external sequencer), with 32-note

polyphony. TO HOST terminal and HOST SELECT switch allow direct

interface with IBM PC/AT or Apple Macintosh computers.

• 3 independent DSP digital effect units which can be used simultaneously—

Reverb (11 types), Chorus (11 types) and Variation (43 types).

• Arpeggiator with 30 types of arpeggiated chords and 10 timing subdivisions.

The Arpeggiator's tempo can also be controlled by an external MIDI

clock.

FEATURES

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