Kawai PH50 Manual de usuario

Tabla de contenidos

Otros manuales de Teclado de Kawai

Kawai

Kawai FS780 Manual de usuario

Kawai

Kawai X55-D Manual de usuario

Kawai

Kawai FS900 Manual de usuario

Kawai

Kawai FS650 Manual de usuario

Kawai

Kawai X40-D Manual de usuario

Kawai

Kawai X50-D Manual de usuario

Kawai

Kawai FS730 Manual de usuario

Kawai

Kawai X140-D Manual de usuario

Kawai

Kawai FS750 Manual de usuario

Kawai

Kawai X65-D Manual de usuario

Kawai

Kawai FS640 Manual de usuario

Kawai

Kawai WK40 Manual de usuario

Kawai

Kawai X30 Manual de usuario

Kawai

Kawai FS690 Manual de usuario

Kawai

Kawai KC20 Manual de usuario

Manuales populares de Teclado de otras marcas

Vortexgear

Vortexgear POK3R Manual de usuario

Razer

Razer RZ03-0188 Manual de usuario

Logitech

Logitech RUGGED LITE Manual de usuario

Honeywell

Honeywell ADEMCO 5839 Instrucciones de montaje

Hama

Hama AK-120 Manual de usuario

Rodgers

Rodgers RK-76 Manual de usuario

Logic Controls

Logic Controls KB5000 Series Manual de usuario

Rapoo

Rapoo E9270P Manual de usuario

iKey

iKey DP-88 Manual de usuario

Logitech

Logitech G413 TKL SE Instrucciones de montaje

Keychron

Keychron C1 Manual de usuario

Dahua

Dahua NKB Manual de usuario

Ultimate Technology

Ultimate Technology 500 POS Manual de usuario

Ducky

Ducky Shine 5 Manual de usuario

Mace

Mace MACALLY MERGOKEY Manual de usuario

iKey

iKey KYB-42-KIOSK Manual de usuario

Akko

Akko MX108 Manual de usuario

Viper

Viper V770 Manual de usuario

KAWAI

ul

POP

KEYBOARD

(1-150

OWNER’S

MANUAL

Welcome

to

the

sound-creation

world

of

the

Kawai

PH5S0

Pop

Keyboard.

Be

sure

to

read

these

instructions

so

that

you

will

always

be

able

to

use

your

PH50

in

optimum

conditions

and

allow

it

to

demonstrate

its

exceptional

capabilities

to

the

fullest.

|

SPECIFICATIONS

Keyboard

49

keys

Number

of

Voices

16

Maximum

Tone

Patches

250

(200

Tones/50

Combinations)

Effect

Pitch

Bend

Up/Down,

Vibrato,

Forte

Sw.

(Joy

Stick)

Rhythm

30

Patterns

Start/Stop,

Intro/Fill

In,

Tempo,

Rhythm

Volume

Combination

Edit

30

Forms

Assign,

Volume

System

Tune,

Transpose,

Transmit

Channel,

Receive

Channel,

Omni

On/Off,

Program

Change,

Pressure

On/Off,

Pitch

Bend

On/Off,

Modulation

On/Off,

Volume

On/Off,

Hold

On/Off,

Velocity

On/Off

Others

Power,

Master

Volume,

MIDI

Jacks

Headphone,

L

(Mono)/R,

MIDI

(In,

Out),

Hold

Display

3

LEDs

Sound

System

10

cm

x

2

Power

Supply

Household

power

supply

(Using

AC

adaptor

PS121)

or

6

size

C

dry

batteries

Dimensions

(W

<

D

x

H)}

77x

29x7

(cm)

30%"

x

11%"

x

2%"

Weight

3.7kg

8

Ibs.

2.

POWER

SUPPLY

The

PH50

can

be

plugged

into

ordinary

household

power

outlets

or

be

used

with

dry

batteries.

Use

the

PS-121

AC

adapter

for

connecting

this

instrument

to

household

power

outlets.

To

use

with

dry

batteries,

open

the

battery

case

lid

on

the

rear

of

the

PH50

and

insert

six

size-C

batteries

into

the

case,

making

sure

that

the

polarities

(+,

-)

are

correct.

Notes:

®@

When

the

batteries

are

worn,

the

volume

and

quality

of

the

sound

will

be

lessened.

It

is

important

to

change

the

batteries

at

that

time.

@When

you

change

the

batteries,

do

not

use

old

and

new

batteries

together,

or

mix

batteries

of

different

types.

@

lf

you

are

not

going

to

use

the

PH50

for

a

long

time,

remove

the

batteries.

|

5.

COMBINATION

Up

to

four

tones

can

be

combined

easily

with

the

COMBINATION

function.

Before

explaining

how

this

works,

we

shall

take

a

look

at

some

basic

examples

of

combining

tones.

The

principle

methods

are

as

follows:

(1)

SPLIT

SPLIT

literally

splits

the

keyboard

up

into

sound

zones,

so

that

different

tones

can

be

played

depending

on

the

zone.

E

BASS

Look

over

the

Form

list

on

page

8.

You

will

see

that

Form

9

is

a

2-zone

split,

while

Forms

21

and

22

are

4~zone

splits.

(2)

DUAL

DUAL

layers

one

tone

onto

another

one,

across

the

whole

keyboard.

By

making

the

pitch

of

these

tones

slightly

different

and

playing

them

together,

you

can

thicken

the

sound.

PIANO

———

STRINGS

Forms

1

through

8

are

FUAL

forms

which

assign

two

tones

to

the

whole

keyboard.

The

form

list

describes

how

each

of

these

DUAL

forms

differ.

(3)

LAYER

This

is

the

same

kind

of

combination

as

DUAL,

but

is

called

LAYER

when

three

or

more

tones

are

used.

E.

PIANO

STRINGS

BRASS

form

12

is

a

3-part

layer.

Forms

19

and

20

are

4-part

layers.

(4)

Mix

MIX

combines

the

functions

of

SPLIT

and

LAYER.

Forms

11

and

15-18

are

mix

forms.

BASS

SAX

STRINGS

By

using

the

above

combinations

you

can

create

new

sounds

and

surprising

effects

that

are

impossible

to

obtain

with

single

tones.

The

PH50’s

combinations

have

been

preset

so

that

anyone

can

enjoy

combining

sounds

effortlessly.

Selected

to

give

you

optimum

flexibility

for

casual

playing

or

live

performance,

these

30

preset

combinations

require

only

that

you

choose

the

tones.

These

predetermined

groupings

of

zones

are

called

FORMS.

You

can

assign

from

two

to

four

tones

to

a

FORM

(the

number

of

assignable

tones

varies

depending

on

the

FORM).

The

location

on

the

keyboard

where

the

respective

tones

can

be

assigned

are

called

PARTs.

In

addition

to

the

zones,

the

FORM

enables

different

values

of

DETUNE

and

TRANSPOSE

to

be

set

for

each

PART.

(See

the

FORM

list.}

Example

1:

FORM

9

FORM

9

is

the

basic

SPLIT

type.

|

PART

A

PART

B

Example

2:

FORM

26

FORM

26

is

a

MIX

type

of

SPLIT

and

DUAL.

PARTs

A

and

C

have

been

transposed

into

a

minor

key

and

PARTs

B

and

D

have

been

transposed

into

a

major

key.

|

PART

A

PART

B

:

PART

CG

PART

D

You

can

adjust

LEVEL

(the

volume)

for

each

tone

when

you

are

assigning

the

tone

for

each

section.

This

lets

you

balance

the

volume

between

tones

to

suit

each

piece

of

music

you

perform.

Listen

to

a

number

of

COMBINATIONs

while

looking

at

the

COMBI-

NATION

and

FORM

lists.

That

is

the

quickest

way

to

gain

an

understanding

of

this

powerful

capability.

FEATURES

®

200

Great

VM

Tones

The

PHS50

is

an

entirely

new

type

of

keyboard.

The

new

VM

(Variable

Memory)

tone

generator

has

been

developed

especially

for

KAWAI

SYN-

THESIZERS,

allowing

the

PH50

to

provide

200

rich

tones

including

realistic

instrumental

sounds

and

stunning

digital

effects.

©

COMBINATION

If

200

tones

are

not

enough

for

you,

the

PH50

provides

the

COMBINATION

function,

with

which

you

can

select

up

to

four

tones

from

the

200

and

assign

these

in

various

combined

patterns

(called

FORMs)

that

go

far

beyond

conventional

DUAL

or

SPLIT

functions.

You

will

have

countless

sound

variations

at

your

command.

Up

to

50

COMBINATIONs

can

be

stored

in

memory.

@

30

Up-to-date

Rhythm

Sounds

The

PH50

contains

its

own

pop

rhythm

section

with

30

rhythm

sounds

built

in

—

enough

to

create

a

dynamite

rhythm

performance.

©

Joystick

You

can

add

delicate

touches

to

your

performance

by

using

the

joystick

for

vibrato

and

pitchbend,

as

well

as

adjusting

volume.

©

LED

Display

The

tone

and

rhythm

selections,

tempo

settings

and

other

information

are

shown

on

the

Alpha-Numeric

LED

Display.

You

can

operate

the

PH50

easily

by

referring

to

these

numbers

and

symbols.

1.

NAMES

OF

PARTS

AND

BASIC

OPERATION

i

Front

Panel

()

POWER

switch

Switches

the

power

on

and

off.

@

MASTER

VOLUME

Adjusts

the

volume

touder

or

softer.

)

Joystick

Used

for

changing

the

tone.

@

FORTE

switch

Increases

the

overall

volume

when

the

joystick

is

shifted

toward

you

(downward).

The

volume

returns

to

the

previous

setting

when

the

joystick

is

shifted

toward

you

once

again.

©

VIBRATO

Adds

vibrato

to

the

sound

when

the

joystick

is

shifted

away

from

you

(upward).

The

further

it

is

shifted,

the

greater

the

vibrato.

®

BEND

UP

Raises

the

pitch

when

the

joystick

is

moved

to

the

right.

The

further

to

the

right

it

is

shifted,

the

higher

the

pitch.

@

BEND

DOWN

Lowers

the

pitch

when

the

joystick

is

shifted

to

the

left.

The

further

to

the

left

it

is

shifted,

the

lower

the

pitch.

(4)

TONES

Displays

the

names

and

numbers

of

the

200

TONES.

©

PATTERNS

(rhythm)

Displays

the

names

and

numbers

of

the

30

rhythm

patterns.

@)

LED

display

Displays

numbers

of

tones,

rhythms,

COMBINATIONs,

tempo

settings,

and

other

system

information.

®

BANK

switch

Used

to

switch

between

TONE

selection

and

COMBINATION

selection.

The

BANK

switch

moves

the

LED

on

the

right

between

TONES

and.

COMBINATIONS.

When

the

TONES

LED

is

lit,

PH50

is

in

the

TONE

select

mode,

and

the

LED

display

indicates

the

TONE

numbers

(001-200).

ca

eae

Ea

-

BANK

When

the

COMBINATION

LED

is

lit,

PH50

is

in

the

COMBINATION

select

mode,

and

the

LED

display

indicates

the

COMBINATION

numbers

(001-050).

lea}

°

C3

COMBINATION

-

BANK

For

changing

the

tones

or

COMBINATIONS,

the

four-way

cursor

enables

you

to

select

any

number

you

want.

COMBINATION

EDIT

section

Used

when

editing

COMBINATIONs.

There

are

three

COMBINATION

switches:

@

FORM

Used

to

select

the

FORM

that

determines

the

combination

of

tones.

PH50

offers

30

types

of

FORMs

{including

splits,

layers,

and

multi-timbral

mode).

©

ASSIGN

Used

to

select

the

tones

to

be

combined.

Two

to

four

tones

can

be

combined

depending

on

the

FORM

you

Select.

@

LEVEL

Used

to

change

the

volume

level

of

the

tones

selected.

FRONT

PANEL

SS)

()

RHYTHM

section

@

RHYTHM

switch

Used

for

selecting

rhythm

pattern

and

adjusting

tempo

and

level.

Each

time

the

RHYTHM

Switch

is

pressed,

the

LED

on

its

right

changes

from

patterns

to

tempo

to

level.

When

the

PATTERNS

LED

is

lit,

PHS0

is

in

the

rhythm

PATTERN

select

mode

and

the

LED

display

indicates

the

PATTERN

numbers

(1-30).

CC)

&

PATTERNS

-

(318

RHYTHM

¢

When

the

TEMPO

LED

is

lit,

PH50

is

in

the

TEMPO

set

mode,

and

the

LED

display

indicates

the

TEMPO

(

j

=

50-250).

if

a

value

smatier

than

50

is

set,

the

display

indicates

“SYC”,

and

the

rhythm

function

synchronizes

with

external

MIDI

information.

When

this

happens,

START/STOP

and

TEMPO

setting

are

disabled,

so

care

should

be

taken

when

setting

the

tempo

value.

(Refer

to

“Enjoying

MIDI

Functions”

for

an

explanation

of

synchronized

performance.)

ac

alo)

—

le

rafts

ain)

-

[2]

a

mii

+

TEMPO

When

the

LEVEL

LED

is

fit,

PH5O

is

in

the

mode

for

adjusting

the

rhythm

volume,

and

the

LED

display

indicates

the

LEVEL

value

(0-100).

ane.

(Lie)

-

Lisle

RHYTHM

=

-*

LEVEL

For

changing

the

numbers

and

values,

the

four-way

cursor

enables

you

to

select

any

number

you

desire.

7.

ENJOYING

MIDI

FUNCTIONS

MIDI

is

the

world

standard

used

for

connecting

electronic

musical

instruments

to

each

other.

The

following

possibilities

are

open

to

you

when

your

electronic

instrument

is

equipped

with

a

MIDI

interface.

(1)

Using

the

PH50

to

play

another

instrument

(Use

a

MID!

cable

to

connect

the

PH5S0’s

MIDI

OUT

port

to

the

MID!

IN

port

of

brother

instrument.)

|

MIDI

OUT

|

mint

IN

Synthesizer

ta

oS

Oo

o00n0

Qa

00000

aa

Drum

machine

Synthesizer

module

You

can

use

your

PH50

to

play

other

instruments

such

as

the

K1

synthesizer

and

the

K1m

synthesizer

module.

By

connecting

the

PH50

to

an

instrument

like

the

R-50

drum

machine,

you

can

add

percussion

sounds

to

the

30

rhythm

PATTERNS

of

the

PH50,

and

use

the

R-S0

to

program

a

rhythm

completely

different

from

any

of

the

PH50

rhythms.

:

“Make

sure

you

match

the

PHS50's

transmit

channel

and

the

receiving

instrument's

receive

channel.

(2)

Using

the

PH50

as

a

sound

source

module

(Use

a

MIDI

cable

to

connect

the

MIDI

OUT

port

of

another

instrument

to

the

PHS0’s

MIDI

IN

port.)

Synthesizer

You

can

play

an

electronic

piano

or

synthesizer

and

add

the

sound

of

the

PHS50.

PHS50

packs

an

impressive

200

TONES,

50

COMBINATIONSs,

and

30

rhythm

PATTERNS,

so

it

can

be

used

for

expanding

sound

sources

and

changing

rhythms.

*

Make

sure

you

match

the

sending

instrument's

transmit

channel

and

the

PHS50’s

receive

channel

(system).

When

playing

COMBINATIONS,

set

the

transmit

channel

to

CH1.

(3)

Using

the

PH50

with

sequencer

Sequencer

By

connecting

to

a

sequencer

such

as

the

Q-80,

PH50

can

play

five

parts

simultaneously

(four

parts

plus

rhythm).

Example:

Set

COMBINATION

as

foliows

(same

as

COMBINATION

27):

*

With

the

PH50,

you

can

select

the

MID!

CLOCK

from

SYC,

50-250.

Set

the

PH50

to

SYN

(SYNCHRONIZATION)

when

matching

the

tempo

of

a

drum

machine.

—

FORM

27

—

MIDI

CH1

=

TONE

A:

005

AL’s

RHODES

—

MIDI

CH2

=

TONE

B:

025

PULL

BASS

—

MIDI

CH3

=

TONE

C

:

020

BRASS

ENS

—

MIDI

CH4

=

TONE

D:

131

FLUTE

—

MID!

CLOCK

=

PHS0

Rhythm

:

16

FUNK1

Choose

from

among

the

30

rhythm

PATTERNS.

Combinations

27

through

30

are

set

up

to

show

you

how

to

utilize

the

PHS50's

multi-timbral

capability.

Look

over

numbers

27-30

on

the

LIST

OF

COMBINATIONS.

You

will

see

that

the

tones

and

levels

are

identical

on

all

of

these

Combinations.

Only

the

FORMS

are

different.

Now

look

at

the

FORM

LIST.

You

can

see

that

Forms

27-30

are

set

up

for

“sequencer.”

When

Form

27

is

selected,

only

the

tone

assigned

to

Part

A

will

be

generated

from

the

PH50

keyboard.

In

the

preset

Combinations

27-

30,

AL’s

RHODES

is

assigned

to

Part

A.

Therefore,

you

will

only

hear

AL’s

RHODES

when

you

lay

your

first

track.

Once

the

first

track

has

been

recorded

into

the

sequencer,

you're

ready

to

overdub

a

second

tone.

Set

the

PH50

to

transmit

on

MIDI

channel

2.

Select

Form

28

which

allows

only

the

tone

assigned

to

Part

D

to

be

generated

from

the

keyboard.

If

you

select

Combination

28,

PULL

BASS

has

been

assigned

to

Part

B.

Therefore,

you

will

only

hear

PULL

BASS

when

you

play

the

PHS0

keyboard.

Your

first

track

(AL’s

RHODES)

will

play

back

through

the

PH50

via

MIDI

ailowing

you

to

overdub

the

new

track

in

real-time.

To

overdub

a

third

track

using

the

tone

assigned

to

Part

C,

use

Combination

29

(or

Form

29).

Set

the

PH50

to

transmit

on

MID!

channel

3.

Now

the

tone

from

Part

C

will

be

generated

from

the

keyboard

and

Part

A

and

B

tones

will

play

back

via

MIDI.

Overdub

a

fourth.

track

using

MIDI

channel

4

and

Combination

30

(or

Form

30).

Remember

that

you

are

limited

to

16

polyphonic

notes.

If

you

use

percussion,

only

12

notes

are

available.

@

Procedure

for

recording

with

a

sequencer:

Connect

the

PH50

and

the

sequencer

as

shown

in

the

illustration.

Select

one

of

the

COMBINATIONS

set

as

above.

Set

the

PH50

transmit

channel

to

CH1.

Set the

sequencer

CLOCK

to

EXTERNAL.

Select

the

PH50's

rhythm

and

tempo

(50-250).

Make

the

sequencer

ready

to

start

recording.

Start

the

PH50

rhythm,

and

play

it

to

the

sound

of

AL's

RHODES.

Press

the

PH50

STOP

key

when

the

performance

is

completed.

Change

to

factory~set

COMBINATION

No.

28.

(Or

just

change

FORM

to

No.

28.)

10

Set

the

PH50

transmit

channel

to

CH2.

11

Make

the

sequencer

ready

to

start

over

dubbing.

12

~~

Start

the

PH50

rhythm,

and

play

it

to

the

sound

of

PULL

BASS.

13

Press

the

PHS0

STOP

key

when

the

performance

is

completed.

COON

DOaAA

WH

=

In

this

way,

the

recording

is

done

by

changing

the

numbers

of

the

COMBINATIONs

(or

FORMs)

one

at

a

time

for

each

part.

Finally,

adjust

the

LEVEL

for

TONES

A,

B,

C

and

D.

When

you

play

back

on

the

sequencer,

the

music

just

recorded

with

the

four

parts

plus

the

rhythm

will

be

performed

automatically.

When

you

wish

to

change

the

TONE,

use

ASSIGN.

|

3.

CONNECTING

TO

AUDIO

EQUIPMENT

|

|

4.

HOLD

PEDAL

JACK

You

can

perform

with

a

more

powerful

sound

by

connecting

the

LINE

OUT

jack

to

audio

equipment

or

amplifier

with

a

standard

%"

cord.

Note:

When

you

are

connecting

equipment

to

the

OUTPUT

jack,

be

sure

to

either

turn

the

power

off

or

turn

the

volume

down

as

far

as

it

will

go.

%”

Standard

plug

LINE

IN

0

Pin

plu

plug

ee

This

jack

accepts

the

plug

of

the

optional

F-1

foot

pedal.

When

you

step

on

the

hold

pedal,

the

notes

continue

even

when

you

have

released

your

fingers

from

the

keys.

O

HOLD

Here's

the

procedure

for

editing

combinations.

@

Procedure

(4)

Press

the

BANK

switch

until

the

COMBINATIONs

LED

lights.

Then,

use

the

four-way

cursor

to

select

the

combination

you

wish

to

edit

(The

3-digit

display

will

show

combination

numbers).

°

TONE

3

COMBINATION

eae

|

BANK

rnioale

&

LJ

|

|

of

(2)

First,

set

FORM.

Press

the

FORM

switch.

The

LED

display

alternately

indicates

£-

}

(abbreviated

display

for

FORM)

and

the

FORM

number.

Cas

FORM

im

7

7

&,

Fle]R]

>

(lel

if

(3)

When

you

have

decided

which

FORM

you

will

use

(from

the

FORM

list),

set

the

FORM

number

using

the

four-way

cursor

keys.

SO)

oS

(4)

Next,

assign

the

tones

for

each

PART.

Press

the

ASSIGN

switch.

The

LED

display

alternately

indicates

}-

9

(abbreviated

display

for

ASSIGN

—

PART

A)

and

the

TONE

number.

In

this

example,

the

display

indicates

that

TONE

61

has

been

assigned

to

PART

A.

(The

first

letter

—

capital

upper

or

lower

case

—

tells

you

the

PART.)

a

mele

Al-|A]

[o}6}

f

(5)

When

you

have

decided

which

tone

to

use

(from

the

tone

list

on

the

PHS0's

front

panel),

set

its

number

with

the

four-way

cursor

keys.

&

ALE)

(6)

Each

time

you

press

the

ASSIGN

switch,

the

PART

changes.

Assign

the

tones

to

the

other

PARTs

in

the

same

way

as

you

did

for

PART

A.

ASSIGN

9-&--

Indicates

PART

B.

9-£.--

Indicates

PART

C.

A-¢f---

Indicates

PART

D.

ASSIGN

(7)

Next,

adjust

the

volume

LEVEL.

Press

the

LEVEL

switch.

The

LED

display

alternately

indicates

i-R

{abbreviated

display

for

LEVEL

—

PART

A)

and

LEVEL

value

(0-100).

‘

o

mae

o

ie]

[A

o

[ale

(8)

Use

the

four-way

cursor

keys

to

change

the

LEVEL

value.

&

(9)

Each

time

you

press

the

LEVEL

switch

the

PART

changes.

Change

the

other

PARTs

in

the

same

way

as

you

did

for

PART

A.

i-b--:

Indicates

PART

B.

i-£--

indicates

PART

C.

i-d-~

Indicates

PART

D.

Goes

aGe

f

LEVEL

0

ta]

[Es]

(e3

fea]

(3)

[ca

o

|

(aia

Cia

an

Lad

||

faa]

Lee)

With

this

step

the

operation

is

completed.

Press

the

BANK

switch

to

return

to

the

previous

mode.

Notes:

®

You

can

select

FORM,

assign

tones

and

adjust

LEVEL

in

any

order

you

wish.

®

To

return

to

the

factory-set

COMBINATIONS,

turn

the

POWER

switch

on

while

simultaneously

pressing

the

LEVEL

and

SYSTEM

switches.

This

resets

the

PHS0

to

its

original

COMBINATIONs.

FORM

LIST

LOW

i

ALL

Zone

No.

FORM

FORM

Contents

A

B

\

DUAL

ALL

ALL

Two

PARTs,

A

and

B,

layered

one

over

the

other.

2

|

DETUNED

DUAL

1

ALL

ALL

The

pitch

of

the

two

layered

PARTs,

A

and

B,

differs

slightly

compared

with

No.

1,

to

yield

a

chorus

effect.

3.

|

DETUNED

DUAL

2

ALL

ALL

The

pitch

of

the

two

layered

PARTs,

A

and

B,

differs

more

than

for

No.

2,

to

yield

a

chorus

effect.

4

|

DETUNED

DUAL3

ALL

ALL

The

pitch

of

the

two

layered

PARTs,

A

and

B,

differs

more

than

for

No.

3,

to

yield

a

chorus

effect.

5

|

HONKY

TONK

DUAL

ALL

ALL

The

pitch

of

the

two

layered

PARTs,

A

and

B,

differs

more

than

for

No.

4,

to

yield

a

detuned

effect.

6

|

TRANSPOSED

DUAL

1

ALL

ALL

PART

B

is

layered

one

ontave

above

the

key

for

No.

1.

7

|

TRANSPOSED

DUAL

2

PART

B

is

layered

one

octave

below

the

key

for

No.

1.

8

|

TRANSPOSED

DUAL

3

PART

B

is

layered

two

octaves

above

and

PART

A

two

octaves

below

the

key

for

No.

1.

9

|

SPLIT

SPLIT

of

PARTs

A

and

B

(PART

A

on

the

left,

PART

B

on

the

right).

10

|

TRANSPOSED

SPLIT

SPLIT

of

the

two

TONES,

A

and

B,

as

in

No.

9,

but

with

PART

B

one

octave

down.

11}

MIX1

PART

A

is

assigned

to

the

left

half

of

the

keyboard,

and

PART

B

generates

sound

across

the

whole

keyboard.

12

|

LAYER3

PARTS

The

three

PARTs,

A;

B

and

C,

are

layered

over

each

other.

13

|

TRANSPOSED

LAYER

1

The

same

as

in

No.

12,

but

PART

C

is

one

octave

lower.

14

|

TRANSPOSED

LAYER

2

The

same

as

in

No.

12,

but

PART

B

is

one

octave

higher

and

PART

C

is

one

octave

lower.

15

}

MIX2

The

same

as

in

No.

8,

plus

PART

C

extending

across

the

whole

keyboard.

16

|

MIX3

17

|

MIX4

The

same

as

No.

9,

plus

PART

C

layered

over

the

left

half

of

the

keyboard.

The

same

as

No.

9,

plus

PART

C

layered

over

the

right

half

of

the

keyboard.

18

|

MIX5

The

same

as

No.

9,

plus

PART

C

layered

one

octave

lower

on

the

left

half

of

the

keyboard.

19

|

LAYER

4

PARTS

1

PARTs

A,

B,

C

and

D

are

layered

one

over

the

other.

20

|

LAYER

4

PARTS

2

The

pitch

of

PARTs

A

and

B

of

No.

19

differ

slightly

with

the

pitch

of

PARTs

C

and

D.

21

|

MULTISPLIT1

The

keyboard

is

split

into

four

zones.

22

|

MULTISPLIT

2

The

keyboard

is

split

into

five

zones,

and

PART

A

is

generated

from

B1

down

and

from

C4

up.

23

|

DOUBLE

SPLIT

PART

C

is

layered

above

PART

A

of

No.

9,

and

PART

D

above

PART

B,

and

the

pitch

of

PARTs

C

and

D

is

slightly

different

from

that

of

PARTs

A

and

B.

24

|

TRANSPOSED

DOUBLE

SPLIT

The

same

as

in

No.

23,

but

PARTs

B

and

D

are

one

octave

lower.

25

|

CHORD

1

C1~B3

|

C1~B3

|

C4~C5

A

major

chord

can

be

played

with

one

key.

26

|

CHORD

2

Minor

chords

can

be

played

with

the

left

half

of

the

keyboard,

and

major

chords

with

the

right

half.

27

|

SEQUENCER

1

28

|

SEQUENCER

2

29

|

SEQUENCER

3

PART

A

is

generated

from

the

keyboard

PART

B

is

generated

from

the

kayboard

MIDI

receive

channels

are

PART

A

=

CH1,

PART

B

=

CH2,

PART

C

is

generated

from

the

kayboard

PART

C

=

CH3,

PART

D

=

CH4.

30

|

SEQUENCER

4

caer

ia

aaa

ee

PART

D

is

generated

from

the

keyboard

WARNING:

This

equipment

generates,

uses,

and

can

radiate

radio

frequency

energy.

If

not

in-

stalled

and

used

in

accordance

with

the

instruction

manual,

it

can

cause

interference

to

radio

com-

munications.

The

rules

with

which

it

must

comply

afford

reasonable

protection

against

interfer-

ence

when

used

in

most

locations.

However,

there

can

be

no

guarantee

that

such

interference

will

Not

occur

in

a

particular

installation.

If

this

equipment

does

cause

interference

to

radio

or

the

re-

lated

equipment

off

and

on,

the

user

is

encouraged

to

try

correct

the

interference

by

one

or

more

of

the

following

measures:

—

reorient

the

receiving

antenna.

—

move

the

receiver

away

from

the

instrument.

—

plug

the

instrument

into

a

different

outlet

so

that

it

and

receiver

are

on

different

branch

circuits.

—

consult

the

dealer

or

a

qualified

service

personnel.

This

instrument

has

been

certified

to

comply

with

the

limits

for

a

class

B

digital

apparatus,

pursu-

ant

to

the

Radio

Interference

Regulations,

C.R.C.,

c.

1374.

Cet

instrument

a

été

certifié

conforme

avec

les

limites

pour

un

appareil

numérique

de

la

classe

B

relatives

au

Réglement

sur

le

brouillage

radioélectrique,

C.R.C.,

ch.

1374.

Kawai

Musical

instruments

Manufacturing

Co.,

Ltd.

Printed

in

Japan

sear

oan

6.

SYSTEM

The

functions

related

to

TUNE,

TRANSPOSE

and

MIDI

all

come

under

the

heading

of

SYSTEM.

Each

of

these

functions

is

outlined

in

the

table

below.

The

LED

display

alternately

indicates

the

symbol

for

the

function

and

the

set

value.

Use

the

four-way

cursor

to

change

the

set

values.

Function

Display

Set

Value

Explanation

TUNE

Fine-tunes

the

overall

pitch

of

the

PH50.

TRANSPOSE

Changes

the

overall

pitch

of

the

PH50

in

half-tone

steps.

The

key

can

be

changed

easily

for

performing.

TRANSMIT

CHANNEL

Sets

the

MID!

transmit

channel.

RECEIVE

CHANNEL

Sets

the

MID!

receive

channel.

“

COMBINATION

is

set

to

CH1

and

cannot

be

changed.

However,

COMBINATIONs

using

FORMs

27-30

are

set

to

CH1~4.

OMNI

ON/OFF

PROGRAM

CHANGE

Sets

whether

or

not

PH50

will

receive

all

the

MID!

channels

simultaneously.

(NORMAL

A)

n

aor

a

(NORMAL

B)

PROGRAM

CHANGE

information

is

not

received.

The

PROGRAM

CHANGE

numbers

and

the

corresponding

TONE/COMBINATION

numbers

are

as

shown

on

the

right.

PROGRAM

CHANGE

No.

:

0-99

100-124

:

125-127

:

TONE/COMBINATION

No.

:

TONEs

1-100

COMBINATIONS

1-25

PROGRAM

CHANGE

No.

:

0-99

100-124

:

125-127

:

TONE/COMBINATION

No.

:

TONEs

101-200

COMBINATIONSs

26-50

(SECTION

A)

oY

4

JjALYg

(SECTION

B)

The

PART

set

to

the

same

MID!

channel

as

the

receive

data

receives

the

PROGRAM

CHANGE.

The

TONE/COMBINATION

Numbers

corresponding

to

the

PROGRAM

CHANGE

numbers

are

as

shown

on

the

right.

PROGRAM

CHANGE

No.

:

0-99

100-124

:

125-127

:

PROGRAM

CHANGE

No.

:

0-99

100-124

:

125-127:

TONE/COMBINATION

No.

:

TONEs

1-100

COMBINATIONS

1-25

TONE/COMBINATION

No.

:

TONEs

101-200

COMBINATIONS

26-50

PRESSURE

Sets

whether

or

not

PH50

will

receive

PRESSURE

information.

PITCH

BEND

a4

/

4

Fe

on/

oF

Sets

whether

or

not

PH50

will

receive

PITCH

BEND

information.

MODULATION

=

_~f£C

on/oFF

Sets

whether

or

not

PH50

will

receive

MODULATION

information.

VOLUME

Pate

Laie

oe

Fd

on/

oFF

Sets

whether

or

not

PH50

will

receive

VOLUME

information.

ae

ae

al

oe

ary

Sets

whether

or

not

PH50

will

receive

HOLD

information.

VELOCITY

-

/

OFF

cures

ory

y

Sets

whether

or

not

PH50

will

receive

VELOCITY

information.

©

Powerful

MIDI

functions

Just

as

the

tone

selection

is

on

a

par

with

that

offered

by

pro-level

synthesizers,

so

are

the

MIDI

functions.

By

using

a

MID]

sequencer

you

can

unleash

the

full

potential

of

the

variable

multitimbral

functions.

*

Variable

multitinbral

function:

When

multiple

tones

are

simultaneously

played,

this

function

automatically

redistributes

voices

that

are

not

in

use

so

that

the

number

of

the

simultaneous

voices

per

tone

at

a

time

requires

no

restriction,

allowing

you

to

efficiently

use

the

maximum

voices

available.

|

CARE

AND

MAINTENANCE

@

Never

place

the

PH50

in

direct

sunlight

or

near

heaters

and

air~condi-

tioners.

@

Never

insert

anything

into

the

spaces

between

the

keys.

If

by

chance

something

does

get

into

the

instrument,

pull

the

power

cord

out

of

the

wall

socket

and

contact

the

store

where

you

bought

the

PH50.

If

you

use

the

PH50

when

something

has

fallen

or

spilled

into

it,

the

instrument

may

become

damaged.

@

Never

take

the

PH50

apart,

as

you

could

receive

an

electric

shock

and

also

damage

the

instrument.

Contact

the

store

where

you

purchased

the

PH50

if

you

want

it

adjusted

or

serviced.

©

START/STOP

switch

Press

to

Start

or

stop

the

rhythm

pattern.

©

INTRO/FILL

IN

switch

Used

to

insert

an

introduction

or

fill

in.

When

this

switch

is

pressed

while

the

rhythm

function

is

stopped,

the

rhythm

section

will

start

in

after

the

intro

pattern.

When

this

switch

is

pressed

during

performance,

a

fill

in

(variation

on

the

rhythm)

is

inserted.

FOUR-WAY

cursor

Used

when

changing

any

of

the

values

or

numbers

of

the

modes.

+10:

Values

will

change

in

increments

of

10.

+1;

Values

will

change

in

increments

of

1.

1:

Values

will

change

in

decrements

of

1.

-10:

Values

will

change

in

decrements

of

10.

When

the

cursor

key

is

held

down

the

values

will

continue

to

change.

In

the

ON/OFF

mode,

pressing

+10

or

+1

selects

ON,

and

pressing

-10

or

-1

selects

OFF.

<2,

>

a

()

SYSTEM

switch

Used

when

deciding

the

TUNE,

TRANSPOSE

and

MIDI

functions.

The

following

functions

can

be

set

with

this

switch:

@

TUNE

Enables

fine

tuning

and

is

used

when

matching

the

pitch

to

other

instruments.

@

TRANSPOSE

Changes

the

pitch

in

half-tones.

This

function

is

handy

tor

changing

keys

during

performance.

@

MIDI

transmit

channel

Sets

the

MIDI

transmit channel.

©

MIDI

receive

channel

Sets

the

MIDI

receive

channel.

—

Omni

mode:

Toggles

omni

mode

on/off.

—

Program

change:

Sets

the

range

for

tone

change.

—

Pressure

—

Pitch

bender

—

Modulation

-~—

Volume

—

Hold

pedal

—

Velocity

These

functions

toggle

MIDI

receive

on

and

off.

*

For

details

of

these

functions,

see

the

section

on

“SYSTEM"

@

Rear

Panel

QO

o

0oo

rn

rs

a

@

MIDI

Used

for

connecting

to

other

MIDI

instrument

or

a

personal

computer.

@

iN

Input

terminal

for

external

MIDI

information

©

OUT

Output

terminal

for

this

instrument's

MIDI

information

(3

HOLD

Used

for

connecting

to

a

foot

pedal.

When

the

foot

pedal

is

pressed,

the

sound

continues

even

if

the

fingers

stop

touching

the

keys.

(4

PHONES

Used

for

connecting

headphones.

(5)

LINE

OUT

Used

for

sending

the

PH50

sound

to

audio

equipment,

amplifiers,

or

tape

recorders.

(6

DC

IN

Used

to

connect

the

plug

from

the

9-12V

AC

adaptors

such

as

PS-121.