KAWAI POP SYNTH MODULE ~m Owner’s ManualWARNING: This equipment generates, uses, and can radiate radio frequency energy. If not installed and used in accordance with the instruction manual, it can cause interference to radio communications. The rules with which it must comply afford reasonable protection against interference when used in most locations. However, there can be no guarantee that such interference will not Occur in a patticular installation. If this equipment does cause interference to radio or related equipment off and on, the user is encouraged to try correct the interference by one or more of the following measures: — reorient the receiving antenna. — move the receiver away from the instrument. — plug the instrument into a different outlet so that it and receiver are on different branch circuits. — consult the dealer or a qualified service personnel. his digital apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus set out in the Radio Interference Regulations of the Canadian Department of Communications. “Le présent appareil numérique n'émet pas de bluits radioelectriques dépassant les limites applicables aux appareils numériques de la classe B prescrites dans fe Féglement sur fe broulliage radioéiectrique édicté par le ministére des Communications du Canada.”FEATURES © Wide variety of tones The PHm offers a choice of 250 tones: 200 single sounds plus 50 combinations. Together, they cover a wide range from piano and bass to percussion and special effects — all recorded with the same high-quality PCM sound. © Five-part sequencing The PHm simultaneously supports up to five parts: a combination of up to four tones selected from the 200 available single sounds plus a separate PCM drum section which contains 16 instruments of drum and Percussion. The PHm’s VARIABLE MULTI TIMBRE functions automatically allocate the use of the 16 voices available for the five parts for maximum effect. * Preprogrammed rhythms The PHm offers a choice of 30 built-in rhythm patterns — everything from '50s rock through rap — that are instantly available to enhance your keyboard performance. © Compact, half-rack size The PHm's compact, lightweight (1.2 kg) design makes it easy to carry and small enough to place on top of a synthesizer or digital piano. An optional adaptor enables it for rack mounting,TABLE OF CONTENTS CARE AND MAINTENANCE . POWER SUPPLY BASIC CONNECTIONS .. |. NAMES OF PARTS AND . COMBINATIONS . . FORM LIST ... SYSTEM ... . EXAMPLES veveseeees . COMBINATION LIST (50 combinations) . . BUILT-IN RHYTHM PATTERNS .. . PERCUSSION INSTRUMENT ASSIGNMENTS . TROUBLESHOOTING SPECIFICATIONS ..... eNO Pena@ CARE AND MAINTENANCE # Never attempt to disassemble, service, or otherwise modify the internal components. Such willful tampering not only invalidates your warranty, but also entails the risk of a short circuit. © Wipe with a clean, dry cloth. Under no circumstances use benzene, paint thinner, or any other organic solvents © The PHm contains a lithium battery that maintains memory contents even after the main power supply is removed. This battery normally lasts for five years. Connect your nearest authorized Kawai dealer for a replacement promptly after the yous years have elapsed © Never take the PHm apart, as you could receive an electric shock and also damage the instrument. Contact the store where you purchased the PHm if you want it adjusted or serviced lm POWER SUPPLY The PHm can be plugged into ordinary household power outlets. Use the AC adaptor included with your PHm, for connecting this instrument to household power outlets. lm BASIC CONNECTIONS Connect the PHm to a keyboard, sequencer, or other MIDI device with a standard MIDI cable. (For further details, see p. 11,) Plug cable into MIDI QUT connector Plug cable into MID! IN connector Keyboard, sequencer, or otner MIDI device miDi cable Standard phone plugs Ingen plug into LINE IN jack on monitor amplifier, wey digital piano, or other device = It the cable connects to monaural insert pg nto AUX INjsck on tape recordar eee ‘equipment, use the L/MONO ack or other audio device. stead of R. as Pin pags CS Sac adepor Always turn all power switches off — or at least set all volume controls to their minimum levels — before connecting or disconnecting equipment. | The letters MIDI stand for the Musical Instrument Digital Interface, an international standard for connecting synthesizers, drum machines, and other electric/electronic musical instruments so that they | ee exchange keyboard and program data |9 § ® f a t a a © TONES r reset] VOLUME Bane a oeoueee Tonela {INTRO/ FILL WN | <4 0 temro \ ' i - THM | 0 LEVEL i I 1 { 1 1 ! er 1 I ri POWER TEM i LSTART? STO" ———————— @ POWER switch @® COMBINATION EDIT section ‘Switches the power on and off Used when editing COMBINATIONS. There are three @ VOLUME COMBINATION switches: Adjusts the volume louder or softer. © FORM @ +, - keys Used when changing any of the values or numbers of the modes. +: Values wit! change in increments of 1 ~: Values will change in decrements of 1 When the key is held down the values will continue to change. In the ON/OFF mode, pressing @) selects ON, and pressing ©) selects OFF. @ LED display Displays numbers of tones, rhythms, combinations, tempo settings, and other system information. © BANK switch Used to switch between TONE selection and COM- BINATION selection. The BANK switch moves the LED on the right between TONES and COMBINA- TIONS, When the TONES LED is lit, PHm is in the TONE select mode, and the LED display indicates the TONE numbers (001-200) J BANK © Tones al 3 {ole When the COMBINATIONS LED is lit, PHm is in the COMBINATION select mode, and the LED display indicates the COMBINATION numbers (001-050). cowananins (2]2[/]- (else) oi BANK For changing the tones or combinations, the +, - keys enable you to select any number you want. Used to select the FORM that determines the combination of tones. PHm offers 20 types of FORMS (including splits, layers, and multi-timbral mode) © ASSIGN Used to select the tones to be combined. Up to four tones can be combined depending on the FORM you select. © LEVEL Used to change the volume level of the tones selected @ SYSTEM switch Used when deciding the TUNE, TRANSPOSE and MIDI functions. The following functions can be set with this switch; TUNE Enables fine tuning and is used when matching the Pitch to other instruments. © TRANSPOSE Changes the pitch in half-tones. This function is handy for changing keys during performance © MIDI transmit channel Sets the MIDI transmit channel. © midi receive channel Sets the MIDI receive channel. — Omni mode: Toggles omni mode on/off, — Program change: Sets the range for tone change. — Pressure Pitch bender — Modulation — Volume — Hold peda = Velocity ‘These functions toggle MIDI receive on and off, * For details of these functions, see the section on "SYSTEM",@ RHYTHM section © RHYTHM switch Used for selecting rhythm pattern and adjusting tempo and level Each time the RHYTHM switch is pressed, the LED ‘on its right changes from PATTERNS to TEMPO to LEVEL. When the PATTERNS LED is lit, PHm is in the rhythm PATTERN select mode and the LED display indicates the PATTERN numbers (1-30) PATTERNS TT ia When the TEMPO LED is lit, PHm is in the TEMPO set mode, and the LED display indicates the TEMPO ( 4 = 50-250) Wt a value smatier than 50 is set, the display indicates "SYC", and the rhythm function synchro- nizes with external MIDI information. When this happens, START/STOP and TEMPO setting are disabled, so care should be taken when setting the tempo value, oie ewe [5 When the LEVEL LED is lit, PHm is in the mode for adjusting the rhythm volume, and the LED display indicates the LEVEL value (0-100) = For changing the numbers and values, the enable you to select any number you desire. This LEVEL setting is effective for both built-in rhythm pattern and drum section © START/STOP switch Press to start or stop the rhythm pattern. © INTRO/FILL IN switch Used to insert an introduction or fill in. When this switch is pressed while the rhythm function is stopped, the rhythm section will start in after the intro pattern. When this switch is pressed during performance, a fill in (variation on the rhythm) is, inserted. ~ keys @ Rear Panel MIDI Used for connecting to other MIDI instrument or a personal computer. IN Input terminal for external MIDI infor- mation © OUT Output terminal for this instrument's MIDI information @ THRU Passes the data received on to another instrument (@ LINE OUT Used for sending the Prim sound to audio equip- ment, amplifiers, or tape recorders. @ DCIN Used to connect the plug from the 9-12V AC adaptors.2. COMBINATION Up to four tones can be combined easily with the COMBINATION function. Before explaining how this works, ‘we shall take a look at some basic examples of combining tones. The principle methods are as follows: Listen to a number of COMBINATIONS while looking at the COMBINATION and FORM lists. That is the quickest way to gain an understanding of this powerful capability. (1) SPLIT SPLIT literally splits the keyboard up into sound zones, so that different tones can be played de- pending on the zone. Look over the Farm list on page 9. You will see that Form 9 is a 2-zone split, while Forms 21 and 22 are 4-zone splits (2) DUAL DUAL layers one tone onto another one, across the whole keyboard. By making the pitch of these tones slightly different and playing them together, you can thicken the sound HANH PIANO —— STRING Forms 1 through 8 are DUAL forms which assign two tones to the whole keyboard. The form list describes how each of these DUAL forms differ. (3) LAYER This is the same kind of combination as DUAL, but is called LAYER when three or more tones are used. ——— Piano STRINGS, ‘BRASS —————+] Form 12 is a 3-part layer. Forms 19 and 20 are 4- part layers. (4) AIK MIX combines the functions of SPLIT and LAYER, Forms 11 and 15-18 are mix forms, ‘STRINGS, By using the above combinations you can create new sounds and surprising effects that are impos- sible to obtain with single tones. The PHm's combinations have been preset so that anyone can enjoy combining sounds effortlessly Selected to give you optimum flexibility for casual playing or live performance, these 30 preset combi- nations require only that you choose the tones These predetermined groupings of zones are called FORMS, You can assign up to four tones to a FORM (the number of assignable tones varies depending on the FORM). The location on the keyboard where the respective tones can be assigned are called PARTS, In addition to the zones, the FORM enables different, values of DETUNE and TRANSPOSE to be set for each PART, (See the FORM list.) © Example 1: FORM 9 FORM Qis the basic SPLIT type. HAE PART © Example 2: FORM 26 FORM 26 is a MIX type of SPLIT and DUAL PARTs A and C have been transposed into a minor key and PARTS B and D have been transposed into. uty PARTA PARTS PART.C (tart J You can adjust LEVEL (the volume) for each tone when you are assigning the tone for each section This lets you balance the volume between tones to suit each piece of music you perform. (5) LINK ‘Another convenient use of combination is the LINK, which allows you to change only your favorite Tones rapidly. in this case, you should use Form 30. ¢ Example: Form 30 Assigning tones 1, 151, 76, and 200 to combinations 1-4 and starting with combination 1 allows you to change tones instantly with a single stroke of the “4” key. 4~ 151 = 76 = 200I LINKING COMBINATIONS (BY PART) To LINK the tone of a particular part within a combination (such as the tone of Part A in a combination consisting of Parts A, B, C, and D), follow these steps: First, we will assign combinations 1, 2, and 3 as shown below (use Forms 19 to 29 for this operation). Part A PartB PartC Part COMBINATION: 19-40 | (©rginal combination) COMBINATION? 10mm lcowainations 1020 Select combination 1, and then use the “+” switch to advance the combination step-by-step (1 — 2 — 3) This will leave the tones of Parts A, B, and C unchanged, while the tone of Part D alone will be LINKed to 40, 41, and 120. Since each part is assigned to different MIDI chan- nels in Forms 27 through 29, within these Forms you can change the tone of an individual part by receiv- ing program change data sent out from external devices. Try this out by following the example below PatA = PatB = Pat Part 10 20 30 40 10 20 30 4a 10 20 30 120 10 20 30 40 First, assign combinations 1 and 2 as shown below. (Use Form 27, and set the MIDI’s receive channel to “Channel 1” and program change to “Sec A. PartA PartB PartC PartD [COMBINATION 1 ne a | COMBINATION 2 M6) 6) 4b) Start by playing combination 1 Pat PatB Pat PatD (CHT) (CH2) (CHS) (CHA) COMBINATION 1 iO Meee 20) oles 0) y Channel 4 receives program change "40" COMBINATION 1 10 62 30 [at Channel 1 (system channel) receives program change "101" ‘COMBINATION 2 WM 6) bo) | Qhanne! 1 receives program change “100” Channel 2 receives program change "39" COMBINATION 7 10 2) 0 [0] © For information on Program Changes, see page 10, “System”.Here's the procedure for editing combinations @ Procedure a (2) (3) (4) 6) (6) Press the BANK switch until the COMBINA- T{ONS LED lights. Then, use the +, - keys to select the combination you wish to edit (The 3- digit display will show combination numbers) 1° TONES: SANK pe COMBINATIONS e o[3]s Al [bj] 52 ASSIGN T by Al -JeoL ele 2 al-JaloL ie (7) Next, adjust the volume LEVEL. Press the LEVEL switch. The LED display alternately indicates First, set FORM, Press the FORM switch, The : LED display alternately indicates F - fabbrevi Ce eee ated display for FORM) and the FORM number. an value (0-100), FORM TEVEL F elt b tl: jo]a] When you have decided which FORM you will Use (from the FORM list), set the FORM number Using the », - keys, (8) Use the +, - keys to change the LEVEL value pe ' a 9 Next, assign the tones for each PART. Press the ASSIGN switch. The LED display alternately indicates R- A (abbreviated display for ASSIGN — PART A) and the TONE cumber. in this example, the display indicates that TONE 61 has been assigned to PART A. (The first letter capital upper or lower case — tells you the a a (9) Each time you press the LEVEL switch the PART changes. Change the other PARTS in the same way as you did for PART A. A & .. Indicates PART B R - € .. Indicates PART C. A - ¢ Indicates PART D. PART.) Tr TAG ca «fel fee "ASSIGN Alelasls LEVEL b ile) (ele When you have decided which tone to use, set itsmumber wit the», Keys tlle] [Jsle L == == => al4[s] Each time you press the ASSIGN switch, the PART changes. Assign the tones to the other PARTs in the same way as you did for PART A. 8 > b~ Indicates PART B. Al- [Indicates PART C. A - J~ Indicates PART D. With this step the operation is completed. Press the BANK switch to return to the previous mode. Notes: ® You can select FORM, assign tones and adjust LEVEL in any order you wish. © To return to the factory-set COMBINATIONS, turn the POWER switch on while simultaneously press~ ing the LEVEL and SYSTEM switches. This resets the PHm to its original COMBINATIONS.3. FORM LIST Most pianos have 88 keys: zers and keyboards, howevor, Rave only 61 Fe E os 7 Ate No For as FORM Contents ratTele|o I 1 | buat wat [alt | = | = | Two PAATS Aan layered one over the oer | Fy Jommenoms (ae ac] =| 2 | RROe eu a Aes ass mpea ow 3 | DETUNED DUAL? Ai | AL | — — | Trepichatte mola AAT Aand®. cles note tan for. 2inyidacrousefest 1 | bering ouA 3 AL | At | — | — | TrepichotietwolgeedPAATs Aanel ites noe anio Ne Stoyeaacensetan | 5 [WowrToMCOuAL AL | AL | — | ~ | Thepithaltetolyewd PARTS And ails moron fh io eta de ee 1 renaraienmun aL [AL] = | = Ate igpetoecotmmme eta - 7 | ranseoseD Dua? [ALL | AL | — | — | PaRTBisiqmedone cine talon thekey rho 1 @ | TRANSPOSEDOUALS | ALL| ALL | — | — | PART Alsayredtwo octaves dove we PART B wo ccloes below he ey oro. 8 spur Low | uP | — — | SPUTOIPARTeAand@ (PART A cn ele PART Bon the rgh | 10 | taangposeoseut [vow | UP] — | — | SPLToiinetmoTONES Aare atin No.8 utwih PART Bone octave dow bs nA | gp Tae | 12 | LAYERS PARTS: [AL TACT AL] = | Tetieeranrs.A.saneC arelayrecoversachoher _ 13 | TRANSPOSEDLAYERT AL AL’ AL = | ThesanwatinNo 12.ButPART Cie ane ocvloner, “4 | TRANSPOSED LAYER? | all | ALL | AL | — | ThesaraasinNo 12 SAPART Bis ove onuveigherandPART Cit ore coselower [s Mx tow | up | “aur "= | Thesameas inne 9 pis PART Cenendng asthe whol Keyboard 76 | ws | con "ue | Low | Tesaneasno 9.2 PART Claveed oer eet afte eta 7 | mixd vow | up | up | = | Thesameasiio sis PARTC layered over the ak hal te Keyboard ve | ans LOW | UP | UP | — | TresmeasNo pis PAATCioyredane acaveloweron terrae eybou we | Laven aPinTS AL AL wt | AL | PARTSA 8.CandD we yee oreo cer ae ee 2 | waLTiSeUTT Ver coer! Gama] CH Theta mo ur ene. Fa | wauriseure [oa-8* c2-F¥2|G2-F10 63-85 | Theteyowa issn he znes and PART A'S Gena tom Bi oun andi Chup | aa le fox RCo og ANG A AHAB ane RAE IPAS 24 | ameroseocovaesaT | LOW | UP | LOW | UP | Thesameas nN 2.out PARTS Band Dae one aioe lower oa Fs) vor + | 85) 83] 85] ce | Amore in be led whan ~ = 3 ooo [WW [ow |W crema we alin aa Se ee 2 | SEQUENCER | yy rales ; 2% | SEQUENCER? | rie | 8 | 6 | 7 | @ | The MiDi receive chan forthe tone ("ap | Seovencans | mg |e. SYSTEM The functions related to TUNE, TRANSPOSE and MID} all come under the heading of SYSTEM. Each of these functions is outlined in the table below. The LED display alternately indicates the symbol for the function and the set value. Use the +, - keys to change the set values. Function | Display Set Value Explanation | TUNE E]ola] | = $0~5.0 | Finetunes the overall pitch ofthe PH. = jdm 1.2 | Changes the overal pitch of the PHm in hal-tone steps, The key can be changed eee! 12~ 12 sasiy or perorming earned tlelh 1~ 1G | Setsthe MIDI transmit channe, ‘ats he MIDI ecave channel i BEEN | TT Ta] | im 16 | SCoMmieronisosl toot anscanot be changes However, COMBINATIONS using FORME 27-29 are set © CHI-4, CHS-8and CHI316. . Sets wnetner oF not PH will ceive ai the MO! channels smutaneously Nowore | Lo] Ala} | on/ oF F | Comes TiON (FORK is always sotto ome PROGRAM PlelG OFF | PROGRAM CHANGE information is not received, CHANGE nr ‘The PROGRAM CHANGE PROGRAM CHANGE No. > TONE/COMBINATION No. INopIMAL A) | embers ana he 0%: TONES 1-100 Sorspandng vost COvenaTONe 25 umber are as shown weir = onthe right arb PROGRAM CHANGENo. : TONE/COMBINATION No {NORMAL 8) 090 TONE 101200 10024 - COMBINATIONS 7550 reer SoA ‘The PART set to the same. PROGRAM CHANGE No.» TONE/COMBINATION No. [SECTION a) | MIDI channel as ra receive 0-99: TONES 1-100 da ces he PRON faced coestorcen ‘The TONE/COMBINATION we ‘numbers corresponding to St the PROGRAM CHANGE © | numbers areas shown PROGRAM CHANGE No: TONECOMBINATION No. (secrion.s) | oathe rant 099 TONES 10-20 ‘00:24 + COMBINATIONS 29.0, rea PRESSURE 0.9/0 F £ | Sets wnetner or not Pim wil ceive PRESSURE information PITCH BEND blald} | on/aF F | Sets whether or not PHm will receive PITCH BEND information, MODULATION Diald) | ena F | Sets whether or not PHm will receive MODULATION information. voume | [Ulole] | ono FF | sassneier not PH wit race VOLUME information, HOLD ALLA] | on/oF F | Sets whether or not PHm will receive HOLD information, vetocity E]L] | on /oF F | sets whether or not Pim wil receive VELOCITY information 405. EXAMPLES Bt Example 1: Connecting to a keyboard Perhaps the most typical PHm application is con- necting it to a digital piano, synthesizer, or other type of MIDI keyboard to access the PHim’s 16 voices, 200 tones, 50 combinations, and 30 built-in rhythm patterns from that device Mio iN MIDI OUT A MIDI keyboard © Procedure: (1) Plug one end of a MIDI cable into the MIDI OUT connector on the MIDI keyboard and the other into the MIDI IN connector on the PHm, (2) Set the keyboard's MIDI transmit channel. Note: ‘A MIDI cable network carries signals on 16 different channels. To control one MIDI device from another, you must either set both to the same channel or set the receiver to OMNI ON, a special mode which receives on all channels. (See p. 10.) Note: Check the keyboard manual for the procedure and other details. Some keyboards, for example, trans- mit only on one particular channel, so you will have to set the PH to that channel. © Set the PHm's receive channel to the same number. * Press the SYSTEM switch until the abbreviation for “receive channel” appears on the display alter- nately with the current channel setting ‘SYSTEM by rlelblo fi * Use the “+” and “-” switches to change the channel number. 2 a * Press the BANK switch to return to regular opera- tion. Note: The above procedure applies to tones only. Com- binations use FORMS, for which the channels are fixed. (See “Form List” on p. 9.) You must either change the transmitting instrument's channel num- ber or use a different FORM. " (3) Specify which of the seven different types of MIDI data the PH will act upon. * Press the SYSTEM switch until the abbreviation for “program change” appears on the display alternately with current setting. * Use the "+" and "" switches to change the setting. Repeat the above two steps for all seven types of information. * Press the BANK switch to return to regular opera- tion lM Example 2: Connecting to a sequencer A sequencer, personal computer, or similar MIDI device can use the PHm to simultaneously play five ditferent parts (four instrumental parts plus a drum pant) © Procedure: (1) Plug one end of a MIDI cabie into the MIDI OUT connector on the sequencer and the other into the MIDI IN connector on the PHm (2) Set the PHm’s MIDI clock to “SYC” (if you want to SYNC its tempo to @ sequencer or drum machine) or to a value in the range 50-250. MOL IN, [moiour Sequencer, personal Pam computer, tc on FORM: 27 @ MIDI ich = TONE A: Kick Bass 2 © MIDI 2ch = TONE B: Distor! ¢ MIDI 3ch = TONE C: Stratto © MIDI 4ch = TONE D: Jump! PHm © MIDI CLOCK = SYC Pattern = 16 FUNK 1 @ MIDI 10ch = Drum section Note: FORMSs 1-26 and 30 use channel 1 as the receive channel for all four parts (A-D). For independent four-part operation, use FORM 27, 28, or 291 Example 3: Monitoring sequencer recording Inserting a sequencer, personal computer, or similar MIDI device between the PHm and the keyboard allows you to simultaneously record all data as you play. Note: There are two types of recording: real time and step-by-step. (Consult your sequencer manual for the relevant procedures.) «1 ND} Keybaord MIDI OUT iot N Sequencer, personal computer, ete io) TAU. 10) © Procedure: (1) Connect the three devices as shown (2) Select a PHm combination Note: This description uses the same FORM as the example on the preceding page. (3) Set the keyboard's MIDI transmit channel to 1 (4) Record the track for Part A. (Consult your sequencer manual for the relevant procedures.) Set the keyboard's MIDI tvansmit channel to 2 and repeat the previous step to record the track for Part B. Repeat the above procedure for transmit chan- nels 3 (Part C) and 4 (Part OD) Adjust the levels for the four parts and change the tones assigned to them 6) (6) (7) 12 1 Example 4: Overlaying tracks ‘The Kawai Q-80 and other equally advanced se- quencers allow you to play back existing tracks as, you record new ones. Note: The sequencer must be capable of simultaneously sending its own data to the MIDI OUT terminal along with the data coming in from the MIDI IN terminal. Ki MIDI Keyboard wid OUT | sw Sequencer. personal a computer. et wit OuT sibt iN Prim ¢ Procedure: (1) Connect the three devices as shown. (2) Select a PHm combination and set the key: board's MIDI transmit channel ta 1 (3) Set the PHm’s MIDI clock to "S¥C" so that it synchronizes ta the sequencer. (4) Record the track for Part A Note; The PHm’s rhythm pattern automatically starts in time with the sequencer, (5) Use the same procedure to record the other ‘three tracks. (6) Set the keyboard's MIDI transmit channel to 10 and record the drum part. (See "Percussion Instrument Assignments’ p. 15 for the key assignments.)6. COMBINATION LIST (50 combinations) The PHm is shipped with the following combinations. ee ASSIGN LEVEL alelel[olalelclo x _1_ [55 [15 | — | — [50 [100] — | = || expansive sound ettect 2] 2 | 69 | 69 | — | = |100| 100 | — | — || Bar sound with stereo ettect 3] 3 | 28 | 28 |= [= J100] 100 — | — I] Thick organ a4 [aa [7 = fr00 | 100 | — | — |) stereo Pan Flute 3] 5 13 [3 |—|—|% | 9) — | — | oidoutottune piano e | 8 malts] — | — [90 | «0 | — | — | Octave Brass ensemble 7 [7 [er [ra] — | — [100100] — | — orchestra and French Horn layer a8 [54/5 |— | — [a0 | 90 | — | — | Souna eect: keop the Keys pressed for ful effect, of 9 | 2 [59 | — | — [100] 100 | — | — |) daze Plano and Sax spl 70 {| 10 2 | — | = [90 [100 | = | = Ganteabass and Jazz Piano split ey | 2 favo] = |= [70 | a0 | — | — | clavinet with Bass layered in the tow range ve) 8788 | a7 | — | 100] 100 | 100] — || SciFi Movie sound 13/13 [ror] 34 [rat | — [100 fr00| 70 | — [| Romantic layer sal] te [75 [54 | 67 | — | oo | 0 | 00 | — || Orchestra Hit pius sound effects 18/15 [101] 99 | 34 | — [100] 75 | es | — || elegant European sound 36) 16 [133] 43 | 13 | — | 70 | 80 | 70 | — || Analog sound collection wi [| a] 4 |—|%|% | 0 Cute Pianos 1) 18 | 32 | 30 | 33 | — [100] 90 | 100) — || Harmonious Strings 19) 19 | 36 | 41 | 158 159] 0 | 20 | a0 | 0 || Synthesizer Solo 20/20 | 48 | 148! 50 | §1 | 100100 60 | 60 || Warmovie ettecte at] 21 [172] a7 | 6 | 64 [100] 100 | 100 | 100 || Oriental mut spit 22 || 22 | 194] 196 | 94 | 195 | 100 | 100 | 100 | 100 || Percussion mutt spit 2323 | 105 a0 | 102| 40 | 90 | 70 | 90 | 70 || Piano and Solo split 2a | 24 | 15] 185 | 67 | 67 [100 | 100 | 80 | 60 || Voice and Orchestral layer 2/25 | 2) 2] 2) 2 || 2 | 9 | @ || Piano ringer chord with plano solo on top 26 || 28 | 20 | 20 | 20 | 20 | a0 | 90 | 80 | 90 || Distortion chord solo ar] _27__| 41%] 20 | 2x | 49 [100] 100 | 100 | 100 || Rock sequence (MIDI channels 1-4) 26 || 28 | 72 | 4 | 36 | 16a | 100 | 100 | 100 | 100 || Strings sequence (MIDI channels 5-6) 22 | 28 | 56 | 156| 190 | 198 | 100 | 100 | 100 | 100 || ap sequence (MIDI channels 13-16) ao) 30 | 1 | —|—| — |100/ — | — | — || LINK combination — see p 6. a3, 30 a0 | — | — fro woo | — | — | expansive strings se] 3 [+ [+ |= [= free] 00 | [= Jf chore Piano sa 3 | 7] 74 | — | — |r00| t00 | — | — || stereo Wine Giass [aff 3 [12a [12a] — [— [100] t00 | — | — | stereo echo sound asf 3 [es | es | — [= [roo] 100 | — | — |) music Box 36/23 [153 146 | 147 | 48 [100 | 100 | 60 | 70 || Sound Eifect 1 (Paniciy a7 [22 | 51 | 83 [151/74 | 60 | 100 | 100 |100 |) Soundettect 2 (Nature) ae a2 [74 | et | a9 | — | 00 | 60 |100| — || classes ga[ 12 [79 [12368 | — feo | @0 | 90 | — |) Spacy classical souna ao ff 13 [72 | ve | 77 | — |100 | 100 | 90 | — |) Horn and Coto. aif 19 [rol 69 | a7 [65 | 70 | 60 | 20 | 00 || Micdte East 42 | 20 | 11 | 162 | 109 | 109 | 100 | 50 | 100 | 100 || Extreme Bass 4a [20 [75 | 109] 50 | a1 | a0 | a0 | 0 | 20 || impact Hit 4¢ [a7 | 48 | 8 [28 | — [100 [100 100 | — || Oia Horror Movie 48 [2 [2 [ior{ 59 | 18 | 100 | 100 | 100 | 100 || Jazz sequence (MIDI channels 1-4) 46 [27 | 58 [ 60 | 16 [119 | 100 | 100 | 100 | 100 || Brass sequence (MIDI channels 1-4) a7 |e | es | 24 [19 [9 [100 [100 100 [100 || Country sequence (MIDI channels 1-4) 48 || 27 [973 [173] a0 | 168 | 100 | 100 | 100 | 100 |) Woodwind sequence (MIDI channels 1-4) 49 |_27 | 68 [173] @0 | &4 [100 | 100 | 100 100 || European ethnic sequence (MIDI channels 7-4) 50 || 27 | 41 [198] 73 | 61 | 100] 100 | 100 | 100 || Sin Road seavence (MIDI channels 1-4) 136. COMBINATION LIST (User) rom | Ase et alejelplalelec|o Contents7. BUILT-IN RHYTHM PATTERNS 8. PERCUSSION INSTRUMENT ASSIGNMENTS The PHm contains 30 built-in rhythm patterns. To change patterns, press the RHYTHM switch to dis. play the current setting and then use the “+” and “-" switches to change the setting. The chart below lists, the pattems and their numbers. Pattern No. Patten | 1 { ; —_ 3 8 BEATS 4 ‘SYNTH POP 5 ROCK 6 [METAL1 7 ~METAL2_ | 8 50'S ROCK | 9 60: - 10 1 | 12 E.8 BEAT [33 16 BEAT 1 | 14 16 BEAT 2 15 DISCO | 16 —__FUNK1 _ 7 ~_ FUNK 2 RAP, | 19 | JAZZ POP | 20 [ECHO a SHUFFLE ~ 22 SLOW ROCK 3 SWING _ ‘| L 24 ‘JAZZ WALTZ | aS BOUNCE - 6 BOSSANOVA a SAMBA i 2B COUNTRY 29 REGGAE | 30 ___ STREET KIOS _ 6 ‘The PHm also allows you to create your own drum section. The chart below lists the instruments assign- ed to the keys C1-DH2. Note: The keyboard must transmit on MIDI channel 10, The drum section receives on this channel only — even when the OMNI mode is ON. Note: Some smaller keyboards do not support this entire range. | Instrument MIDI Not AC.BD eemeenoe! |__| Rim a7 AC.SD 38 | Fingers 39 ESD I 40 q| = at Kick _ {HH Closed 7 42 Tom Lo a - {Scratch | a Tom Hi = ashen Le —! HH Open 46 Agogo ~ — ae [cowbell aeraoleee | }— {Crash 8 | SE-SD 50 L ——f Ride 51 |@ TROUBLESHOOTING Problem: There is no sound. © Check the power supplies. Make sure that al! instruments are plugged in and turned on © Check the PHm’s AC adaptor. Note: Use only the adaptor shipped with the PHm. © Check the volume controls, Make sure that all instruments have their volume controls at an audible level '» Check the MIDI cables. Make sure that the ends are firmly plugged into the proper connector, MIOI IN or MIDI OUT. (See “Basic Connections” on p. 3.) ‘© Check the MIDI channels. The transmitting device must use the same channel as the PHm. (See p. 11.) Problet The tempo of the PHm's rhythm pattern does not match that of the other instruments. Ml To make the PHm match another instrument: Check the PHm’s tempo. Make sure that it is set to “SYO" and not a number. (See p. 11.) © Check the transmitting equipment. Make sure that it sends a clock signal. (Consult the manual for the relevant procedures.) To make other instruments match the PHi © Check the MIDI cable. Make sure that it connects the PHm's MIDI OUT terminal to the instrument's MIDI IN terminal. © Check the PHm’s tempo. Make sure that it is set to. a number and not to “SYC". (See p. 5.) © Check the instrument's MIDI CLOCK setting. Make sure that it is set to EXT (external). (Consult the manual for the procedure.) Problem: The PHm playback does not match the version recorded. © Check the tone and combination bank settings. Make sure that they are the same as they were when you recorded @ Check the tone assignments, FORMs, and levels. Make sure that they are the same as they were when you recorded. 16@ SPECIFICATIONS Number of Voices Tone Patches Rhythm 30 Patterns Start/Stop, Intro/Fill In, Tempo, Rhythm Volume 16 Maximum 250 (200 Tones/50 Combinations) Combination Edit 30 Forms Assign, Volume System Tune, Transpose, Transmit Channel, Receive Channel, Omni On/Ott, Program Change, Pressure On/Otf, Pitch Bend On/Ott, Modulation On/Off, Volume On/Off, Hold On/Off, Velocity On/Off Others Power, Master Volume, MIDI Jacks L (Mono)/R, MIDI (In, Out, Thru) Display 3.LEDs Power Supply Household power supply (Using AC adaptor) Dimensions (W « D « H) Weight 219 « 44 « 186.5 mm, 8 %” x 1%" * 7%" 1.2kg, 2.7 IbsKAWAI Printed in Japan