Radio Shack Video Game Keyboard MD 1210 User Guide

MD-1210 MIDI Keyboard  
 
Using the Memory ................................................................................................. 27  
Real-Time Recording ....................................................................................... 27  
Playing Back from Memory .............................................................................. 29  
Step Recording ................................................................................................. 29  
Recording Multiple Tracks ................................................................................ 31  
Editing Memory Contents ................................................................................. 33  
Using MIDI ............................................................................................................. 34  
About MIDI ....................................................................................................... 35  
Making the MIDI Connections .......................................................................... 35  
MIDI Data ......................................................................................................... 35  
Changing MIDI Settings ................................................................................... 37  
Dumping/Importing Data .................................................................................. 38  
Notes About the MIDI Implementation Chart .................................................... 39  
Troubleshooting .................................................................................................... 40  
Care .................................................................................................................. 41  
Appendix ............................................................................................................... 42  
Note Table ........................................................................................................ 42  
Drum Assignment List ...................................................................................... 44  
Fingered Chord Chart ....................................................................................... 45  
MIDI Implementation Chart .................................................................................. 46  
Specifications ....................................................................................................... 47  
Contents  
3
 
$ Features  
Your RadioShack MIDI Keyboard is a  
state-of-the-art musical instrument that  
offers you a vast array of sounds. You  
can choose from 200 different musical  
instruments or sound effects and 100  
rhythms, as well as automatic accompa-  
niments and percussion sounds.  
you play them, along with the current  
tone, rhythm, and tempo. The display’s  
built-in backlight makes it easy to read it  
even in dim light.  
Two Built-In Stereo Bass-Reflex  
Speakers  
— let you feel the bass your  
keyboard can produce and hear the  
sound you create.  
Your keyboard also includes a MIDI  
(Musical Instrument Digital Interface)  
feature, which lets you connect it to oth-  
er MIDI-equipped musical instruments  
or devices — even your personal com-  
puter.  
Registration Memory  
— lets you store  
up to 32 different setups of the key-  
board’s controls, letting you instantly re-  
call them when you need them.  
Drum Pads  
gardless of the keyboard’s tone setting.  
— play drum sounds re-  
This versatile keyboard can provide  
hours of fun and is ideal for anyone who  
wants to make music, from the beginner  
to the experienced musician.  
61 Full-Sized Keys  
of a fine musical instrument.  
— provide the feel  
Note:  
The keyboard conforms to most,  
Touch Response  
— the keyboard’s  
but not all, General MIDI specifications.  
Because of this, you might experience  
some incompatibility when using the  
keyboard with another General MIDI de-  
vice. For more information, see “Using  
MIDI” on Page 34.  
volume varies in response to the force of  
your touch, just like an acoustic piano or  
organ, so you can add emotion to your  
music.  
Pitch Bender Wheel  
— lets you bend  
notes by altering their pitch, creating re-  
alistic effects for tones such as reed in-  
struments or guitar tones.  
Your keyboard’s features include:  
24-Note Polyphonic Sound  
— lets you  
play and hear up to 24 notes at the  
same time, so you can play or create al-  
most any type of music.  
200 Tones  
— you can set your key-  
board to sound like anything from a  
harpsichord to a honky-tonk piano. You  
can even create your own tones with the  
custom tone synthesizer feature.  
Synthesizer Function  
— lets you cre-  
ate up to 32 of your own original tones.  
Memory  
— lets you set the keyboard to  
100 Auto-Rhythms  
beat for many styles of music, from  
rhumba to rock.  
— provide a steady  
record up to 2 songs, 6 tracks, and  
4,900 notes. The recording remains  
stored even while the keyboard is off.  
Headphones/Output Jack  
connect headphones so you can play  
without disturbing others, or an external  
— lets you  
Large LCD Music Information Display  
— shows you the notes and chords as  
4
Features  
 
amplifier so you can play for a crowd  
(neither supplied).  
tion or 3- to 8-measure ending to the  
selected auto-rhythm.  
Assignable Jack  
— lets you connect a  
MIDI In/Out Jacks  
— let you connect  
sustain pedal (not supplied) to the key-  
board so you can sustain or soften your  
keyboard’s sound, or start/stop an auto-  
rhythm.  
the keyboard to another MIDI-equipped  
device.  
Two Power Options  
— let you power  
the keyboard from internal batteries (not  
supplied) or standard AC power (with an  
optional adapter), so you can make mu-  
sic almost anywhere.  
Tune Control  
— lets you adjust the  
pitch of your keyboard so you can play  
in tune with other instruments.  
Transpose Function  
stantly change the key of the music,  
even while you are playing.  
— lets you in-  
Note:  
This Owner’s Manual explains  
how to use this electronic keyboard. It  
does not teach music.  
Tempo Control  
— lets you speed up or  
slow down the tempo of any selected  
music pattern.  
THE FCC WANTS YOU TO  
KNOW  
Fill-In Rhythm  
variation into any auto-rhythm.  
— lets you insert a short  
This equipment complies with the limits  
for a Class B digital device as specified  
in Part 15 of FCC Rules. These limits  
provide reasonable protection against  
radio and TV interference in a residential  
area. However, your equipment might  
cause TV or radio interference even  
when it is operating properly. To elimi-  
nate interference, you can try one or  
more of the following corrective mea-  
sures:  
Auto Accompaniment  
matically play a preset harmonic pattern  
to match the selected auto-rhythm.  
— lets you auto-  
Reverb  
— lets you add depth and space  
to the sound.  
Layer Function  
— lets you set the key-  
board to play two different tones at the  
same time, giving your music a “layered”  
effect.  
• reorient or relocate the receiving  
antenna  
Split Function  
— lets you use different  
sounds for the low-end and high-end  
keys.  
• increase the distance between the  
equipment and the radio or TV  
Mixer Function  
— lets you make the  
• use outlets on different electrical cir-  
cuits for the keyboard and the radio  
or TV.  
keyboard sound multiple tones for auto  
accompaniment, memory playback, or  
to play MIDI data received from another  
MIDI device.  
Consult your local RadioShack store if  
the problem still exists.  
Automatic Intro/Ending Rhythm  
you can set the keyboard so it automati-  
cally adds a 3- to 8-measure introduc-  
You must use shielded interface cables  
with this equipment.  
Features  
5
 
$ Preparation  
Note:  
To connect a MIDI device to your  
tom of the keyboard, pull up the  
cover to remove it.  
keyboard, see “Making the MIDI Connec-  
tions” on Page 35. To connect a sustain  
pedal, see “Using a Sustain Pedal” on  
Page 26.  
2. Place the batteries in the compart-  
ment as indicated by the polarity  
symbols (+ and ) marked below the  
compartment.  
CONNECTING POWER  
3. Replace the cover.  
You can power your keyboard using in-  
ternal batteries or with standard AC  
power using an optional AC adapter  
When the keyboard stops operating  
properly, replace the batteries.  
Warning:  
Dispose of old batteries  
Notes  
:
promptly and properly. Do not burn or  
bury them.  
• Connecting an AC or DC adapter  
automatically disconnects any inter-  
nal batteries.  
Caution:  
If you do not plan to use the  
keyboard with batteries for a week or  
more, remove the batteries. Batteries  
can leak chemicals that can destroy  
electronic parts.  
• Always disconnect the AC or DC  
adapter when you finish using the  
keyboard.  
Using Batteries  
Using AC Power  
You can power the keyboard using a 9V,  
1200-mA AC adapter and a size M  
Adaptaplug™ adapter (neither sup-  
plied). Both are available at your local  
RadioShack store.  
Your keyboard can use six D batteries  
(not supplied) for power. For the best  
performance and longest life, we recom-  
mend RadioShack alkaline batteries.  
Cautions:  
Cautions:  
• Use only fresh batteries of the  
required size and recommended  
type.  
You must use a Class 2  
power source that supplies  
9V DC and delivers at least  
1200 mA. Its center tip must be set  
to negative and its plug must fit the  
!
• Do not mix old and new batteries,  
different types of batteries (stan-  
dard, alkaline, or rechargeable), or  
rechargeable batteries of different  
capacities.  
DC 9V  
keyboard's  
jack. Using an  
adapter that does not meet these  
specifications could damage the  
keyboard or the adapter.  
Follow these steps to install batteries.  
• Always connect the AC adapter to  
the keyboard before you connect it  
1. While pressing the tabs on the bat-  
tery compartment cover on the bot-  
6
Preparation  
 
to AC power. When you finish, dis-  
connect the adapter from AC power  
before you disconnect it from the  
keyboard.  
Listening Safely  
To protect your hearing, follow these  
guidelines when you use headphones.  
Follow these steps to connect an AC  
adapter to the keyboard.  
• Set the volume to the lowest setting  
before you begin listening. After you  
begin listening, adjust the volume to  
a comfortable level.  
1. Set the DC adapter’s voltage switch  
to 9V.  
• Do not listen at extremely high vol-  
ume levels. Extended high-volume  
listening can lead to permanent  
hearing loss.  
2. Insert the Adaptaplug adapter into  
the adapter’s cord so it reads – TIP.  
3. Connect the AC adapter’s barrel  
DC 9V  
plug to the  
the keyboard.  
jack on the back of  
• Once you set the volume, do not  
increase it. Over time, your ears  
adapt to the volume level, so a vol-  
ume level that does not cause dis-  
comfort might still damage your  
hearing.  
DC 9V  
CONNECTING AN  
EXTERNAL AMPLIFIER  
4. Plug the AC adapter’s other end into  
a standard AC outlet.  
To amplify your keyboard’s sound, you  
CONNECTING  
HEADPHONES  
can connect it to an optional external  
1
4
amplifier using an audio cable with a / -  
inch (6.35-mm) plug (not supplied). To  
connect an external amplifier to your  
keyboard, insert the cable’s plug into the  
To listen to your keyboard without dis-  
turbing others, you can connect an op-  
tional pair of stereo headphones with a  
PHONES/OUTPUT  
jack on the back of  
1
4
/ -inch (6.35-mm) plug. Your local Ra-  
the keyboard, and connect the cable’s  
other end to the amplifier’s input jack(s)  
(such as AUX IN or TAPE IN).  
dioShack store sells a wide selection of  
headphones. Insert the headphones’  
PHONES/OUTPUT  
plug into the  
jack on  
the back of the keyboard.  
Your local RadioShack store sells a full  
line of amplifiers, speakers, and cables.  
USING THE SHEET MUSIC  
STAND  
PHONES/  
OUTPUT  
To easily view sheet music while playing  
your keyboard, insert the supplied sheet  
music stand into the slot on the top back  
panel.  
Note  
: Connecting headphones discon-  
nects the keyboard’s built-in speakers.  
Preparation  
7
 
$ A Quick Look at Your Keyboard  
STEP  
SPLIT  
LAYER  
TOUCH  
RESPONSE  
ONE TOUCH  
PRESET  
MEMORY  
ACCOMP  
VOLUME  
100  
RHYTHMS  
List  
MIXER  
TRANSPOSE/  
TUNE/MIDI  
DEMO  
200  
TONES  
List  
TEMPO  
SYNTH  
TONE  
REVERB  
Speaker  
INTRO  
STORE  
BANK  
Number  
Keys  
PITCH  
BEND  
VOLUME  
REGISTRATION  
Buttons  
VARIATION/  
FILL-IN  
Speaker  
MODE  
START/  
STOP  
CHORD  
Buttons  
+/–  
NORMAL/  
FILL-IN  
SYNCHRO/  
ENDING  
POWER  
RHYTHM  
$ Operation  
minutes if you do not press a key. To  
turn on the keyboard again, press  
POWER  
. To cancel auto power off,  
BASIC OPERATION  
VOLUME  
MIN  
(minimum).  
1. Slide  
to  
see “Cancelling Auto Power Off” on  
Page 9.  
Important:  
To prevent hearing dam-  
age, always set the keyboard’s vol-  
MIN  
ume to  
before you turn it on.  
MODE  
NORMAL  
3. Slide  
4. Slide  
to  
.
2. To turn on the keyboard, press  
VOLUME  
MAX  
toward  
slightly  
POWER  
. The POWER indicator  
and begin playing the keyboard.  
lights and the display turns on.  
Notes:  
Note:  
To save power, the keyboard  
automatically turns off after about 6  
• The keyboard automatically se-  
lects the tone GRAND PIANO  
8
A Quick Look at Your Keyboard  
 
(No. 000) when you turn the  
power on. Each time you turn it  
on after that, it selects the last  
selected tone. To select a differ-  
ent tone, see “Using the Preset  
Tones”.  
dle row shows the tempo in beats per  
minute, the number of the measure play-  
ing and the beat count in each measure.  
The treble and bass clefs to the right of  
the display show the notes as they play.  
The bar graph shows the sound level on  
each of the 16 channels (see “Using the  
Mixer” on Page 18). The keyboard at the  
bottom of the display shows the location  
of the keys being pressed.  
To select an auto-rhythm, see  
“Using the Preset Auto-Rhythms”  
on Page 13.  
To play auto accompaniment, see  
“Using Auto Accompaniment” on  
Page 15.  
USING THE PRESET  
TONES  
Your keyboard can sound like 200 differ-  
ent musical instruments or sound ef-  
fects. The name and three-digit number  
for each preset tone is listed on the 200  
TONES list on the keyboard’s top panel.  
VOLUME  
increase the sound level or toward  
MIN  
MAX  
5. Slide  
toward  
to  
to decrease it.  
6. To turn off the keyboard, press  
POWER. The POWER indicator and  
the keyboard’s display turn off.  
Notes:  
• The keyboard has 24-note (maxi-  
mum) polyphonic sound. This  
means that you can play up to 24  
different notes at the same time with  
most of the keyboard’s preset tones.  
Some of the keyboard’s preset  
tones, however, are capable of only  
12-note polyphony.  
Cancelling Auto Power Off  
To have the keyboard not automatically  
turn off during a session, turn on the  
TONE  
keyboard while holding down  
.
The next time you turn the keyboard off  
then back on again, it will automatically  
turn off after about 6 minutes.  
• Most tones on this keyboard have  
been recorded and processed using  
a technique called digital sampling.  
To ensure a high level of tonal qual-  
ity, samples are taken in the low,  
mid, and high ranges and are then  
combined to sound amazingly close  
to the originals. You might notice  
very slight differences in volume or  
sound quality for some tones when  
you play them at different positions  
on the keyboard. This is an unavoid-  
able result of multiple sampling and  
is not a malfunction.  
PLAYING THE  
DEMONSTRATION TUNES  
To showcase its sounds, your keyboard  
can play two preprogrammed demon-  
stration tunes. To start the demonstra-  
DEMO  
tion, press  
. The keyboard plays  
the first demonstration tune (No. 0). To  
+
select the other tune, press or on the  
keypad. The selected tune’s number ap-  
pears and the tune plays.  
The demo tune number and Demo ap-  
pear at the top of the display. The mid-  
Operation  
9
 
Follow these steps to select and play a  
preset tone.  
No.  
136  
Tone  
STRINGS PIANO  
E. PIANO STRINGS  
STEREO PIANO  
12 STR GUITAR 2  
BRASS FALL  
TONE TONE  
and the current  
1. Press  
.
tone’s number appear.  
137  
138  
139  
140  
141  
142  
143  
144  
145  
146  
147  
148  
149  
150  
151  
152  
153  
154  
155  
156  
157  
158  
159  
Note:  
The first time you turn the  
keyboard on, it automatically selects  
the tone GRAND PIANO (No. 000).  
2. To play a different tone, choose a  
preset tone from the 200 TONES list  
and enter its three-digit number on  
the keypad. As you press the keys,  
the selected digits appear.  
BASS SLIDE  
FEEDBACK GT  
PIANO  
STRINGS  
Notes:  
ECHO ORGAN  
ROTARY ORGAN  
CHORUSED EP  
STRINGS GT  
PAD ENS 1  
• You can select the next highest or  
lowest numbered tone by simply  
+
pressing or on the keypad.  
• The names of tone numbers 000–  
127 are marked to the right of the  
keyboard’s display. The names for  
tone numbers 128–167 appear in  
the table below. Memory locations  
168 199 are reserved for custom  
tones that you create (see “Using  
the Custom Tone Synthesizer” on  
Page 20).  
PAD ENS 2  
SEQUENCE 1  
SEQUENCE 2  
SYNTH PAD 3  
SYNTH PAD 4  
SYNTH PAD 5  
SYNTH PAD 6  
SYNTH PAD 7  
SYNTH PAD 8  
REVERSE ECHO  
FAST TREMOLO  
No.  
128  
Tone  
SYNTH PAD 1  
SYNTH PAD 2  
OCT PIANO  
129  
130  
131  
132  
133  
134  
135  
OCT HARP  
12 STR GUITAR 1  
JAZZ OCT GUITAR  
OCT SAXOPHONE  
TOUCH BASS  
160167 DRUM SET 1-8  
• Precede a single-digit number  
0 0  
with  
. For example, to select  
10  
Operation  
 
0
ELEC PIANO 1 (No. 004), press  
0 4  
and reverberate. To turn on the reverb,  
REVERB  
.
repeatedly press  
until an indi-  
cator appears next to the type of reverb  
you want.  
• If you enter an incorrect first digit,  
TONE  
press  
to clear your entry,  
then enter the correct digit.  
HALL — creates a concert hall effect.  
STAGE  
small club.  
— creates the acoustics of a  
• When you select one of the drum  
sets (tone numbers 160–167),  
each key plays a different percus-  
sion sound. See “Drum Assign-  
ment List” on Page 44.  
ROOM  
— adds the acoustics of a studio.  
To turn off the reverb, repeatedly press  
REVERB  
until the indicator disappears.  
• The drum set sounds change  
when you change the rhythm  
number, play back data stored in  
memory, or receive MIDI program  
change data.  
USING SPLIT  
The SPLIT feature lets you play two dif-  
ferent tones on opposite ends of the  
keyboard, so the low-end keys play one  
tone, and the high-end keys play anoth-  
er. Follow these steps to use SPLIT.  
Tone numbers 168–199 are the  
user tone area. See “Using the  
Custom Tone Synthesizer” on  
Page 20.  
TONE  
1. Press  
.
3. Play the keyboard to hear the  
VOLUME  
selected tone and adjust  
the desired level.  
to  
2. Enter the three-digit number for the  
tone you want the high-end keys to  
play.  
4. To select a different tone, repeat  
Step 2 while appears.  
SPLIT  
. The SPLIT indicator  
3. Press  
TONE  
appears.  
USING THE DRUM PADS  
4. Enter the three-digit number for the  
tone you want the low-end keys to  
play.  
The keyboard has six drum pads that  
you can use to play percussion sounds  
independent of the keyboard keys. Sim-  
ply tap on a drum pad to play the per-  
cussion sound currently assigned to it.  
SPLIT  
, and press the key  
5. Hold down  
where you want the high-end tones  
to begin. The selected key’s name  
appears.  
To change the drum pad sounds, use  
the mixer function to change the tone  
assigned to Channel 10. See “Using the  
Mixer” on Page 18.  
For example, if you set the split  
point to be F below middle C, F3  
appears.  
Note:  
at any time.  
You can change the split point  
USING REVERB  
The REVERB feature creates ambiance  
effects by causing the sound to linger  
6. Play both the low and high-end keys  
to hear the selected split tones.  
Operation  
11  
 
To select a different low-end tone, enter  
the three-digit number for the new low-  
end tone while the SPLIT indicator ap-  
pears. To select a different high-end  
three-digit number for the new base  
LAYER  
tone. Then press  
LAYER indicator appears.  
again so the  
SPLIT  
tone, press  
then enter the three-digit number for the  
SPLIT  
to turn off its indicator,  
To cancel LAYER, repeatedly press  
LAYER  
until its indicator disappears.  
new high-end tone. Then press  
Notes:  
again so the SPLIT indicator appears.  
• If LAYER is on when you turn off the  
keyboard, LAYER will still be on the  
next time you turn on the keyboard.  
To cancel SPLIT play, repeatedly press  
SPLIT  
until its indicator disappears.  
Notes:  
• If SPLIT is on when you turn off the  
• When you turn on LAYER, the previ-  
ous tone settings appear.  
keyboard, SPLIT will still be on the  
next time you turn on the keyboard.  
USING SPLIT AND LAYER  
TOGETHER  
• When you turn on SPLIT, the last  
selected settings appear.  
You can combine the SPLIT and LAYER  
features, so you can play one layered  
combination of tones on the low-end  
keys and another on the high-end keys.  
USING LAYER  
The keyboard lets you play two different  
preset tones at the same time, creating  
a “layered effect” when you press one  
key. The first tone you select when us-  
ing LAYER is called the base tone and  
the second tone is called the layer tone.  
1. If the SPLIT or LAYER indicator is  
SPLIT  
LAYER  
to turn it  
on, press  
off.  
or  
2. Enter the number for the high-end  
base tone on the keypad.  
TONE  
1. Press  
.
SPLIT  
3. Repeatedly press  
until the  
SPLIT indicator appears.  
2. Enter the three-digit number for the  
LAYER  
. The  
LAYER indicator appears.  
base tone then press  
4. Enter the number for the low-end  
base tone.  
3. Enter the three-digit number for the  
layer tone.  
SPLIT  
5. Repeatedly press  
until the  
SPLIT indicator disappears.  
4. Play the keyboard to hear the  
selected layered tones.  
LAYER  
LAYER indicator appears.  
6. Repeatedly press  
until the  
7. Enter the number of the layered  
tone for the high-end keys.  
To select a different layer tone, enter the  
three-digit number for the new layer tone  
while the LAYER indicator appears. To  
SPLIT  
. The SPLIT indicator  
8. Press  
LAY-  
select a different base tone, press  
appears.  
ER  
to turn off its indicator, then enter the  
12  
Operation  
 
9. Enter the number of the layered  
tone for the low-end keys.  
Selecting/Playing  
an Auto-Rhythm  
SPLIT  
10. If desired, hold down  
then  
RHYTHM  
1. Press  
.
and the  
RHYTHM  
press the key where you want the  
high-end tones to begin.  
name and number of the current  
auto-rhythm appears.  
11. Play the keyboard to hear the  
selected tones.  
Note:  
The keyboard automatically  
selects the rhythm CLUB POP (No.  
00) when you turn the power on.  
Each time you turn it on after that, it  
selects the last selected rhythm.  
To cancel the SPLIT/LAYER combina-  
tion, press each button so both the  
SPLIT and LAYER indicators disappear.  
2. To select a different rhythm, choose  
an auto-rhythm from the 100  
RHYTHMS list and enter its two-  
digit number on the keypad. Or,  
USING THE PRESET  
AUTO-RHYTHMS  
Your keyboard has 100 preset auto-  
rhythms that provide a steady beat for  
your music. The name and two-digit  
number of each preset auto-rhythm is  
listed on the keyboard’s top panel.  
+
repeatedly press or to move to  
the next higher or lower numbered  
rhythm.  
Notes  
:
• Precede a single-digit number  
0 5  
You can play a preset auto-rhythm on  
the keyboard in any of the following  
ways:  
with a 0. For example, press  
to select 8-BEAT BALLAD 2 (No.  
05).  
• select and play a rhythm (see  
• If you incorrectly enter the first  
“Selecting/Playing  
Rhythm”)  
an  
Auto-  
RHYTHM  
digit of the rhythm, press  
to clear the entry and return to the  
last selected auto-rhythm.  
• synchronize the start of a rhythm  
with your music (see “Using SYN-  
CHRO” on Page 14)  
MODE  
NORMAL  
to , then press  
3. Set  
START/STOP  
to start the selected  
auto-rhythm.  
• start a rhythm with a special intro-  
duction (see “Using INTRO” on  
Page 14)  
VOLUME  
4. Adjust  
to the desired level.  
5. To change the auto-rhythm speed,  
• briefly vary the pattern of a rhythm  
(see “Using FILL-IN” on Page 14)  
TEMPO  
press  
or . The current  
tempo setting appears.  
• stop a rhythm with a special ending  
(see “Using ENDING” on Page 14)  
Notes  
:
• You can adjust the tempo to play  
an auto-rhythm from 40 to 255  
beats per minute.  
• play an alternate version (variation)  
of a rhythm (see “Using VARIA-  
TION” on Page 14)  
Operation  
13  
 
INTRO  
To quickly slow down or speed up  
. The introduction plays, then the  
TEMPO ▼  
the tempo, hold down  
or .  
selected auto-rhythm automatically  
starts.  
• You can also adjust the tempo by  
TEMPO ▼  
Using FILL-IN  
first pressing  
or , then  
entering the desired number of  
beats per minute in three digits  
This feature lets you insert a short (1- to  
2-measure) variation in the beat pattern  
of a selected auto-rhythm.  
+
(040 to 255), or by holding down  
or on the keypad.  
NORMAL/FILL-  
while the auto-rhythm is playing. The  
keyboard inserts a 1- to 2-measure vari-  
ation, then the original rhythm automati-  
cally resumes at the end of the current  
measure.  
Simply press and release  
IN  
To reset the tempo to its default  
TEMPO ▼  
(original) speed, press  
or . at the same time.  
6. Play the keyboard along with the  
auto-rhythm.  
7. To select a different rhythm, repeat  
Using VARIATION  
Steps 1 2.  
Each of the keyboard’s 100 preset auto-  
rhythms has a built-in variation (alter-  
nate) to its normal beat pattern. The  
variation differs slightly from the normal  
rhythm, so it is almost like having two  
rhythms in one!  
8. To stop the auto-rhythm, press  
START/STOP.  
Using SYNCHRO  
This feature lets you synchronize the  
start of an auto-rhythm with the begin-  
ning of your music.  
To play the alternate rhythm, press  
VARIATION/FILL-IN  
. The variation plays  
continuously at the selected tempo.  
After you select and enter an auto-  
SYNCHRO/ENDING  
, then  
begin playing the keyboard. The key-  
board automatically begins to play the  
rhythm when you press any key within  
the first 1 / octaves of the lower end of  
rhythm, press  
To insert the fill-in segment in the alter-  
VARIATION/FILL-IN  
nate rhythm, press  
.
The keyboard adds a 1- to 2-measure  
variation in the rhythm.  
1
2
the keyboard (the first 18 keys from the  
left side of the keyboard).  
To return to the normal rhythm, press  
NORMAL/FILL-IN  
.
START/  
To stop the auto-rhythm, press  
STOP  
Using INTRO  
.
This feature lets you start the selected  
auto-rhythm with a light, 3- to 8-measure  
introduction that blends easily into the  
selected rhythm.  
Using ENDING  
To end the selected rhythm with a spe-  
SYN-  
cial 3- to 8-measure flourish, press  
CHRO/ENDING  
To start a rhythm with an introduction,  
select and enter the rhythm, then press  
while the auto-rhythm is  
14  
Operation  
 
ENDING  
) with all three types of auto  
accompaniment.  
playing, about 3–8 measures before you  
want the rhythm to end. The keyboard  
plays a special ending, then automati-  
cally stops the rhythm.  
• After you press the auto accompani-  
ment keys while using concert chord  
or standard fingering, the keyboard  
plays the same chord until you  
press other accompaniment keys to  
play a different chord or press  
USING AUTO  
ACCOMPANIMENT  
The 18 keys on the left side of the key-  
board with note labels above them are  
called accompaniment keys.  
START/STOP  
.
Adjusting the Accompaniment  
Volume  
Accompaniment  
Keyboard  
Melody  
Keyboard  
The keyboard lets you adjust the volume  
of your accompaniment separately from  
the overall volume of the keyboard.  
You can set the keyboard to play three  
different types of auto accompaniment  
using the accompaniment keys.  
ACCOMP VOLUME  
. The cur-  
1. Press  
rent accompaniment volume setting  
appears.  
Concert Chord — lets you play  
chords on the accompaniment keys  
using chord formations of from one  
to four notes. The number of keys  
you press determines the type of  
chord that plays (see “Concert  
Chord” on Page 16).  
2. Within 5 seconds, enter a number  
0 0 0  
1 2 7  
(loudest)  
from  
(softest) to  
on the keypad. The numbers appear  
as you press the keys.  
ACCOMP VOLUME  
Or, press  
then  
+
repeatedly press or to select the  
next lowest or highest accompani-  
ment volume setting.  
Standard Fingering — lets you play  
chords on the accompaniment keys  
using standard chord formations of  
three or four notes (see “Standard  
Fingering” on Page 16).  
To reset the accompaniment volume to  
ACCOMP  
its default value of 87, press  
VOLUME  
then press and at the same  
+
time.  
Full-Range Chord — lets you play  
the melody using the entire key-  
board while the keyboard plays  
accompaniment based on your  
auto-rhythm selection.  
Note:  
The auto-accompaniment pat-  
terns consist of four parts: chord 1,  
chord 2, bass, and rhythm. You can de-  
lete any of the parts by using the mixer  
function. See “Using the Mixer” on  
Page 18.  
Notes  
:
• You can use the keyboard’s rhythm  
INTRO NORMAL/FILL-IN,  
controls (  
,
VARIATION/FILL-IN,  
SYNCHRO/  
and  
Operation  
15  
 
MODE  
CONCERT CHORD  
.
1. Set  
to  
Concert Chord  
2. Enter a two-digit auto-rhythm num-  
ber.  
The concert chord method lets begin-  
ning keyboard players easily select and  
play a chord.  
3. To start the auto-rhythm before the  
START/  
auto accompaniment, press  
STOP INTRO  
The number of accompaniment keys  
you press determines the type of chord  
that plays. This chart shows the chord  
type that plays when you press one,  
two, three, or four accompaniment keys  
at the same time.  
or  
.
Or, to synchronize the start of the  
selected auto-rhythm with your  
SYNCHRO/  
accompaniment, press  
ENDING  
.
4. Begin the accompaniment at the  
desired interval by pressing the  
desired accompaniment key(s).  
Number of Keys  
Chord Type  
Pressed  
C D E F G A B C D E F  
To play a melody along with the  
accompaniment, press any key(s) to  
the right of the accompaniment  
keys.  
Major  
C D E F G A B C D E F  
VOLUME  
5. Adjust the tempo and  
the desired levels.  
to  
Minor (m)  
6. To change chords without interrupt-  
ing the rhythm, simply press the  
C D E F G A B C D E F  
Dominant  
auto  
accompaniment  
key(s)  
Seventh (7)  
required to form the new chord.  
7. To stop auto accompaniment and  
C D E F G A B C D E F  
START/STOP  
Minor  
the auto-rhythm, press  
.
Seventh  
(m7)  
Standard Fingering  
The standard fingering method uses  
standard formations of three or four  
notes, and lets the experienced musi-  
cian play a wider variety of accompani-  
ment chords.  
The lowest note you play determines the  
key of the chord. For example, if the low-  
est note is C, the keyboard plays a C  
chord.  
Note:  
any  
labeled note(s)  
You can press  
This chart shows the 15 chord types you  
can play on your keyboard by using  
standard fingering.  
to the right of the lowest note in the  
chord to produce a minor, a dominant  
seventh, or minor seventh chord.  
Follow these steps to start concert chord  
auto accompaniment.  
16  
Operation  
 
5  
• When you play an aug, 7 , or dim7  
chord, the lowest note you play  
determines the root of the chord. Be  
sure that your fingering correctly  
defines the root you want.  
Augmented  
(aug)  
Major (M)  
Minor (m)  
Note  
: See “Fingered Chord Chart” on  
Page 45 for a list of all the chords you  
can play on your keyboard using stan-  
dard fingering accompaniment.  
( )  
Dominant  
7th (7)  
(
)
Minor 7th  
Suspended  
4th (SUS4)  
(m7)  
Follow these steps to start standard fin-  
gering auto accompaniment.  
( )  
Major 7th  
(M7)  
Major Half-  
Diminished  
(7-5)  
Minor Half-  
Diminished  
(m7-5)  
MODE  
FINGERED  
.
1. Set  
to  
2. Select and enter an auto-rhythm.  
3. To start the auto-rhythm before your  
( )  
( )  
Minor 9th  
(madd9)  
START/  
auto accompaniment, press  
STOP INTRO  
Major 9th  
(add9)  
Dominant  
Suspended  
4th (7sus4)  
or  
.
Or, to synchronize the start of the  
selected auto-rhythm with your  
SYNCHRO/  
accompaniment, press  
ENDING  
( )  
Minor/Major  
7th (mM7)  
.
Diminished  
Diminished  
7th (dim7)  
4. Begin the accompaniment at the  
desired interval by pressing at least  
three accompaniment keys to play  
the desired chord.  
Notes:  
• You do not have to press the key  
marked with parentheses on the  
keyboard in the preceding chart to  
produce a 7, m7, M7, mM7, add9, or  
madd9 chord.  
To play a melody along with the  
accompaniment, press any key(s) to  
the right of the accompaniment  
keys.  
• This chart shows only one possible  
fingering position for each chord. It  
is possible to play a chord using  
several different positions. For  
example, the following three finger-  
ing positions produce the same C  
chord.  
TEMPO  
VOLUME  
to the  
5. Adjust  
and  
desired levels.  
6. To change chords without interrupt-  
ing the rhythm, simply press the  
auto accompaniment keys required  
to form the new chord.  
7. To stop auto accompaniment and  
START/STOP  
the auto-rhythm, press  
.
Operation  
17  
 
ONE TOUCH  
, then start the accompaniment.  
selecting a rhythm, press  
PRESET  
Full-Range Chords  
While the easy random and standard fin-  
gering methods limit chord formations to  
the accompaniment keys, the full-range  
chord method lets you play chords of  
any type using any of the keyboard’s  
keys.  
The rhythm starts playing at a suitable  
tempo, and the keyboard sounds the  
suitable tone for the rhythm you selected  
as you play the keyboard.  
USING THE MIXER  
MODE  
FULL RANGE CHORD  
and  
Set  
to  
follow the steps under “Standard Finger-  
ing” on Page 16. If you press three or  
more keys anywhere on the keyboard  
that form a chord, the keyboard plays  
that chord. The keyboard responds with  
melody sounds if you press fewer than  
three keys.  
The keyboard plays multiple parts at the  
same time during auto accompaniment,  
or memory playback, or when receiving  
MIDI data, in up to 16 separate chan-  
nels. You can control the on/off setting,  
volume, and parameters of each of the  
keyboard’s channels just as you would  
with a sound mixer.  
Notes:  
This chart shows the parts assigned to  
each channel.  
• In the full-range chord mode, the  
keyboard recognizes these 23  
chords in addition to the 15 chords  
in the standard fingering mode  
(examples show C as the base  
note):  
Channel  
Part  
1
2
3
4
5
6
Main tone  
Layered tone  
Split tone  
C6  
Cm6 C69 C#/C  
D/C E/C  
F/C G/C A /C B /C  
B/C C#m/  
C
Layered/split tone  
Dm/ Fm/ Gm/ Bm/C  
Dm7 A 7/  
These channels only produce  
sound when they receive  
MIDI signals  
C
C
C
-5/C  
C
F7/ Fm7 Gm7/ A add9/  
/C  
C
C
C
7
Auto accompaniment chord  
part 1  
• When the composite notes of a  
chord are more than five notes  
apart, the lowest sound becomes  
the base note.  
8
Auto accompaniment chord  
part 2  
9
Auto accompaniment bass  
part  
Using One-Touch Preset  
10  
11  
Auto accompaniment rhythm  
part, drum pad  
The keyboard’s one-touch preset fea-  
ture recalls the tone and tempo best  
suited for the rhythm you selected. After  
Memory Track 1  
18  
Operation  
 
CURSOR  
)
to display the current status of the  
3. Repeatedly press or  
(
Channel  
Part  
channel — on, oFF, or SoL (solo).  
12  
13  
14  
15  
16  
Memory Track 2  
Memory Track 3  
Memory Track 4  
Memory Track 5  
Memory Track 6  
+
4. Repeatedly press or to select the  
status you want.  
on (default): Turns on the current  
channel. A bar appears at the bot-  
tom of the level meter for the  
selected channel.  
Notes:  
oFF: Turns off the current channel.  
The bar at the bottom of the level  
meter disappears.  
• Normally, keyboard play is assigned  
to Channel 1 and the drum pads are  
assigned to Channel 10. When you  
use auto accompaniment, each part  
is assigned to Channels 7–10.  
SoL: Turns the current channel on  
and all the other channels off. A bar  
appears over only the current chan-  
nel.  
• When you use the keyboard as the  
sound source for another MIDI  
device, all 16 channels are assigned  
musical instrument parts (Channel  
10 is reserved for drum parts only,  
per MIDI standard).  
5. To edit other channels, press or  
to return to the channel selection  
screen and repeat Steps 2–4.  
MIXER  
. The  
To exit the edit mode, press  
display shows the performance status of  
the channels as edited.  
• The mixer settings also affect the  
corresponding MIDI output.  
Editing the Parameter  
Editing the Status of a Channel  
You can change the settings of six pa-  
rameters such as tone, volume, and pan  
(relative position of the tone between the  
left and right speaker channels) for the  
selected channel.  
You can edit the status (on, off, solo) of  
a channel to delete a specific part or to  
play a specific part by itself.  
Follow these steps to edit the status of a  
channel.  
Follow these steps to edit the parame-  
ters.  
MIXER  
. The MIXER indicator  
1. Press  
and the last selected channel  
appear.  
1. Select the channel you want to edit  
as described in Steps 1 and 2 of  
“Editing the Status of a Channel”.  
+
2. Use or on the keypad to select  
the channel you want to edit.  
ENTER)  
2. Press (  
to enter the  
parameter edit mode.  
Operation  
19  
 
3. Repeatedly press  
or  
to select  
USING THE CUSTOM  
TONE SYNTHESIZER  
the parameter you want to change.  
Program Change Number (000 to  
The keyboard’s custom tone synthesizer  
lets you create up to 32 of your own  
original tones. To create a “user” tone,  
you simply select one of the keyboard’s  
200 preset tones, change its parame-  
ters, then store the new tone in any  
memory location from 168–199. You se-  
lect and use a user tone the same as a  
preset tone.  
199)  
— sets the tone assigned to  
the channel.  
Note:  
Channel 10 is reserved for  
percussion, so only tone numbers  
160 (DRUM SET1) through 167  
(DRUM SET 8) can be set for Chan-  
nel 10.  
Volume (000 to 127)  
volume of the selected channel.  
— controls the  
Notes:  
• You cannot use tones 160–167  
(drum set tones) as base tones.  
Pan (000 to 127)  
pan. 000 is fully left, 64 is the center  
position, and 127 is fully right.  
— controls the  
• The preset tone you use as the  
basis for a user tone is not changed.  
Fine Tune (–50 to +50)  
— fine  
tunes the pitch of the selected chan-  
nel in cent units. A cent is one hun-  
dredth of a semitone. There are 12  
semitones per octave.  
• The tone locations 168–199 are not  
empty (before you store user tones  
there). They initially contain dupli-  
cate versions of tone numbers 128–  
159. The user tone you store in any  
of those locations replaces the exist-  
ing tone. If you delete a user tone,  
the keyboard automatically restores  
the initial, duplicate tone there.  
C (Coarse) Tune (–12 to +12)  
coarsely tunes the pitch of the  
selected channel in semitone units.  
Express (Expression) (000 to 127)  
— controls the volume of the  
selected channel. Similar to the vol-  
ume setting, this is often used to  
control crescendo/decrescendo.  
The parameters you can change are di-  
vided into four groups. For the details of  
each parameter, see “Creating and Stor-  
ing a User Tone” on Page 21.  
+
4. Use the number buttons or or to  
Tone Characteristic Waveform  
PCM Set  
change the parameter setting.  
5. To edit other channels, press to  
return to the channel selection dis-  
play, select the channel, then repeat  
Steps 2–4.  
Volume Characteristic  
— Amp  
Envelope Set  
Tone Pitch  
— Pitch and Pitch  
Envelope Set  
6. To exit the parameter edit mode,  
MIXER  
press  
.
Tone Characteristic  
Attack  
Rate, Release Rate, Level, Touch  
Sensitivity, and Pan  
20  
Operation  
 
For example, if you selected tone 19  
(Church Organ), 019 ChrchOrg  
appears. Then, when you press  
Understanding 1DCO and  
2DCO Tones  
SYNTH 026 ChrchOrgA  
,
appears.  
A Digital Controlled Oscillator (DCO)  
controls the sound output of a digital sig-  
nal. Some of the keyboard’s built-in  
tones are simple tones (1DCO), and  
some are layered tones (2DCO). When  
you select a 2DCO tone as the basis for  
creating a user tone, you need to  
change the parameters of both tones.  
Note:  
To cancel the save operation  
SYNTH  
TONE  
at any time, press  
twice.  
or  
3. Repeatedly press or  
to display  
the parameter you want to change.  
PCM Set (0 to 173)  
— Determines  
the characteristic of a tone by  
changing its digitally sampled wave-  
form.  
When you select a layered tone, dCo1  
appears, indicating that this is the first  
tone of a layered tone.  
Amp Envelope Set (Amp.Set) (0  
to 137)  
— Selects the volume enve-  
Creating and Storing a User  
Tone  
lopes. 000 to 048 set volume enve-  
lopes for a decaying note (how fast  
or slow the sound diminishes). 049  
to 137 set volume envelopes that  
sustain the note. Samples of the  
amp envelopes appear in a graph  
near your keyboard’s right speaker.  
Follow these steps to create and store  
your own tone. (Refer to “Hints on Cre-  
ating a User Tone” on Page 23.)  
Notes:  
Attack Rate (Atk Rate) (1 to 127)  
— Sets the speed of the attack (the  
period from when you press a key to  
when the tone reaches its maximum  
volume). The greater the value, the  
quicker the attack. Use this parame-  
ter to make fine adjustments to the  
tone characteristics of the amp  
envelope.  
• A new or revised user tone replaces  
the existing user tone.  
• Layer, split, auto accompaniment,  
demo tune play, and MIDI functions  
are all disabled while the keyboard  
is in the Custom Tone Synthesizer  
mode.  
1. Select the preset tone (except 160–  
167) you want to use as a basis for  
your user tone.  
Release Rate (Rel.Rate) (1 to  
127)  
— Controls the speed of a  
tone’s release (the period from  
when you release a key to when the  
tone stops sounding). The greater  
the value, the quicker the release.  
Use this parameter to make fine  
adjustments to the tone characteris-  
tics of the amp envelope.  
SYNTH  
. The keyboard enters  
2. Press  
the Custom Tone Synthesizer mode  
and the first parameter (PCM Set)  
appears. The display also shows  
whether the tone you selected is a  
DCO1  
DCO2  
or  
tone (if it is a layered  
tone), and shows the current PCM  
setting.  
Pitch Envelope Set (PitchSet)  
(0 to 49)  
— Selects the pitch enve-  
Operation  
21  
 
Notes:  
lopes. 00 specifies no change, a  
value from 01 to 19 changes the  
vibrato, and a value from 20 to 49  
changes a parameter other than the  
vibrato. Samples of the pitch enve-  
lopes appear in a graph near your  
keyboard’s right speaker.  
• If you want to change another  
parameter, repeat Steps 3 and 4.  
• If you selected a layered preset  
tone, press  
parameters (d Co2 appears), and  
repeat Steps 3 and 4 to set the  
to recall the DCO2  
Pitch (Pitch) (–64 to +63)  
Controls the overall pitch of the  
tone. A positive value increases the  
pitch, a negative value lowers it. A  
setting of zero sets the pitch to the  
standard setting for the selected  
tone.  
TONE  
parameters. Press  
again to  
return to the DCO1 parameters.  
SYNTH Save?  
appears.  
5. Press  
.
To store the settings, press  
display the tone number where you  
want to save the user tone.  
to  
Level (Level) (0 to 127)  
— Con-  
trols the overall volume of the tone.  
The greater the value, the greater  
the volume. Setting a level of zero  
means that the tone does not sound  
at all.  
To exit the Custom Tone Synthe-  
sizer mode without storing a new  
tone, press . Cancel? appears.  
Press  
to cancel.  
Touch Sensitivity (TchSense)  
+
6. Press or until the tone number  
you want appears. If you do not  
want to assign a name, skip to Step  
10.  
(–64 to +63)  
— Controls changes in  
the volume of the tone depending  
on how hard you strike the keys.  
You can specify more volume for  
stronger striking and less volume for  
lighter striking, or you can specify 00  
to set the same volume regardless  
of how hard you strike the keys.  
7. To give a name to your tone, press  
. The first character of the tone  
name flashes.  
+
8. Repeatedly press or until the first  
character of the new name appears.  
Pan (Pan) (–64 to +63)  
— Controls  
the relative position of the tone  
between the left and right speaker  
channels. A greater positive value  
moves the center point further to the  
right, a negative value moves it to  
the left.  
9. Press to move to the next charac-  
ter position. Repeat Steps 8 and 9 to  
enter the rest of the characters in  
the new name.  
Note:  
Press  
to change the tone  
number (the name of the tone  
returns to its preset name).  
+
4. Use or to change the parame-  
ter’s setting. You can also use the  
number buttons to directly enter a  
value for the parameter.  
10. Press  
to save the user tone.  
Save OK appears briefly and the  
keyboard exits the Custom Tone  
Synthesizer mode.  
22  
Operation  
 
sists of eight banks (0-7), and each bank  
has four memory locations (A – D), total-  
ing up to 32 settings. You can save each  
of the following settings in each registra-  
tion memory:  
Hints on Creating a User Tone  
• Use a preset tone that is similar to  
the one you are trying to create.  
When you already have a general  
idea of the tone you are trying to  
create, it is a good idea to start with  
a similar preset tone. If you want to  
use a layered tone, start out with a  
2DCO tone.  
• tone  
• rhythm  
• tempo  
• Determine the most important  
parameter. The PCM Set and Amp  
Envelope Set parameters are the  
major factors that determine the  
overall tone characteristic. Start out  
by setting these two parameters to  
get the general sound you want, and  
then set the other parameters to add  
the finishing touches.  
• split on/off  
• split point  
• layer on/off  
• mixer settings (Channels 1 – 4)  
• keyboard channel on/off (Channels  
1 – 10)  
• reverb settings  
• Experiment with different settings.  
There are no real rules about what a  
tone should sound like. Let your  
imagination run free and experiment  
with different combinations. You  
might be surprised at what you can  
achieve!  
• touch response settings  
• assignable jack setting (see “Using  
a Sustain Pedal” on Page 26)  
• transpose (see “Changing Keys” on  
Page 24)  
Deleting a User Tone  
• tuning (see “Tuning the Keyboard”  
on Page 25)  
To delete an existing user tone, follow  
Steps 1–5 of “Creating and Storing a  
User Tone” on Page 21. When SAVE ?  
• pitch bend range (see “Using Pitch  
Bend” on Page 26)  
appears in Step 5, press  
twice. De-  
lete? appears. Press  
to delete.  
• accompaniment volume  
The parameters of the default tone for  
that number are restored.  
Notes:  
• You cannot use the registration  
memory while you are using the  
synthesizer, memory, or demo tune  
functions.  
USING THE  
REGISTRATION MEMORY  
Your keyboard can save different setups  
of controls in its registration memory.  
This lets you instantly recall your favorite  
settings. The registration memory con-  
• You cannot delete a registration  
setup from memory, but you can  
store a different setup in its place.  
Operation  
23  
 
STORE REGISTRA-  
and  
• You can use the keyboard’s MIDI  
function to save your setup data to  
your PC or other storage device.  
4. Release  
TION  
.
5. Repeat Steps 1–4 to store more set-  
ups.  
Storing a Setup  
Recalling a Setup  
1. Set the desired controls to the set-  
ting you want to store.  
BANK  
1. Repeatedly press  
until the  
2. Within 5 seconds, repeatedly press  
desired bank number appears.  
BANK  
until the desired bank number  
2. Within 5 seconds, press the desired  
appears.  
REGISTRATION  
A
B C  
, , or  
button ( ,  
STORE  
3. While holding down  
, press  
button  
D
).  
Recall  
appears after the  
REGISTRATION  
the desired  
A B C D Store  
selected bank/location number/let-  
ter.  
( , , , or ).  
appears after  
the selected bank/location number/  
letter.  
Note:  
You can skip Step 1 if the setting  
you want to recall is in the same bank as  
the current one.  
$ Special Features  
example, the difference between C  
and C or B and B is one semi-  
tone. You can transpose the key  
down 6 semitones (to an F ) and up  
5 semitones (to an F) — a full  
octave.  
CHANGING KEYS  
The keyboard automatically selects the  
key of middle C each time you turn it on.  
For added flexibility as you play, the  
keyboard lets you change (transpose)  
the musical key in which it plays.  
+
2. Within 5 seconds, press  
or  
to  
lower or raise the key. Each time  
Note:  
You cannot change the key while  
+
you press  
or , the number  
a prerecorded tune is selected or play-  
ing.  
decreases or increases by 1 (semi-  
tone).  
TRANSPOSE/  
1. Repeatedly press  
TUNE/MIDI  
As you raise the key, is C , is D,  
and so on. As you lower the key, –  
1
1
2
.
appear  
until  
00 Trans  
is B, – is B ,  
is A, and so on.  
–3  
2
Note:  
The number on the display is  
Notes  
:
the number of “semitones” to which  
the keyboard is set, compared to its  
default key. A semitone is a mea-  
surement that represents the acous-  
tical interval between the tones of  
any two keys on the keyboard. For  
• The transpose setting also affects  
memory playback (see “Playing  
Back from Memory” on Page 29)  
and auto accompaniment.  
24  
Special Features  
 
• The keyboard automatically resets  
the key to the default value of 0  
(middle C) each time you play a pre-  
recorded tune.  
• Auto accompaniment uses the cur-  
rently set pitch.  
• The keyboard automatically resets  
the tuning pitch to the default value  
of 00 (cents) each time you turn off  
the keyboard.  
TUNING THE KEYBOARD  
Although your keyboard never goes out  
of tune, it lets you adjust its pitch to  
match other instruments or musical re-  
cordings.  
USING TOUCH RESPONSE  
Your keyboard has a touch response  
feature that lets you adjust the volume of  
your music’s tone based on how hard  
you strike the key(s), so you can add  
emotion to your music.  
Note:  
You cannot tune the keyboard  
while a prerecorded tune is displayed or  
playing.  
Follow these steps to tune the keyboard.  
TOUCH RESPONSE  
Repeatedly press  
until its indicator appears (to turn touch  
response on) or disappears (to turn it  
off).  
TRANSPOSE/  
1. Repeatedly press  
TUNE/MIDI  
until  
00  
Trans  
appears.  
Notes:  
2. Repeatedly press  
or  
until 00  
TUNE appears.  
• The touch response setting does not  
affect auto accompaniment or  
received MIDI data.  
Note:  
The number on the display is  
the number of “cents” to which the  
keyboard is currently tuned, com-  
pared to its default pitch. A cent is  
the measurement that represents  
the acoustical interval between two  
tones. 1,200 cents equal 1 octave.  
You can tune the keyboard to within  
50 cents (101 levels) of its default  
pitch.  
• The MIDI data sent out from the  
keyboard is affected by the touch  
response setting.  
CHANGING AUTO POWER  
OFF  
When you operate the keyboard with  
battery power, the keyboard automati-  
cally shuts off after about 6 minutes if  
3. Within 5 seconds, repeatedly press  
+
or  
to lower or raise the key-  
board’s pitch. Each time you press  
the key, the number decreases or  
increases by 1 (cent).  
POWER  
you do not press a key. Press  
again to turn power back on.  
To have the keyboard not automatically  
turn off during a session, turn the key-  
Notes:  
TONE  
board on while holding down  
.
• Memory playback uses the pitch  
with which the memorized tune was  
recorded.  
The next time you turn the keyboard off  
then back on again, it automatically  
turns off after about 6 minutes.  
Special Features  
25  
 
pedal (not supplied), available through  
your local RadioShack store. A sustain  
pedal lets you sustain or soften the key-  
board’s sound, and even start or stop an  
auto-rhythm.  
USING PITCH BEND  
Your keyboard has a pitch bend feature  
that lets you bend a note by altering its  
pitch. Pitch bend lets you create realistic  
effects for sounds such as a saxophone,  
other reed instruments, and guitar  
tones.  
To connect a sustain pedal to your key-  
AS-  
board, insert the pedal’s plug into  
SIGNABLE JACK  
keyboard.  
on the back of the  
To use pitch bend, rotate and hold  
PITCH BEND  
while holding down a key.  
The pitch of the key you pressed slides  
PITCH  
You can adjust the keyboard to these  
settings when you use a sustain pedal.  
smoothly up and down. Release  
BEND  
to stop the effect.  
Setting  
Description  
Adjusting the Pitch Bend  
Range  
SUS (Sustain)  
Causes one or more  
notes to linger after  
they are played  
You can adjust the bend range of pitch  
controls from 1 to 12 semitones.  
SoS (Sostenuto) Similar to SUS, but  
only sustains one  
Note:  
The keyboard automatically se-  
note just played  
lects a bend range of 2 semitones the  
first time you turn it on after connecting  
power. Each time you turn it on after  
that, it recalls the last selected bend  
range.  
SFt (Soft)  
Softens the sound  
rHy (Rhythm)  
Starts or stops the  
selected auto-rhythm  
Follow these steps to adjust the pitch  
bend range.  
AS-  
Follow these steps to change the  
SIGNABLE JACK  
jack’s setting.  
TRANSPOSE/  
1. Repeatedly press  
TRANSPOSE/  
1. Repeatedly press  
TUNE/MIDI  
appear.  
Bend  
until a number and  
TUNE/MIDI  
Bend  
until  
appears.  
until the  
Then repeatedly press  
current setting for  
ASSIGNABLE  
2. Within 5 seconds, repeatedly press  
JACK  
Jack  
appear.  
and  
+
or until the pitch bend range you  
want appears, or enter a number  
01 12  
2. Within 5 seconds, repeatedly press  
+
SUS  
,
or until the desired setting (  
from  
.
SoS, SFt, or rHy) appears.  
Press the sustain pedal as you play to  
hear the desired sound or to start/stop  
the selected auto-rhythm.  
USING A SUSTAIN PEDAL  
For added flexibility and control as you  
make music, you can connect a sustain  
26  
Special Features  
 
$ Using the Memory  
The keyboard lets you record up to two  
separate songs in memory for later play-  
back. You can use either of two meth-  
ods to record a song — real-time  
recording (you record as you play) or  
step recording (you enter notes and  
chords one-by-one).  
you play a note or a chord on the  
accompaniment keys.  
To record using an intro, ending, or  
INTRO SYNCHRO/END-  
fill-in, use  
,
ING NORMAL/FILL-IN  
VARIA-  
,
, or  
TION/FILL-IN  
as you normally would.  
To synchro start auto accompani-  
ment with an intro pattern, press  
You can record on each of the key-  
board’s six tracks separately. Besides  
notes, each track can have its own tone  
number. Then, when you play back the  
tracks together, it sounds like an entire  
six-piece band. Also, you can use differ-  
ent mixer settings for each track.  
SYNCHRO/ENDING  
INTRO  
and then  
START/STOP  
instead of  
in Step 5 of  
“Real-Time Recording.” Recording  
starts with the intro pattern when  
you play a note or a chord on the  
accompaniment keys.  
Track 1 is the main track, and you can  
use it to record auto accompaniment  
and drum pad sounds, as well as key-  
board play. Tracks 2 through 6 are mel-  
ody tracks, and you can use these for  
recording a secondary melody that in-  
cludes keyboard play and the drum pad.  
To start auto accompaniment during  
SYNCHRO/END-  
a recording, press  
ING START/STOP  
instead of  
in Step  
5. Play the melody keys to start  
recording. When you reach the point  
where you want accompaniment to  
start, play a chord on the accompa-  
niment keys.  
Because each track is independent of  
the others, you only need to re-record a  
single track if you make a mistake while  
recording on it.  
Follow these steps to record as you  
play.  
MEMORY  
1. Repeatedly press  
until  
REAL-TIME RECORDING  
Rec. No. appears.  
With real-time recording, the notes are  
recorded as you play them on the key-  
board. Before you start, read these tips.  
Note: MEMORY  
is a three-way  
switch. When you press it once, the  
keyboard enters the memory play-  
back mode. When you press it  
again, it enters the memory record  
mode. When you press the button a  
third time, it turns off the memory  
function.  
To record without an auto-rhythm,  
skip Step 5 of “Real-Time Record-  
ing.” Recording starts when you  
press a key.  
To start recording with synchro start,  
SYNCHRO/ENDING  
in Step 5 of “Real-Time  
Recording.” Recording starts when  
press  
START/STOP  
instead of  
+
0
2. Within 5 seconds, press or (or  
1
or ) to select a song number.  
Using the Memory  
27  
 
CHORD/1  
3. Press  
to select Track 1.  
This data is stored on Track 1 along with  
the notes you played:  
While the keyboard is in memory  
record mode, the level meters for  
channels 11 through 16 correspond  
to memory tracks 1 through 6. When  
all four bars are lit, that channel has  
something in memory: if only one  
bar is lit, that track is empty.  
• tone number  
• rhythm number  
INTRO NORMAL/  
• rhythm controller (  
FILL-IN  
,
, etc.) operations  
• pitch bender operations  
• pedal operations  
4. If desired, you can change these  
settings:  
• tone number  
• rhythm number  
• tempo  
• drum pad operations  
See “Recording Multiple Tracks” on  
Page 31 to record on the other five  
tracks.  
MODE  
Notes:  
Note:  
Do not change the tempo  
unless you already know the desired  
START/STOP  
• When you record on a track that  
contains data, the new recording  
replaces the previous recording.  
tempo. Pressing  
hear the tempo causes recording to  
begin.  
to  
• The touch response setting (on/off)  
is not recorded. However, the  
strength of the strike is recorded.  
START/STOP  
5. Press  
ing.  
to start record-  
• Channel 1 mixer parameters are  
automatically recorded to Track 1.  
6. Play the keyboard.  
You can also record auto accompa-  
niment chords, the drum pad, pitch  
bender, and pedal operations.  
• The memory can store a total of  
about 4,900 notes. If the remaining  
memory is less than 100 notes, the  
measure and beat numbers flash.  
When memory becomes full, record-  
ing automatically stops (and auto-  
accompaniment or rhythm stops  
playing, if used).  
START/STOP  
7. Press  
ing.  
to end record-  
START/  
If you make a mistake, press  
STOP  
to stop recording and begin again  
from Step 1, or you can edit the con-  
tents. See “Editing Memory Contents”  
on Page 33.  
• Memory contents are saved as long  
as power is supplied to the key-  
board. Unplugging the adapter with-  
out batteries or with weak batteries  
erases the memory. To prevent data  
loss, connect an adapter before  
replacing the batteries.  
Press  
after you select Track 1 in Step  
3 to use the drum pads. That way, you  
can also start recording by playing a  
drum pad.  
28  
Using the Memory  
 
• Turning off the keyboard while  
recording erases the contents of the  
track you were recording.  
STEP RECORDING  
With step recording, you can record a  
chord progression one chord at a time.  
Before you start, read these tips. (If you  
want to record one note at a time, refer  
to “Recording Multiple Tracks” on  
Page 31.)  
• You can transfer memory contents  
to another MIDI device.  
PLAYING BACK FROM  
MEMORY  
To start accompaniment with an  
MEMORY  
INTRO  
SYN-  
1. Repeatedly press  
until  
intro pattern, press  
after  
Play No. appears.  
CHRO/ENDING  
in Step 6 of “Step  
Recording.”  
+
0
2. Within 5 seconds, use or (or or  
1
) to select a song number.  
To switch to a rhythm variation,  
VARIATION/FILL-IN  
ately before entering the chord in  
Step 6 of “Step Recording.”  
press  
immedi-  
START/  
3. Within 5 seconds, press  
STOP  
to play back the song you  
TEMPO  
selected. You can use  
to  
adjust the playback tempo.  
To insert an ending or fill in, press  
SYNCHRO/ENDING  
NORMAL/FILL-  
for variation  
or  
IN VARIATION/FILL-IN  
START/STOP  
playback.  
4. Press  
again to stop  
(
rhythm) immediately before entering  
the chord in Step 6 of “Step Record-  
ing.”  
Notes:  
• You can use layer and/or split during  
memory playback.  
To step-record chords without a  
rhythm, skip Step 5 of “Step Record-  
ing.” The chord of the specified  
length is recorded. A rest can be  
specified there, so you can create  
an original chord pattern.  
• You can change the rhythm during  
playback.  
START/STOP  
• Pressing  
during the  
song restarts the song from the  
beginning.  
To add chord accompaniment dur-  
ing rhythm play, enter rests from the  
beginning of the recording up to  
where you want accompaniment to  
start. Then enter only the chords (no  
rests).  
• You can set the volume and pan  
position of the playback tracks using  
the mixer. This setting data is output  
MIDI OUT  
through  
.
Follow these steps to record chords with  
step recording.  
• The entire keyboard functions as a  
melody keyboard during playback,  
MODE  
regardless of the  
setting.  
MEMORY  
1. Repeatedly press  
until  
REC.No. appears.  
2. Within 5 seconds, repeatedly press  
+
or to select a song number.  
Using the Memory  
29  
 
1
CHORD/1  
48  
3. Press  
to select Track 1.  
beat, or clock ( / of a beat) — and  
adds your new entry to it.  
4. If desired, you can change these  
settings:  
• You can enter a 0 (a rest) in Step 6,  
but the rest is ignored when the  
accompaniment plays.  
• rhythm number  
• tempo  
INTRO  
• The rhythm number and  
SYNCHRO/ENDING NORMAL/FILL-  
VARIATION/FILL-IN  
,
,
MODE  
IN  
, and  
opera-  
STEP  
5. Press  
6. Press  
to start recording.  
tions are stored on Track 1, along  
with the notes you played.  
SYNCHRO/ENDING  
, then play  
a chord.  
See “Recording Multiple Tracks” on  
Page 31 to record on the other five  
tracks.  
• Use the chord play method deter-  
MODE  
mined by the current  
set-  
ting (Fingered, Concert Chord,  
Full Range Chord, or Normal).  
Specifying Chords in the  
Normal Mode  
MODE  
NORMAL  
,
• When  
is set to  
specify the chord using the root  
keys and chord-type keys. See  
“Specifying Chords in the Normal  
Mode”.  
MODE  
To enter chords when  
NORMAL  
is set to  
during step recording, you  
must specify them using a method other  
than Concert Chord or Fingered. That  
way, you can enter 18 chord types using  
only two keys.  
7. Use the number buttons to specify  
the length of the chord. See “Speci-  
fying the Length of a Note”.  
While holding down the desired chord  
root key, press the chord key to specify  
the chord.  
8. For each additional chord you want  
to enter, play the chord and use the  
number buttons to specify its length.  
The root and chord types are labeled  
above each key. The chord root letter  
and type of chord also appear as you  
play a chord.  
9. When you finish recording, press  
MEMORY STEP  
START/ STOP  
,
, or  
.
START/  
To play back the song, press  
STOP  
.
Specifying the Length of a Note  
Notes:  
During step recording, use the number  
To correct entry mistakes, see “Edit-  
ing Memory Contents” on Page 33.  
+
buttons (or or ) to specify the length  
of each note.  
• When you record on a track that  
already contains data, the keyboard  
automatically locates the end of the  
1
6
Use numbers  
through  
to specify  
2
1
whole notes ( ), half notes ( ), quarter  
notes ( ), eighth notes ( ), 16th notes  
( ), and 32nd notes ( ).  
3
4
previous recording  
measure,  
5
6
30  
Using the Memory  
 
7
9
Hold down (dot) or (triplicate), then  
RECORDING MULTIPLE  
TRACKS  
1
6
press through to enter the lengths of  
the notes.  
In addition to Track 1, where you record  
auto accompaniment as well as key-  
board play, there are five other melody  
tracks that you can use to record melody  
parts only. You can record different  
tones on these tracks and build a full en-  
semble of instruments.  
8
To enter a tie, press and enter the first  
then the second notes.  
0
To enter a rest, press then use num-  
bers through to specify the length of  
the rest.  
1
9
Correcting Mistakes  
You can play back what you already re-  
corded on Track 1 (or any other track)  
while you record on Tracks 2–6.  
Before finishing your step recording en-  
try, you can move the entry point back to  
correct the data you entered. However,  
this operation deletes all data after the  
point where you make corrections.  
Real-Time Recording  
MEMORY  
1. Repeatedly press  
until  
Rec. No. appears.  
MEMORY STEP  
1. Before you press  
,
, or  
START/STOP  
. This moves the entry point back  
one “space.”  
to end recording, press  
2. Within 5 seconds, repeatedly press  
+
or to select a song number.  
CHORD  
2
3. Press the desired  
button ( –  
The data recorded at the current  
entry point appears.  
6
) to select the track you want to  
record on.  
2. While monitoring the data on the  
Note:  
Check the display for Chan-  
display, repeatedly press or  
to  
nels 11–16 to see which memory  
tracks contain data and which are  
empty.  
move the entry point to the data you  
want to change.  
+
3. Press  
and  
at the same time.  
4. If desired, you can change these  
settings:  
Rewrite? appears.  
4. Press to clear all data after the  
• tone number  
current entry point.  
• tempo (to a tempo that is easy for  
you to follow)  
+
5. Press  
,
,
, or to cancel the  
rewrite operation. After that, you can  
press or to move the entry point  
to another location if you want.  
START/STOP  
5. Press  
to start record-  
ing. The contents of any tracks  
already recorded start to play.  
Note: TrackEnd  
appears if you  
press at the end of the recording.  
6. Play on the keyboard what you want  
to record on the selected track.  
Using the Memory  
31  
 
START/STOP  
1 9  
note or rest.  
7. Press  
ing.  
to end record-  
7. Use – to enter the length of the  
8. Repeat entering chords by playing  
them and specifying their length.  
This data is stored on the selected  
track in addition to the notes you  
played:  
MEMORY STEP  
START/  
9. Press  
,
, or  
STOP  
to end recording.  
• tone number  
Notes:  
• optional pedal operations  
• pitch bender operations  
• drum pad operations  
• If you make a mistake, see “Correct-  
ing Mistakes” on Page 31.  
• When you record on a track that  
already contains data, the keyboard  
automatically locates the end of the  
previous recording  
beat, or clock ( / of a beat) — and  
appends your new entry from there.  
Step Recording  
measure,  
1
MEMORY  
1. Repeatedly press  
until  
48  
Rec. No. appears.  
To record a drum pad part, play a  
drum pad in Step 5.  
2. Within 5 seconds, repeatedly press  
+
or to select a song number.  
• During recording on Tracks  
through 6, the entire keyboard func-  
tions as a melody keyboard, regard-  
2
CHORD  
2
3. Press the desired  
button ( –  
6
) to select the track you want to  
record on.  
MODE  
less of the current  
setting.  
4. Change the tone, if desired.  
• This data is stored on the selected  
track in addition to the notes you  
played:  
STEP  
5. Press  
to start recording.  
+
6. Use the keyboard or or to enter  
• tone number  
0
notes, or to enter rests.  
• drum pad operations  
• When you enter the note using  
the keyboard with touch response  
turned on, the key pressure is  
also recorded.  
• You can turn off a specific track dur-  
ing playback by using the mixer  
function (see “Using the Mixer” on  
Page 18).  
• You can also enter the chords  
using the keyboard.  
Changing the Navigation Track  
+
• When you use or to enter a  
note, a staff on the display shows  
the note you enter.  
After you record, the display shows the  
contents of the last recorded or edited  
track. To display a different track, re-  
0
To delete a rest entry, press  
again.  
TRANSPOSE/TUNE/MIDI  
peatedly press  
until Bend appears, then repeatedly  
32  
Using the Memory  
 
press  
until Navi. Tr. appears.  
• When you change note, key pres-  
sure, chord, or drum pad data, the  
keyboard sounds the new setting  
so you can hear what it sounds  
like.  
+
Then repeatedly press or until the  
track you want appears.  
EDITING MEMORY  
CONTENTS  
6. Repeat Steps 5 and 6 to edit other  
parameters.  
You can recall and change individual  
notes and parameter settings (such as  
tone number) in memory contents.  
MEMORY STEP  
START/  
7. Press  
,
, or  
STOP  
when you are finished.  
MEMORY  
1. Repeatedly press  
until  
Notes:  
Play No. appears.  
• When you interrupt playback of a  
song and immediately start an edit-  
ing operation, the entry point (or  
point of interruption) appears on the  
editing screen.  
+
2. Within 5 seconds, use  
select a song number.  
or  
to  
STEP  
3. Press  
.
CHORD  
the track you want to edit.  
4. Use the  
buttons to select  
• The only parameters that can be  
edited for Tracks 2–6 are notes,  
chords, tone, rhythm, key pressure,  
and drum pad.  
5. Repeatedly press or to move to  
the entry point you want to change.  
• You cannot add data to a recording.  
You can change the parameter that  
is flashing on the display. To change  
• You cannot move portions of a  
recording to a different location  
within the recording.  
a different parameter, press  
so  
the parameter you want to edit  
starts flashing.  
• You cannot change note lengths.  
Make the desired changes to the  
selected parameter.  
Editing Techniques and  
Display Contents  
The actual procedures you use to  
change a parameter depend on the  
type of data it contains. See “Editing  
Techniques and Display Contents”.  
Note:  
You can edit Chord, Tone Num-  
ber/Rhythm Number, and Rhythm Con-  
troller controls only when you first record  
these items.  
Notes:  
• Do not change a note identical to  
the preceding or succeeding note.  
Doing so might alter the length of  
the note and you will have to re-  
record the entire track.  
Key Pressure (Velocity)  
— Use the  
+
keyboard, number buttons, or and to  
adjust the key pressure. To change the  
key pressure using the keyboard, be  
sure to turn on touch response.  
Using the Memory  
33  
 
Pitch  
— Enter a new note on the key-  
2. Within 5 seconds, repeatedly press  
+
+
board or use or to change to the next  
higher or lower note. The keyboard and  
the staff on the display show your new  
entry.  
or to select a song number.  
MEMORY  
3. Hold  
down  
until  
Tr.Del.? appears.  
CHORD  
4. Within 5 seconds, press the  
Chord  
— Use the appropriate chord fin-  
gering method as determined by the  
MODE  
2 6  
number ( – ) for the track(s) you  
want to delete.  
setting.  
Tone Number/Rhythm Number  
• You can specify more than one  
track by pressing more than one  
button.  
— Use  
+
the number buttons or or .  
Rhythm Controller (INTRO, NORMAL/  
FILL-IN, VARIATION/FILL-IN, SYNCHRO/  
To deselect a track, simply press  
its button again.  
ENDING) CHORD  
,
— Press the button for  
the function you want to change to.  
The track contents indicator(s) for  
the selected track flash(es).  
Deleting Individual Data  
5. To delete the data in the selected  
1. Follow Steps 1–5 under “Editing  
Memory Contents” on Page 33.  
track(s), press  
goes into playback standby mode.  
. The keyboard  
+
2. Press  
and  
at the same time.  
To exit the track deletion procedure  
without changing any data, press  
DataDel? appears.  
MEMORY  
.
3. Press to delete the selected  
data.  
Notes:  
+
Or press or (or or ) to cancel  
the procedure without deleting any-  
thing.  
• You cannot change the song num-  
ber after Tr.Del.? appears.  
• You cannot select a track that does  
not contain any recorded data.  
Deleting All Data in a Specific  
Track  
MEMORY  
1. Repeatedly press  
until  
Rec. No. appears.  
$ Using MIDI  
Your keyboard includes a feature called  
MIDI (Musical Instrument Digital Inter-  
face). MIDI is the universal standard for  
sending and receiving performance data  
between all types of electronic musical  
instruments, regardless of the manufac-  
turer. Using MIDI, you can play music on  
your keyboard and another instrument  
at the same time while pressing the keys  
on only one, record your music to a se-  
34  
Using MIDI  
 
quencer, acquire a wider selection of  
preset tones from a sound module, and  
much more.  
MAKING THE MIDI  
CONNECTIONS  
To connect your keyboard to another  
MIDI-equipped device, you must use a  
MIDI cable (available at your local Ra-  
dioShack store).  
ABOUT MIDI  
Every MIDI-equipped instrument has  
MIDI OUT and IN terminals, and some  
also have a MIDI THRU terminal. Each  
of these terminals serves a different pur-  
pose.  
Cautions:  
• Always turn off power to your key-  
board and the other MIDI device  
before you connect or disconnect  
MIDI cables.  
MIDI OUT sends MIDI data to (“talks  
to”) the other MIDI instrument(s).  
• As you make the cable connections,  
be sure to align the MIDI cable pins  
with the matching holes on your key-  
board’s MIDI OUT and MIDI IN termi-  
nals. If you have trouble plugging in  
the cable, do not force it! You might  
damage the plug or the instrument.  
MIDI IN receives (“listens to”) MIDI data  
sent by the other MIDI instrument(s).  
MIDI THRU lets you connect (“network”)  
additional MIDI instruments, and sends  
along to other MIDI devices a copy of all  
data it receives through its MIDI IN ter-  
minal.  
To send MIDI data from your keyboard,  
use a MIDI cable to connect the key-  
MIDI OUT  
MIDI IN  
and  
Your keyboard has  
terminals.  
MIDI OUT  
board’s  
terminal to the other  
device’s MIDI IN terminal.  
The cable that connects MIDI devices  
does not actually carry sound between  
them, like a speaker wire carries sound  
from a receiver to a speaker. Instead,  
MIDI-equipped devices communicate  
with each other using digital codes (in-  
structions). One MIDI device sends digi-  
tal instructions representing exactly  
what is being played on it. The other  
MIDI device receives and translates  
those instructions, then produces (or  
records) the sound exactly as it was  
played on the first device.  
To receive MIDI data on your keyboard,  
use a MIDI cable to connect the key-  
MIDI IN  
board’s  
terminal to the other de-  
vice’s MIDI OUT terminal.  
Note:  
You do not need to make both  
connections if you are only either send-  
ing or receiving.  
MIDI DATA  
Your keyboard can send and receive  
several different types of MIDI data. The  
keyboard’s tones, rhythms, and other  
types of MIDI data are sent automatical-  
ly as you play.  
Note:  
Connecting your keyboard to an-  
other MIDI device requires a MIDI cable  
(not supplied). See “Making the MIDI  
Connections”.  
Using MIDI  
35  
 
Notes:  
• The keyboard’s prerecorded tunes  
Control  
Number  
Effect  
Bank Select  
cannot be sent as MIDI data.  
0, 32  
7
Volume  
• For detailed specifications of the  
MIDI function, see the “MIDI Imple-  
mentation Chart” on Page 46.  
Pan  
10  
Expression  
Hold1 (Sustain)  
Sostenuto  
Soft Pedal  
11  
64  
Note On/Off  
— specifies which keys are  
pressed (Note On) or released (Note  
Off). Also includes how loud a note is  
played as a value from 0 to 127.  
66  
67  
RPN (Registered Parameter  
Number)  
100/101  
Notes:  
Data Entry  
6/38  
• The pitch of a note depends on the  
tone that is being used, as shown in  
the “MIDI Implementation Chart” on  
Page 46.  
Use the Bank Select setting to select the  
keyboard’s tone groups to be changed  
by the Program Number message.  
• If the keyboard receives a “request”  
to play notes outside of its range  
(higher or lower), it automatically  
selects the same note in the nearest  
octave.  
• Bank 0 — 0 to 127 (General MIDI  
tones)  
• Bank 1 — 128 to 159 (synthesized  
tones)  
• Bank 2 — 160 to 167 (drum sets)  
• Bank 3 — 168 to 199 (user tones)  
Program Change  
— specifies the tone.  
Pitch Bend  
— supplies pitch bend infor-  
mation. The keyboard’s pitch changes  
as it receives a Pitch Bend message  
Just before sending a Program Change  
message, send two Control Change  
messages with this data to the key-  
board:  
MIDI IN  
through the  
terminal, and the  
keyboard sends pitch bend information  
MIDI OUT  
through the  
tate  
terminal as you ro-  
PITCH BEND  
.
• Control Number = 0, Control Value =  
<bank number>  
Control Change  
— adds effects such  
as vibrato and volume changes applied  
during keyboard play. The message in-  
cludes a control number (the effect type)  
and a control value (the on/off and depth  
of the effect).  
• Control Number = 32, Control Value  
= 0  
For example, to select tone number 190  
(user tone number 22), enter:  
Here is the data that can be received  
with this keyboard and the correspond-  
ing control number.  
• Control Number = 0, Control Value =  
3 (bank number for user tone)  
• Control Number = 32, Control Value  
= 0  
36  
Using MIDI  
 
Notes:  
• Program Change = 22 (22nd tone in  
bank 3)  
• GM is a standard list of specifica-  
tions that allows music created on  
one MIDI device to sound the  
same when played on another  
MIDI device. This keyboard’s GM  
mode incorporates most of these  
specifications.  
Note:  
Channel 10 is reserved for drum  
sounds only, so it is not necessary to  
send bank select data when changing  
tones.  
RPN is used when combining multiple  
control changes. RPN (100 and 101) se-  
lects the parameter to control, and Data  
Entry (6 and 38) sets the contents of the  
parameter. On the keyboard, RPN is  
used to set pitch bend range, transpose,  
and tune control from an external MIDI  
device.  
• This message takes more time to  
process than other messages;  
when you program GM Mode On  
in the sequencer, leave at least a  
100 msec pause before the next  
message.  
GM Mode Off ([F0][7E][7F][09]  
All Sound Off  
current channel to turn off, regardless of  
how the sound is being produced.  
forces all sound on the  
[02][F7])  
— used to turn off the key-  
board’s GM mode.  
Reverb Change ([F0][44][0E][09]  
All Notes Off  
turns off all note data sent  
[yy][F7])  
— switches the keyboard’s  
from an external device on the channel.  
The notes being sustained by the pedal  
continue to sound until the next pedal off  
signal is received.  
reverb function. yy determines the  
type of reverberation effect.  
yy Value  
Reverb  
Reset All Controllers  
bend and all other control changes.  
initializes pitch  
00  
01  
02  
0F  
Room  
Stage  
Hall  
System Exclusive  
controls fine tone  
adjustments unique to a particular sys-  
tem. The system exclusives are unique  
to a particular system; however, there  
are “universal” system exclusives that  
are common among devices produced  
by individual manufacturers.  
Off  
Note:  
The contents of the System Ex-  
clusive message affect the entire key-  
board. Other messages affect only the  
current MIDI channel.  
These are the system exclusive mes-  
sages supported by this keyboard.  
CHANGING MIDI  
SETTINGS  
GM Mode On ([F0][7E][7F][09]  
[01][F7])  
— used to turn on the key-  
board’s GM (General MIDI) mode  
from an external MIDI device.  
The keyboard lets you change a number  
of MIDI parameters, including turning  
Using MIDI  
37  
 
General MIDI mode on/off and selecting  
a MIDI channel.  
and as MIDI data. Set to oFF to  
send data only as MIDI data (the  
speakers on the keyboard remain  
silent).  
Follow these steps to change MIDI pa-  
rameters.  
AcompOut (Accompaniment Out)  
(Default: Off): set to on to send auto  
accompaniment as MIDI data. Set to  
oFF to turn it off.  
TRANSPOSE/  
1. Repeatedly press  
TUNE/MIDI  
oFF GM Mode  
until  
appears.  
+
3. Within 5 seconds, use  
or  
to  
2. Within 5 seconds, repeatedly press  
or to select the parameter you  
change the setting of the parameter.  
want to change.  
GM Mode on/off (Default: Off): set to  
on when you want to have the key-  
board receive GM data from another  
MIDI device. Turning GM mode on  
automatically turns CHORD off,  
since GM mode and MIDI In Chord  
Judge cannot be used at the same  
time.  
DUMPING/IMPORTING  
DATA  
The keyboard’s internal data, including  
data recorded to memory and synthesiz-  
er data, can be sent and received in bulk  
as MIDI exclusive data through the MIDI  
terminals. Thus, you can use a comput-  
er or other MIDI device as an external  
storage device.  
Set to oFF to turn GM mode off.  
The tone, volume and other param-  
eter settings of each channel are ini-  
tialized. When playing received  
MIDI data, bass tones are lowered  
one octave and the piccolo tone is  
raised one octave.  
MIDI IN  
First make connections from the  
MIDI OUT  
and  
terminals to an external  
device using MIDI cables.  
Keybd Ch (Keyboard Basic Chan-  
nel) (Default: 01): sets the channel  
for sending MIDI data to an external  
device.  
Note:  
MIDI exclusive data.  
Some software does not support  
Chord (MIDI In Chord Judge)  
(Default: Off): when set to on, the  
keyboard determines basic channel  
note data as auto accompaniment  
chords per the current chord finger-  
ing method. Turning GM mode on  
automatically turns Chord off,  
since GM mode and MIDI In Chord  
Judge cannot be used at the same  
time.  
Dumping Data  
1. Put the other device in its receive  
standby mode.  
See the owner’s manual that comes  
with the receiving device for details.  
TRANSPOSE/  
BulkSnd?  
ap-  
2. Repeatedly press  
TUNE/MIDI  
until  
pears.  
Local (Local Control) (Default:  
On): set to on to send data simulta-  
neously to the keyboard’s speakers  
3. Within 5 seconds, press  
to start  
data send. Sending appears. The  
38  
Using MIDI  
 
Note Number  
keyboard automatically exits the  
data transfer mode after all the data  
is sent.  
— This number repre-  
sents each key of the keyboard. The  
lowest number (0) is five octaves below  
middle C. Since the keyboard’s lowest  
note is two octaves below middle C and  
the highest is three octaves above mid-  
dle C, your keyboard can send a note  
number between 36 and 96. But, it can  
receive all 0 through 127 note numbers,  
so those keys outside the keyboard’s  
key range are interpreted as notes in-  
side the key range.  
Importing Data  
TRANSPOSE/  
1. Repeatedly press  
TUNE/MIDI  
BulkSnd?  
ap-  
until  
pears.  
2. Within 5 seconds, repeatedly press  
or until BulkRcv? appears.  
3. Within 5 seconds, press  
to pre-  
Velocity  
— This number shows how  
pare the keyboard to receive data.  
fast the key was pressed, or how loud  
the note should sound. 1 is the lowest  
velocity, pianissimo; 127 is the loudest,  
fortissimo. 0 means the key is released.  
4. Start the send operation on the  
sending device. See the owner’s  
manual that comes with the con-  
nected device for details. The key-  
board automatically exits the data  
transfer mode after all the data is  
received.  
9n  
— This means that the Note On mes-  
sage is 9 hexadecimal, and n is the  
channel number.  
For example, if you select Channel 16  
and press Key D in mezzo-piano, 9E (E  
is 15 in hexadecimal; note that Channel  
1 is 0 in MIDI data) is first sent from MIDI  
OUT, then 3D (decimal 61) is sent as  
the key number, finally 21 (decimal 33)  
is sent as velocity.  
NOTES ABOUT THE MIDI  
IMPLEMENTATION  
CHART  
The “MIDI Implementation Chart” on  
Page 46 illustrates the details of the key-  
O
board’s MIDI function. An in the chart  
Pitch Bender  
and receives pitch bending signals.  
— The keyboard sends  
means that the keyboard has this fea-  
ture; means it does not have this fea-  
X
ture. This section explains what the  
keyboard can do.  
Control Change  
— This feature sends  
data on various controllers, each having  
its own number. For the details of each  
parameter, see “MIDI Data” on Page 35.  
Basic Channel  
— MIDI uses up to 16  
channels to exchange data. As in a TV  
broadcast, different channels send dif-  
ferent data.  
Program Change  
This feature  
changes the preset sounds. Each sound  
number corresponds to a program num-  
ber between 0 and 127.  
Mode  
— The chart shows that Mode 3 is  
OMNI OFF, POLY. This means the key-  
board sends and receives polyphonic  
data on only one channel at a time.  
System Exclusive  
— This feature  
sends special signals unique to the key-  
Using MIDI  
39  
 
board. For details, see “MIDI Data” on  
Page 35.  
music to begin at whatever point it was  
last stopped.  
System Real Time  
All Notes Off  
— This feature is a kind of  
— “Clock” is like a  
metronome to send the synchronizing  
signal.  
panic button: it stops the sounds cur-  
rently playing. The keyboard only re-  
ceives this message.  
System real time commands send three  
kinds of signals — start tells the key-  
board to start playing from the begin-  
ning, stop tells all the synchronized  
instruments to stop playing, and contin-  
ue is similar to start, but it signals the  
Active Sensing  
— This means the key-  
board’s sound turns off in the event the  
MIDI IN  
connection cable to  
accidentally disconnected.  
terminal is  
$ Troubleshooting  
If your keyboard is not performing as it should, these suggestions might help. If you  
still cannot solve the problem, take the keyboard to your local RadioShack store for  
assistance.  
Trouble  
Possible Cause  
Remedy  
MODE OFF  
ON  
.
No sound, even if keys  
are pressed.  
The keyboard has turned  
off automatically.  
Set  
to  
then  
MAIN VOL-  
Repeatedly press  
Volume is turned down.  
UME  
to increase the volume.  
Headphones connected.  
Power supply problem.  
Disconnect headphones.  
Check the power supply.  
Are battery symbols  
(+/–) facing correctly?  
Are the batteries fresh?  
Is the AC or DC adapter con-  
nected properly?  
MODE NORMAL  
to or  
You are pressing too few  
accompaniment keys  
Set  
CONCERT CHORD  
.
MODE  
FIN-  
is set to  
while  
Press 3 or 4 keys to form a  
MODE  
GERED  
.
FIN-  
is set to  
chord while  
GERED  
.
VOLUME ▲  
to increase the volume.  
No sound when con-  
nected to an external  
amplifier.  
Volume is turned down.  
Repeatedly press  
Defective connection cord. Replace the connection cord.  
Troubleshooting  
40  
 
Trouble  
Possible Cause  
Remedy  
No sound when receiving  
and playing MIDI data.  
MIDI cables are not con-  
nected properly.  
Check the connection.  
The key or tuning does  
not match when playing  
along with another MIDI  
instrument.  
The tuning or transpose  
parameter is set to a value  
Set the tuning or transpose to  
0
.
or  
00  
other than or  
.
00  
0
Bass notes in General  
MIDI data are sent out  
one octave lower.  
Tone map parameter is set  
to  
Set the tone map parameter to  
(see “Changing MIDI Settings”  
G
on Page 37).  
.
N
Sounds sent to another  
MIDI device by the key-  
board do not sound cor-  
rect.  
The other device’s MIDI  
THRU function is turned  
on.  
Turn off the MIDI THRU function  
on the other device.  
CARE  
To enjoy your MIDI Keyboard for a long time:  
• Keep the keyboard dry. If it gets wet, wipe it dry immediately.  
• Use and store the keyboard only in normal temperature environments.  
• Handle the keyboard gently and carefully. Do not drop it.  
• Keep the keyboard away from dust and dirt.  
• Wipe the keyboard with a damp cloth occasionally to keep it looking new.  
can cause a mal-  
Modifying or tampering with the keyboard’s internal components  
function and might invalidate its warranty and void your FCC authorization to operate  
it  
. If your keyboard is not performing as it should, take it to your local RadioShack  
store for assistance.  
Troubleshooting  
41  
 
$ Appendix  
NOTE TABLE  
42  
Appendix  
 
Legend:  
1. Tone number  
2. Maximum polyphony  
3. Digital Controlled Oscillator  
4. Range type  
5. Recommended sound range for General MIDI  
* Tones without scale  
* The following shows maximum polyphone for synthesized tones 128 through 159:  
141 BASS SLIDE: 24 notes 1 DCO  
Other tones: 12 notes 2 DCO  
Appendix  
43  
 
DRUM ASSIGNMENT LIST  
44  
Appendix  
 
FINGERED CHORD CHART  
Note:  
Chords marked with a  
cannot be played in the FINGERED mode due to the  
limitation of the accompaniment keyboard range. Use FULL RANGE CHORD to play  
pieces that contain these chords.  
Appendix  
45  
 
$ MIDI Implementation Chart  
FUNCTION  
TRANSMITTED  
RECOGNIZED  
REMARKS  
1
*
1
*
Basic  
Default  
1–16  
1–16  
Held in memory  
Channel  
Changed  
1–16  
1–16  
with power supplied  
Mode  
Default  
Messages  
Altered  
Mode 3  
X
❊❊❊❊❊❊❊❊❊❊❊❊❊❊❊❊ ❊❊❊❊❊❊❊❊❊❊❊❊❊❊❊  
Mode 3  
X
2
*
Note  
Number:  
36–96  
0–127  
See “Note Table”  
on Page 42  
2
*
❊❊❊❊❊❊❊❊❊❊❊❊❊❊❊❊ 12–108  
True voice  
Velocity  
Note ON  
Note OFF  
O 9nH v=1–127  
X 9nH v=0  
O 9nH v=1–127  
X 9nH v=0, 8nH  
v=XX  
XX=no relation  
After  
Touch  
Keys  
Channels  
X
X
X
O*3  
Pitch Bender  
O
O
Control  
Change  
0, 32  
1
6, 38  
7
O
X
O*4  
O
O
Bank Select  
Modulation  
Data entry  
Volume  
O*3  
O*4  
O
10  
O
O
Pan  
11  
64  
66  
67  
100, 101  
120  
121  
O
O
O
O
O
O*4  
O
O
Expression  
Hold 1  
O*5  
O*5  
O*5  
O*4  
X
Sostenuto  
Soft pedal  
RPN LSB, MSB  
All sound off  
Reset all controller  
X
Program  
Change:  
O 0–127  
❊❊❊❊❊❊❊❊❊❊❊❊❊❊❊❊ ❊❊❊❊❊❊❊❊❊❊❊❊❊❊❊  
O 0–127  
True #  
System  
Exclusive  
O*6  
O*6  
System  
Common : Song Sel  
: Tune  
: Song Pos  
X
X
X
X
X
X
System  
Real Time : Commands  
: Clock  
O
O
X
X
Aux  
: Local ON/OFF  
: All notes OFF  
X
X
X
X
O
O
X
X
Messages : Active Sense  
: Reset  
46  
MIDI Implementation Chart  
 
Remarks  
*3  
Modulation and after touch for each channel are the same effect.  
Pitch bend sense, fine tune, coarse tune send/receive, and RPN Null receive  
In accordance with assignable jack setting  
GM on/off GM ON:[F0][7E][7F][09][01][F7]  
*4  
*5  
*6  
GM OFF: [F0][7E][7F][09][02][F7]  
Reverb change [F0][44][0E][09][XX][F7] XX=00: ROOM, 01: STAGE, 02: HALL, 0F: OFF  
Bulk dump [F0] [44][0E][07] [0L0][0H ]...[0L127][0H127  
]
[0LCS][0HCS] [F7] 255 Block  
×
0
ID Number Data (128 2 = 256 Bytes) Checksum (1 2 = 2 bytes)  
×
×
Mode 1: OMNI ON, POLY  
Mode 2: OMNI ON, MONO  
Mode 3: OMNI OFF, POLY  
Mode 4: OMNI OFF, MONO  
O: Yes  
X: No  
$ Specifications  
Number of Keys ..................................................................................................................... 61  
Drum Pads ............................................................................................................................... 6  
Polyphonic Sound ............................................................................................... 24-note (Max.)  
Preset Tones ............................ 200 (128 General MIDI, 32 synthesized, 32 user, 8 drum sets)  
with Layer and Split  
Rhythm Instrument Tones ...................................................................................................... 61  
Digital Effects ............................................................... 3 reverb types (HALL, STAGE, ROOM)  
Demo Tunes ............................................................................................................................ 2  
Auto Accompaniment  
Rhythm Patterns .................................................................................................................. 100  
Tempo ....................................................................................... Variable (216 steps, 40 to 255)  
Chords ......................................... 3 fingering methods (Concert Chord, Fingered, Full Range)  
Rhythm Controller ................. Start/Stop, Intro, Normal/Fill-In, Variation/Fill-In, Synchro/Ending  
Accompaniment Volume ............................................................................ 0 to 127 (128 steps)  
One-Touch Preset ........... Recalls tone and tempo settings best suited for the selected rhythm  
Registration Memory  
Number of Setups ............................................................................. 32 (4 locations × 8 banks)  
Memory Contents ................ Tone, rhythm, tempo, split setting, split point, layer setting, mixer  
settings, keyboard channel on/off, reverb setting, touch response  
ASSIGNABLE JACK  
setting,  
setting, transpose setting, tuning setting,  
pitch bend range, accompaniment volume setting  
Memory Function  
Songs ...................................................................................................................................... 2  
Recording Tracks .................................................................. 6 (2 through 6 are melody tracks)  
Specifications  
47  
 
Recording Methods ........................................................................................... Real-time, Step  
Memory Capacity ............................................ Approximately 4,900 notes (total for two songs)  
Edit Function ............................................................................................................... Equipped  
Custom Tone Parameter Function  
Parameters ............................................ PCM set, amp envelope set, attack rate, release rate,  
pitch envelope set, pitch, level, touch sense, pan  
Mixer Function  
Channels ................................................................................................................................ 16  
Parameters ....................................................... Program change number, volume, expression,  
pan, coarse tuning, fine tuning, on/off/solo  
MIDI .................................................................... 16 multi-timbre receive, GM Level 1 standard  
Transpose .............................................................................. –12 semitones to +12 semitones  
Tuning ................................................................................. Adjustable A4 = 440 Hz 50 cents  
Pitch Bend Range ............................................................................12 semitones up and down  
Built-In Speakers .........................................................................................................12 cm × 2  
Terminals  
MIDI Terminals .............................................................................................................. IN, OUT  
1
4
Assignable Terminal .................................................................................... / -Inch Phone Jack  
(sustain, sostenuto, soft, rhythm start/stop)  
Power Supply .......................................................................................................... 9V DC Jack  
Headphones Stereo Standard Jack .............................................Output Impedance:150 Ohms  
Output Voltage: 5 V (RMS) MAX at 47K ohm load  
Power Sources ............................................................................................... DC: 6 D batteries  
AC: 9V with AC adapter  
Power Consumption ......................................................................................................... 7.7 W  
15  
7
13  
16 ×  
37 / 14 / Inches  
8 ×  
16  
Dimensions (HWD) ........................................................................ 5 /  
(15.2 × 96 × 37.6 cm)  
Weight (Without Batteries) ..................................................................................... 12 lbs 12 oz  
(5.8 kg)  
Included Accessories .................................................................................. Sheet Music Stand  
Play Guide for the Prerecorded Tunes  
Specifications are typical; individual units might vary. Specifications are subject to change and  
improvement without notice.  
48  
Specifications  
 
$ Notes  
Notes  
49  
 
50  
Notes  
 
Notes  
51  
 
Limited One-Year Warranty  
This product is warranted by RadioShack against manufacturing defects in material and workman-  
ship under normal use for one (1) year from the date of purchase from RadioShack company-owned  
stores and authorized RadioShack franchisees and dealers. EXCEPT AS PROVIDED HEREIN, Ra-  
dioShack MAKES NO EXPRESS WARRANTIES AND ANY IMPLIED WARRANTIES, INCLUDING  
THOSE OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE LIMITED  
IN DURATION TO THE DURATION OF THE WRITTEN LIMITED WARRANTIES CONTAINED  
HEREIN. EXCEPT AS PROVIDED HEREIN, RadioShack SHALL HAVE NO LIABILITY OR RE-  
SPONSIBILITY TO CUSTOMER OR ANY OTHER PERSON OR ENTITY WITH RESPECT TO ANY  
LIABILITY, LOSS OR DAMAGE CAUSED DIRECTLY OR INDIRECTLY BY USE OR PERFOR-  
MANCE OF THE PRODUCT OR ARISING OUT OF ANY BREACH OF THIS WARRANTY, IN-  
CLUDING, BUT NOT LIMITED TO, ANY DAMAGES RESULTING FROM INCONVENIENCE, LOSS  
OF TIME, DATA, PROPERTY, REVENUE, OR PROFIT OR ANY INDIRECT, SPECIAL, INCIDEN-  
TAL, OR CONSEQUENTIAL DAMAGES, EVEN IF RadioShack HAS BEEN ADVISED OF THE  
POSSIBILITY OF SUCH DAMAGES.  
Some states do not allow limitations on how long an implied warranty lasts or the exclusion or limita-  
tion of incidental or consequential damages, so the above limitations or exclusions may not apply to  
you.  
In the event of a product defect during the warranty period, take the product and the RadioShack  
sales receipt as proof of purchase date to any RadioShack store. RadioShack will, at its option, un-  
less otherwise provided by law: (a) correct the defect by product repair without charge for parts and  
labor; (b) replace the product with one of the same or similar design; or (c) refund the purchase  
price. All replaced parts and products, and products on which a refund is made, become the prop-  
erty of RadioShack. New or reconditioned parts and products may be used in the performance of  
warranty service. Repaired or replaced parts and products are warranted for the remainder of the  
original warranty period. You will be charged for repair or replacement of the product made after the  
expiration of the warranty period.  
This warranty does not cover: (a) damage or failure caused by or attributable to acts of God, abuse,  
accident, misuse, improper or abnormal usage, failure to follow instructions, improper installation or  
maintenance, alteration, lightning or other incidence of excess voltage or current; (b) any repairs  
other than those provided by a RadioShack Authorized Service Facility; (c) consumables such as  
fuses or batteries; (d) cosmetic damage; (e) transportation, shipping or insurance costs; or (f) costs  
of product removal, installation, set-up service adjustment or reinstallation.  
This warranty gives you specific legal rights, and you may also have other rights which vary from  
state to state.  
RadioShack Customer Relations, 200 Taylor Street, 6th Floor, Fort Worth, TX 76102  
12/99  
We Service What We Sell  
MD1210E-1  
RadioShack  
42-4045  
MA0005-A  
05A00  
Printed in Malaysia  
A Division of Tandy Corporation  
Fort Worth, Texas 76102  
 

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