Yamaha Mo 8 Manual

							Internal Structure (System Overview)
131Owner’s Manual
Basic Structure
The following illustrations may help in understanding the memory structure of the Voices, Performances, and Mixings.
..................
..................
Preset 1(128 Voices)
12......128
Preset 2(128 Voices)
12......128
Preset 3(128 Voices)
12......128Preset Drum(64 Voices)
12......64
GM Preset(128 Voices)
12......128
GM Drum(1 Voice)
1
User 1(128 Voices)
12......128
User 2(128 Voices)
12......128
Song 1(16 Voices)
12......16
Song 64(16 Voices)
12......16
Pattern 1(16 Voices)
12......16
Pattern 64(16 Voices)
12......16
User Drum(32 Voices)
12......32
User 1(128 Performances)
12......128
User 2(128 Performances)
12......128
➞
..................
..................Song 1(16 Parts)
Pattern 1(16 Parts)
Song 64(16 Parts)
Template
1
2
......32Pattern 64(16 Parts)
➞
➞
PRE 1
A. PIANOPRE 1
A. PIANOPRE 2
KEYBOARD
PRE 3
ORGAN
USER 1
BASS
USER 1
BASS
USER 1
BASS
USER 2
STRINGS
USER 2
STRINGS
GM
BRASS
GM
BRASS
Preset 4(128 Voices)
12......128
PRE 4
GUITAR 
PLUCKED
FAVORITES
DRUM
 KITS
FAVORITES
DRUM
 KITS
FAVORITES
DRUM
 KITS
VOI CE
PERFORMSONG
PATTERN
MIXING
MIXING
Normal Voice
Normal Voices:  512
Drum Voices:  64
Drum Voice Voices
Preset Voice
Normal Voices:  128
Drum Voice:  1
GM Voice
Normal Voices:  256
Drum Voices:  32
User Voice
Normal Voices: up to 256
(Up to 16 Voices for each Song/
Pattern)
Mixing Voices
PerformanceMixing
nThe Mixing Voices can be 
selected only in the Song mode/
Pattern mode. These cannot be 
selected in the Voice mode or 
assigned to each Part in the 
Performance mode. 
						

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Basic Structure
■Normal Voice and Drum Voice
Internally, there are two Voice Types: Normal Voices and Drum 
Voices.
Normal Voices are mainly pitched musical instrument-type 
sounds that can be played over the range of the keyboard. 
Drum Voices are mainly percussion/drum sounds that are 
assigned to individual notes on the keyboard. A collection of 
assigned percussion/drum waves or Normal Voices is known 
as a Drum Kit.
■GM Voices
GM (General MIDI) is a worldwide standard for Voice 
organization and MIDI functions of synthesizers and tone 
generators. It was designed primarily to ensure that any song 
data created with a specific GM device would sound virtually 
the same on any other GM device—no matter the 
manufacturer or the model. The GM Voice bank on this 
synthesizer is designed to appropriately play back GM song 
data. However, keep in mind that the sound may not be 
exactly the same as played by the original tone generator.
■Tone generator parameters that produce the 
Voice sound
Among various parameters that makes up one Voice, 
Oscillator, Pitch, Filter, Amplitude, LFO and three Envelope 
Generators (PEG, FEG, AEG) shown in the illustration on 
pages 132 – 134 are the basic parameters for creating the 
Voice sound. Parameters related to Oscillator, Pitch, Filter and 
Amplitude determine the three basic elements of the sound—
Pitch (how low or high it is), Tone (or its overall sound quality), 
and Volume (how loud its volume level is) of the Voice. 
Parameters such as LFO and EG (Envelope Generator) 
determine the transition in these three basic elements of the 
sound from the moment the sound starts to the moment the 
sound stops.In the sections that follow, we’ll explain in detail about the 
sound-related parameters and provide an introduction to the 
basics of electronic synthesis.
●Oscillator
This unit outputs the wave which deter mines the basic pitch. 
You can assign the wave (or basic sound material) to each 
Element of the Normal Voice or each Key of the Drum Voice. 
In the case of the Normal Voice, you can set the note range for 
Element (the range of notes on the keyboard over which the 
Element will sound) as well as the velocity response (the range 
of note velocities within which the Element will sound). For 
example, you could set one Element to sound in an upper 
range of the keyboard, and another Element to sound in a 
lower range. Thus, even within the same Voice, you can have 
two different sounds for different areas of the keyboard or you 
can make the two Element ranges overlap so that their sounds 
are layered over a set range. Furthermore, you can set each 
Element to respond to different velocity ranges so that one 
Element sounds for lower note velocities, whereas another 
Element sounds for higher note velocities.
nYou can assign the wave with the following operation.
[VOICE] → Voice selection → [EDIT] → Element selection/Drum 
Key selection → [F1] OSC → [SF1] WAVE
●Pitch
This unit controls the pitch of the sound (wave) output from the 
Oscillator. In the case of the Normal Voice, you can detune 
separate Elements, apply Pitch Scaling and so on. Also, by 
setting the PEG (Pitch Envelope Generator), you can control 
how the pitch changes over time.
PEG (Pitch Envelope Generator)
Using the PEG, you can control the transition in pitch from the 
moment the sound starts the moment the sound stops. You 
can create the PEG by setting parameters as illustrated below. 
When you press a note on the keyboard, the pitch of the Voice 
will change according to these envelope settings. This is 
useful for creating automatic changes in pitch, which is 
effective for example in synth brass sounds. Fur thermore, 
different PEG parameters can be set for each Element or each 
Key.
Key 1 Key 5 Key 10 Key 18 Key 21 Key 73
C0
C1 C6
Waveform (Preset 1 – 1859)
Normal Voice
One Voice
Element 4 Element 1Element 2Element 3
Velocity
Individual drum sounds (different for each key)
Drum Voice
[VOICE] ➞ Voice selection ➞ [EDIT] ➞ Element selection/
Drum Key selection ➞ [F1] OSC
[VOICE] ➞ Voice selection ➞ [EDIT] ➞ Element selection/
Drum Key selection ➞ [F2] PITCH
0
Pitch
Hold 
LevelAttack
Level
Decay1
Level
Sustain Level
(Decay2 Level)
Release
Level
Hold
TimeAttack
TimeDecay1
TimeDecay2
TimeRelease
TimeTime
Pressing the key (Key on) Releasing the key (Key off) 
						

							Internal Structure (System Overview)
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Basic Structure
Owner’s Manual
●Filter
This unit modifies the tone of the sound output from Pitch by 
cutting the output of a specific frequency portion of the sound.
Cutoff Frequency and Resonance
Here’s how filters work. In the example below (a low pass 
filter), a portion of the signal lower than a given frequency is 
allowed to pass, and signals above that frequency are cut. 
This frequency is referred to as the Cutoff frequency. You can 
produce a relatively bright or darker sound by setting the 
cutoff. Resonance is a parameter that boosts the level of the 
signal in the area of the cutoff frequency. By emphasizing the 
overtones in this area, this can produce a distinctive “peaky” 
tone, making the sound brighter and harder. 
About the main Filter types
The Low Pass Filter is shown in the illustration above—
however, this synthesizer features four other Filter types as 
shown below.
• Low Pass Filter (above)
This passes only those signals below the Cutoff frequency. You 
can then use the Reso (Resonance) parameter to add further 
character to the sound. 
• High Pass Filter
This passes only those signals above the Cutoff frequency. You 
can then use the Reso (Resonance) parameter to add further 
character to the sound. 
• Band Pass Filter
This passes only those a band of signals around the Cutoff 
frequency. The width of this band can be varied.
• Band Elimination Filter
This attenuates a band of signals around the Cutoff frequency, but 
passes everything else.
FEG (Filter Envelope Generator)
Using the FEG, you can control the transition in tone from the 
moment the sound starts to the moment the sound stops. You 
can create the FEG by setting parameters as illustrated below. 
When you press a note on the keyboard, the cutoff frequency 
will change according to these envelope settings. This is 
useful for creating automatic wah or filter sweep effects, for 
example. Furthermore, different FEG parameters can be set 
for each Element or each Key.
[VOICE] ➞ Voice selection ➞ [EDIT] ➞ Element selection/
Drum Key selection ➞ [F3] FILTER
These frequencies are “passed” by the filter.Cutoff frequency
Frequency (pitch) Level
Resonance
Frequency (pitch)
Cutoff frequency Level
Resonance
Cutoff frequencyThese frequencies are 
“passed” by the filter. Level
Frequency Range passed
Cutoff range Level
Center frequency
Level
Cutoff range
Range passedCenter frequencyFrequency
0
Cutoff Frequency
Hold 
LevelAttack
Level
Decay1
Level
Sustain Level
(Decay2 Level)
Release
Level
Hold
TimeAttack
TimeDecay1
TimeDecay2
TimeRelease
TimeTime
Pressing the key (Key on)Releasing the key (Key off) 
						

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Basic Structure
●Amplitude
This unit controls the output level (amplitude) of the sound 
output from the Filter block. The signals are then sent at this 
level to the Effect block. Also, by setting the AEG (Amplitude 
Envelope Generator), you can control how the volume 
changes over time.
AEG (Amplitude Envelope Generator)
Using the AEG, you can control the transition in volume from 
the moment the sound starts is to the moment the sound 
stops. You can create the AEG by setting parameters as 
illustrated below. When you press a note on the keyboard, the 
volume will change according to these envelope settings. 
Furthermore, different AEG parameters can be set for each 
Element or each Key.
●LFO (Low Frequency Oscillator)
As its name suggests, the LFO produces a wave of a low 
frequency.
These waves can be used to vary the pitch, filter or amplitude 
of each Element to create effects such as vibrato, wah and 
tremolo. LFO can be set independently for each Element; it 
can also be set globally for all Elements. 
Single Timbre Tone Generator (Voice/
Performance mode) and Multi-timbral 
Tone Generator (Song/Pattern mode)
The internal tone generator block operates in two different 
ways (Single timbre and Multi-timbral) depending on the 
selected mode. The difference between the two is whether or 
not they can handle multiple MIDI channels at the same time.
●Single Timbre Tone Generator (Voice/Performance 
mode)
A MIDI tone generator that receives over a single MIDI 
channel and plays a single instrument par t is referred to as a 
“single timbre” tone generator. This is the operating status of 
the internal tone generator in the Voice and Performance 
modes.
nTo set the MIDI receive channel for single timbre operation (Voice 
and Performance modes), use the following operation in the Utility 
mode. [UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh
●Multi-timbral Tone Generator (Song/Pattern mode)
A MIDI tone generator that simultaneously receives over 
multiple MIDI channels and plays multiple instrument par ts is 
referred to as a “multi-timbral” tone generator. This allows 
playback of multi-channel MIDI song data—such as on a MIDI 
sequencer or computer—with each inter nal part being 
assigned to and played by a different track or channel. This is 
the operating status of the internal tone generator in the Song 
and Pattern modes.
nTo set the MIDI receive channel for multi-timbral operation (Song 
and Pattern modes), use the following operation in the Utility mode.
[SONG] or [PATTERN] → [MIXING] → [EDIT] → Part selection → 
[F1] VOICE → [SF2] MODE → ReceiveCh
nWhen using an external MIDI sequencer or computer to play this 
instrument, make sure to use the Song mode or Pattern mode.
[VOICE] ➞ Voice selection ➞ [EDIT] ➞ Element selection/
Drum Key selection ➞ [F4] AMP
[VOICE] ➞ Voice selection ➞ [EDIT] ➞ Element selection/
Drum Key selection ➞ [F5] LFO
[VOICE] ➞ Voice selection ➞ [EDIT] ➞ [COMMON] ➞ [F5] 
LFO
0
Level (Volume)
Initial 
LevelAttack
Level
Decay1
Level
Sustain Level
(Decay2 Level)
Time
Attack
TimeDecay1
TimeDecay2
TimeRelease
Level
Release
Time
Pressing the key (Key on) Releasing the key (Key off)
Maximum Polyphony
Maximum polyphony refers to the highest number of 
notes that can be sounded simultaneously from the 
internal tone generator of the instrument.
The maximum polyphony of this synthesizer is 64. When 
the internal tone generator block receives a number of 
notes exceeding the maximum polyphony, previously 
played notes are cut off. Keep in mind this may be 
especially noticeable with Voices not having decay.
Furthermore, the maximum polyphony applies to the 
number of voice elements used, not the number of 
voices. When the normal voices that include up to four 
elements are used, the maximum number of 
simultaneous notes may be less than 64. 
						

							Internal Structure (System Overview)
135Owner’s Manual
Basic Structure
Part structure of the Tone Generator 
block
The MO plays the sounds in its tone generator block in 
response to MIDI messages received from external controllers 
or sequencer. The MIDI messages are assigned to sixteen 
independent channels, and the instrument is capable of 
simultaneously playing sixteen separate Par ts, via the sixteen 
MIDI channels. However, the sixteen-channel limit can be 
overcome by using separate MIDI “ports,” each supporting 
sixteen channels.
nThe USB cable supports up to eight separate MIDI ports. However, 
the tone generator in the MO supports only one port.
nA single MIDI cable/connection cannot handle data over multiple 
MIDI ports.
■Part structure of the tone generator block in 
the Voice  mode
In this mode, a Voice is played using a single Part. The tone 
generator block in the Voice mode receives MIDI data over a 
single channel. For this reason, song data on an external 
sequencer consisting of multiple MIDI channels will not play back 
properly in this mode. If you are using an external MIDI sequencer 
or computer to play the instrument, make sure to use the Song or 
Pattern mode.
n•To set the MIDI receive channel for single timbre operation (Voice 
and Performance modes), use the following operation in the Utility 
mode. [UTILITY] → MIDI display → BasicRcvCh
•In the Voice mode, the instrument recognizes only data over MIDI 
Port 1.
■Part structure of the tone generator block in 
the Performance mode
This mode lets you play a Performance (in which multiple Voices 
or Parts are combined—in a layer, or in other configurations). 
While a total of seven Parts are available in this mode (as shown 
below), a maximum of four Parts can be used simultaneously.
Although this mode lets you play several Parts at the same time, all 
are set to receive over the same single MIDI channel, as in the 
Voice mode. For this reason, song data on an external sequencer 
consisting of multiple MIDI channels will not play back properly in 
this mode. If you are using an external MIDI sequencer or 
computer to play the instrument, make sure to use the Song or 
Pattern mode.
n•To set the MIDI receive channel for single timbre operation (Voice 
and Performance modes), use the following operation in the Utility 
mode. [UTILITY] → MIDI display → BasicRcvCh
•In the Performance mode, the instrument recognizes only data 
over MIDI Port 1.
■Part structure of the tone generator block in 
the Song mode/Pattern mode
This mode lets you use multiple Parts and assign different Voices 
to be played back for each Part. Since different MIDI channels can 
be set for each Part of the tone generator block, you can use an 
external MIDI sequencer to play the sounds. As illustrated below, 
the sequence data of each track plays the corresponding Parts 
(those having the same MIDI channel assignment) in the tone 
generator block.
The MIDI Transmit Channel/Port of the Song/Pattern can be set 
with the following operation.
In the Song mode: [SONG] → Song selection→ [F3] TRACK → 
[SF1] CHANNEL
In the Pattern mode: [PATTERN] → Pattern selection → [F3] 
TRACK → [SF1] CHANNEL
When sounding the internal tone generator block, assign the 
tracks to Transmit Port 1 and use Parts 1 – 16. Keep in mind that 
data over Transmit Ports 2 or 3 cannot sound the internal tone 
generator block. 
The MIDI Receive Channel of the tone generator’s part can be set 
with the following operation.
In the Song mode: [SONG] → Song selection → [MIXING] → 
[EDIT] → Part selection → [F1] VOICE → [SF2] MODE → 
ReceiveCh
In the Pattern mode: [PATTERN] → Pattern selection → [MIXING] 
→ [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → 
ReceiveCh
nFor details about MIDI, see page 223.
nThe Voice and related settings (volume, pan, etc.) are sounded by 
the keyboard according to the Part parameters in the Mixing 
settings of the current Song/Pattern and Part. Other settings such 
as Controllers and Effect types correspond to the Common 
parameters in the Mixing settings of the current Song/Pattern.
MIDI port Voice modePar t 1
Tone generator block
MIDI Port 1
Par t 1
Par t 2
Par t 3
Par t 4
Par t 5
Par t 16
Tone generator block
Performance Mode
Parts for the 
internal tone 
generator
Parts 5 – 16 are not used.
MIDI Port 1
Par t 1
Par t 2
Par t 14
Par t 15
Par t 16
(for the internal 
tone generator)
Tone generator block
Song/Pattern Mode 
						

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Internal Structure (System Overview)
136Owner’s Manual
Sequencer Block
This block lets you create Songs and Patterns by recording and editing your performances as MIDI data (from the controller 
block), then playing it back with the tone generator block. The sequencer block can be operated in the Song mode, in the 
Pattern mode, and with the Arpeggio feature. When a Song or a Pattern is played back, the musical data of each sequence 
track is transmitted to the tone generator block according to the Transmit Channel settings.
nSongs can be played back only in the Song mode. They cannot be played back in other modes.
Patterns can be played back only in the Pattern mode. They cannot be played back in other modes.
Arpeggios can be played back in any mode.
Songs and Patterns
Songs and Patterns are MIDI sequence data consisting of up to 16 tracks.
A Song on this synthesizer is effectively the same as a Song on a MIDI sequencer, and playback automatically stops at the 
end of the recorded data.
In the MO, the term “Pattern” refers to a relatively short musical or rhythmic phrase—1 to 256 measures—which is used for 
looped playback. Therefore, once Pattern playback starts, it continues until you press the [■] (Stop) button. This synthesizer 
features a variety of preset Phrase data that is used as the basic material in making up Patterns.
■Song data structure
The following illustration shows the track structure of a Song. Songs are created by recording MIDI sequence data to 
individual tracks and by setting tone generator related parameters (in Song Mixing).
Song 64
Musical performance data
Song Mixing (Tone Generator related settings)
Song 63
Song 02
Song 01
Tempo track
Track 1
Track 2
Track 3
Track 16
Part 1
Part 2
Part 3
Part 16Mixing settings
Mixing settings
Mixing settings
Mixing settings
Mixing Voice 16
Mixing Voice 01
Set in the Song Play mode
Created in the Song Record mode, Song Edit mode, and Song Job mode
Created in the Mixing Voice Edit mode Set in the Song Mixing mode and Song Mixing Edit mode
MIDI sequence data
MIDI sequence data
MIDI sequence data
MIDI sequence dataGroove, Transmit Channel/Port, Track loop settings
Groove, Transmit Channel/Port, Track loop settings
Groove, Transmit Channel/Port, Track loop settings
Groove, Transmit Channel/Port, Track loop settings Scene trackTempo change
Scene 1 Scene 2 Scene 3 Scene 4 Scene 5
Mixing Common Edit Parameters 
applied to all the parts
Track mute status/Scene memory 
change/Arpeggio type change 
(including tempo, transpose, etc.) 
						

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Basic Structure
●Song Mixing
Even if you record your keyboard performance to a Song track, the setup data (non-note events such as voice, pan, volume) which 
for proper playback should be recorded at the top of the Song will not be recorded to it. For this reason, the setup data handled as 
Song Mixing settings should be stored in the Song Mixing Store mode.
Because the Song Mixing is a collection of settings related to the tone generator, it can be applied to the sequence data transmitted 
from the external MIDI sequencer as well as this synthesizer’s Song playback.
●Scene
A Song Scene is a “snapshot” of impor tant settings, and contains parameter settings such as transpose, tempo, and track mute 
and the tone generator related parameters controllable from the Knobs with the [PAN/SEND] or [TONE] lamp turned on, and the 
Control sliders. Five settings can be registered to the [SF1] – [SF5] buttons for each Song.
●Song Chain
This function allows Songs to be “chained” together for automatic sequential playback. The Song Chain can be cr eated and played 
back from the [SONG] → [F6] CHAIN display. This instrument allows you to create one Song Chain data.
■Pattern data structure
The following illustration shows the track structure of a Pattern. Patterns are created by recording MIDI sequence data to 
individual tracks, by assigning Phrases (Preset and User) which comprise the material for a Pattern to individual tracks, and 
by setting tone generator related parameters (in a Pattern Mixing).
Song 1 Song 22
Song 15
User Phrase 1 - 256
(MIDI sequence data)
16 SectionsMixing Voice 01Mixing Voice 16
Part 1 Mixing settings
Part 2 Mixing settings
Part 3 Mixing settings
Part 16 Mixing settings
Pattern Chain
A
BP
Set in the Pattern Play mode
Created in the Pattern Record mode, Pattern Edit mode, and Pattern Job mode
Created in the Mixing Voice Edit mode
Created in the Pattern Chain mode Set in the Pattern Mixing mode and Pattern Mixing Edit mode
Pattern 64
Pattern 01
Groove, Transmit Channel/Port, Track loop, Track Voice settings
User Phrase 1 - 256
(MIDI sequence data)
Preset Phrase 1 - 687
(MIDI sequence data)
Mixing Common Edit Parameters 
applied to all the parts
Copy the Phrase 
recorded to a track of 
another Pattern
The Patch function lets you assign 
a Phrase to each track. 
Track 1 MIDI sequence data
Track 2 MIDI sequence data
Track 3 MIDI sequence data
Track 16 MIDI sequence dataUser Phrase
Preset Phrase Pattern Mixing (Tone Generator related settings) 
						

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Basic Structure
●Pattern Mixing
Even if you record your keyboard performance to a Pattern 
track, the setup data (non-note events such as voice, pan, 
volume) which for proper playback should be recorded at the 
top of the Pattern will not be recorded to it. For this reason, the 
setup data handled as Pattern Mixing settings should be 
stored in the Pattern Mixing Store mode. Unlike the Song, only 
the voice number is recorded to a track as a Track Voice 
(Phrase Voice) which is used for playback nor mally. Because 
the Pattern Mixing is a collection of settings related to the tone 
generator, it can be applied to the sequence data transmitted 
from the external MIDI sequencer as well as this synthesizer’s 
Pattern playback.
●Section
A Pattern consists of one or more “Sections” (Pattern 
variations). You can play the Pattern by specifying a Section 
after selecting a Pattern.
●Phrase
This is the basic MIDI sequence data—and the smallest unit—
used in creating a Pattern. “Phrase” is a short musical/
rhythmic passage for a single instrument, such as a rhythm 
pattern for the rhythm part, a bass line for the bass part, or a 
chord backing for the guitar part. This synthesizer features 687 
Preset Phrases, and contains memory space for 256 of your 
own original User Phrases.
●Pattern Chain
Pattern Chain allows you to string several different Sections
(within a single Pattern) together to make a single Song. You 
can have the synthesizer automatically change Sections by 
creating Pattern Chains in this way beforehand.
You can create the Pattern Chain by recording a Pattern 
playback with Section changes from the [PATTERN] → [F6] 
CHAIN display or by editing the timing of Section changes 
from the [PATTERN] → [F6] CHAIN → [EDIT] display. The 
created Pattern Chain can be played back when calling up the 
[PATTERN] → [F6] CHAIN display.
You can also use them when creating Songs based on a 
certain Pattern, since the created Pattern Chain can be 
converted into a Song from the [PATTERN] → [F6] CHAIN → 
[EDIT] → [F3] SONG display. This synthesizer lets you create 
one Pattern Chain for each Pattern.
■MIDI tracks
MIDI tracks are created by recording your keyboard 
performance in the Song Record mode/Pattern Record mode.
●MIDI track recording method
The following explanations are important points for you to keep 
in mind as you record your User Songs/Patterns. The 
recording methods explained here should be set from the 
Setup display in the Song Record mode/Pattern Record mode 
before recording.
●Realtime recording and Step recording
Realtime recording
With realtime recording, the instrument functions in the same 
way as a tape recorder, recording the performance data as it 
is played. This allows you to capture all the nuances of an 
actual performance. This method is used for the Recording 
types explained below, such as Replace, Overdub, Loop, and 
Punch In/Out.
Step recording (Type = step)
With step recording, you can compose your performance by 
“writing” it down one event at a time. This is a non-realtime, 
step recording method—similar to writing music notation onto 
paper.
●Replace and Overdub (Song/Pattern)
Replace
You can use this method when you want to overwrite an 
already recorded track with new data. The first recording is 
lost, and the new one takes its place.
Overdub
You can use this method when you want to add more data to a 
track that already contains data. The first recording is kept, 
and the new one is added. This method lets you build up a 
complex phrase together with Loop recording (below).
Pattern Chain
Example
Pattern track
Section J Section H Section PScene track
Tempo trackSection change
Track mute setting
Tempo change
[SONG] or [PATTERN] ➞ [REC] (Record) ➞ [F1] SETUP ➞ 
Type 
						

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●Loop Recording (Pattern)
Pattern repeats the rhythm pattern of several measures (1 to 
256 measures) in a “loop,” and its recording is also done using 
loops. This method is used when recording a Pattern Phrase 
using the Overdub method (above). As shown in the example 
below, notes that you record will play back from the next 
repetition (loop), letting you record while hearing previously 
recorded material.
When recording a rhythm of Bass Drum, Snare Drum, 
Hi-Hat cymbal in order:
nLoop Recording can only be used with Realtime recording.
●Punch In/Out (Song)
You can use this method when you want to re-record only over 
a specific area of the track. You’ll need to set the start and end
points before re-recording.
In the eight-measure example below, the third measures 
through the fifth measure are re-recorded.
nPunch In/Out Recording can only be used with Realtime recording.
nNote that the Punch In/Out method always replaces (destroys) the 
original data over the specified area.
[PATTERN] ➞ [REC] (Record) ➞ [F1] SETUP ➞ loop = on
Loop 1st round
Loop 2nd round
Loop 3rd round
Bass Drum
Snare Drum
Bass Drum
Hi-Hat
Snare Drum
Bass Drum
1234 567 8
1234 567 8
Recording start Recording stop
Punch in Punch out
Newly recorded data
Before re-recording
After re-recording 
						

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Basic Structure
Effect Block
This block applies effects to the output of the tone generator block, processing and enhancing the sound using 
sophisticated DSP (digital signal processing) technology. 
Effect structure
The effect processing of this synthesizer features the 
System Effects, Insertion Effects, Master Effect, Part EQ 
(Equalizer), and Master EQ (Equalizer). 
■System Effects (Reverb, Chorus)
System Effects are applied to the overall sound, whether it be 
a Voice, Performance, Song, and Pattern.
With System effects, the sound of each Part is sent to the 
effect according to the effect Send Level for each Part. The 
processed sound (referred to as “wet”) is sent back to the 
mixer, according to the Return Level, and output—after 
being mixed with the unprocessed “dry” sound. This 
arrangement lets you prepare an optimum balance of the 
effect sound and the original sound of the Parts.
Reverb
The Reverb effects add a warm ambience to the sound, 
simulating the complex reflections of actual performance 
spaces, such as a concert hall or a small club. A total of 20 
different Reverb types are available.
Chorus
The Chorus effects use various types of modulation 
processing, including flanger and phaser, to enhance the 
sound in a variety of ways. A total of 49 types are available, 
including reverb and delay effects.
■Insertion Effects A, B
Insertion effects can be applied individually to each par t. 
Insertion effects are mainly used to directly process a single 
part. The depth of the effect is adjusted by setting the dry/wet 
balance. Since an Insertion effect can only be applied to one 
particular part, it should be used for sounds you want to 
drastically change or for sounds that use an effect unintended 
for other sounds. You can also set the balance so that only the 
effect sound is heard, by setting Wet to 100%. 
This synthesizer features three sets of Insertion effects (one 
set has A and B units). They can be applied to three Parts 
(maximum) of the Performance, Song, and Pattern. 
A total of 116 different Chorus types are available. 
nIn the Voice mode, only one set of the Insertion effects is available. 
■Master Effect
This block applies effects to the final stereo output signal of 
the entire sound. A total of 8 different Master Effect types are 
available. 
Bypassing the Effects (Effect Off)
You can bypass the Master Effect by turning on the 
[MASTER EFFECT] button with a single touch. The System 
Effect(s) or Insertion Effect(s) can be bypassed by turning 
on the [EFFECT BYPASS] button.
nFrom the following display, you can select the specific 
effect(s) to be bypassed with the [EFFECT BYPASS] button.
[UTILITY] → [F1] GENERAL → {SF3] EF BYPS 
Controlling the Master effect by using the Knobs
When pressing the [ARP FX] button and the [EQ] button 
simultaneously (both lamps light), you can control the 
knobs to adjust the Master effect related parameters 
specified in the [UTILITY] → [F4] CTL ASN → [SF5] MEF 
display of the Utility mode.