KAWA 350 User manual

Model 350 Owner’s Manual

Thank you for purchasing
a Kawai Digital Piano!
The Kawai digital piano model 350 is a revolu-
tionary new keyboard instrument that combines
the latest in electronic advances with traditional
craftsmanship inherited from Kawaji's many years
of experience in building fine pianos. Its wooden
keys provide the touch response and full dynamic
range required for a superb performance on the
piano, harpsichord, organ, and other instrument
presets. Industry-Standard MIDI (Musical Instru-
ment Digital Interface) jacks are included which
allow you to play other electronic instruments at
the same time — opening a whole new world of
musical possibilities.
This Owner’s Manual contains valuable information
that will help you make full use of this instrument’s
many capabilities. Read it carefully and keep it
handy for future reference.
| IMPORTANT NOTES |
e Power Supply
Use only the voltage appearing on the plate next to the
power cord (Rear Panel). Incorrect voltage presents a shock
hazard and wil! also damage the instrument's delicate elec-
tronic circuitry.
e Electrical Noise
Keep the instrument away from electrical motors, neon signs,
fluorescent light fixtures, and other sources of electrical
noise.
® Power Cord
Do not touch the power plug with wet hands. There is a risk
of electrical shock.
Treat the power cord with care as well. Stepping on or trip-
ping over it can break or short-circuit the wire inside.
e Repairs and Alterations
Never attempt to remove or modify the piano’s circuitry.
There is a significant shock hazard and there are no user
servicable parts. If you think something is broken, consult
your nearest authorized Kawai dealer.
LY I ¡E
e After Use
Always turn the power off when the instrument is not in use,
Leaving the piano on for extended periods can lead to serious
problems.

Table of Contents
Ø Basic Controls ...................... 1
MBasic
Operation
....................
3
Hi Advanced Features................. 5
1) MIDI Interface................... 5
2) TUNING rara 9
3) Temperaments.................. 10
4) Changing the SPLIT Point
MSpecifications...................... 11

MBasic Controls
= Front Panel
POWER VOLUME
1 POWER switch
O O Y O O O O oO O
09684 guauoaa Ea
HARPSI- VIBRA- FULL JAZZ
PIANO PIANO E-PIANO E-PIANO CHORD PHONE ORGAN ORGAN
1
TREMOLO CHORUS ENSEMBLE ENSEMBLE SPLIT DUAL DUAL/SPLIT BALANCE
cI Ce) E
min 1612411186 max mellow
A bright
BRILLIANCE
2 VOLUME control 3 BRILLIANCE control
O O O O
Co uo oe) y
BRASS STRING left PPE LAI BS l right
TRANSPOSE
| ——— | | | |
4
Tone
selector
switches
5
Effect
switches
6
7
8
9
1 POWER
2 VOLUME
Move the volume slider to the right to increase the instru-
ment's volume. Move the slider to the left to decrease the
volume.
3 BRILLIANCE contro}
This slider controls the brilliance, or clarity, of the sound.
Shifting it to the left produces a rich, mellow sound; shifting
it to the right, a bright, clear sound. The center position
corresponds to the instrument's normal tone.
4 TONE SELECTORS
Select the desired instrument by pressing the appropriate
switch,
5 EFFECTS
These functions cause the output to become more animated
(CHORUS) or fluctuate (TREMOLO).
6 SPLIT switch
Pressing this switch splits the keyboard into an upper and
lower half, each with different tone colors. When the function
is first activated, the keyboard is split at the point marked
with a triangle on the front panel, but this point is changeable.
For the procedure, see “Changing the SPLIT point”.
7 DUAL LED
Simultaneously pressing two tone selector switches lights
this DUAL LED and activates the DUAL mode of operation,
in which the piano simultaneously uses two tones instead of
just one. Press a single tone selector switch to cancel.
8 DUAL/SPLIT BALANCE control
This slider controls the relative loudness of the two voices
used in the SPLIT and DUAL modes. Shifting it to the right
in the SPLIT mode makes the UPPER keyboard louder. For
the DUAL mode, it is the rightmost preset of the pair that
becomes louder.
= Example
The PIANO 1 selector is to the left of VIBE. If they are being |
used together in the DUAL mode, shifting the slider to the
left makes the PIANO 1 tone louder. Shifting it to the right
makes the VIBE tone louder.
9 FRANSPOSE switch
The TRANSPOSE function automatically transposes the entire
keyboard to a different key. For example, after changing the
transposition to the key of E, playing a C scale would actually
sound as an E scale. Changing keys is as easy as holding down
this switch and selecting the key from the 1-octave range
marked on the front panel. The LED next to the switch
remains lit for all keys except C, the standard.
Note: Pressing and then releasing the TRANSPOSE key
returns the piano to the key of C (No transposition).

= Rear Panel
SOFT DAMPER THRU
200 6866 os
PEDAL a: ae
1
Pedal
control
jacks
|
MIDI
interface
jacks
1 PEDAL
These jacks are used to connect the damper and soft pedals.
2 MIDI
These jacks allow communication with other gear equipped
with MIDI.
IN Accepts MID! data from other instruments.
OUT Transmits MIDI data to other instruments.
THRU Retransmits all MIDI data coming into the MIDI IN
jack (for use in a chain of MIDI devices).
3 EXPRESSION pedal
This jack is for connecting an expression pedal. The piano
also adds this effect to the signal received through the LINE
IN jack,
4 Line input jacks 3
L/MGNO L/MONO
¡O II nn 5
EXPRESSION
PEDAL LINE OUT
5 Line output jacks
4 LINE IN
These jacks connect two channels of output from other
electronic instruments to the piano’s speaker. Use the L/
MONO jack when using only one input.
Note: This input bypasses the piano’s VOLUME control.
To adjust the balance, you must use the output volume
controls on the individual instruments.
The two-position switch adjusts the LINE IN jack sensitivity
to match the source: Low for strong inputs and High for weak
ones.
5 LINE OUT
These jacks provide stereo output to amplifiers, stereo systems,
tape recorders, or similar equipment. The two-position switch
to the right allows you to adjust the output level to High (H)
or Low (L) to match the input impedance of the other equip-
ment. Use the L/MONO jack when using only one output.

WE Basic Operation
1 Basic Operation
o Turn on the power.
When the power is first applied, the LED next to the PIANO 1 switch in the tone selector section lights.
E3
POWER
D Adjust the volume.
Sound a note on the keyboard and adjust the volume. (Moving the slider to the right raises the volume; moving it to the left
lowers it}.
Q=
min IAAIITFAITEE max
VOLUME
@) Choose a tone color
Pressing
a
tone
selector
switch
automatically
changes
the
tone
of
the
piano.
The
LED
next
to
it
lights
to
indicate
which
tone
is
currently in
effect.
DUAL operation
= Procedure
Simultaneously
press
two
tone
selector
switches
to
achieve
two
tone
colors
at
once
and
light
the
DUAL
LED.
Notes: e Pressing such a combination also halves the number of simultaneous voices available to eight.
e Pressing another pair changes the combination.
e To cancel and return to normal operation, press a single tone selector switch.
SPLIT operation
This
operation
splits
the
keyboard
into
an
upper
and
lower
half
with
different
tone
colors.
The
LED
for
the
UPPER
keyboard
tone
color
glows
continuously;
the
one
for
the
LOWER
keyboard
flashes.
= Procedure
Press the SPLIT switch so that the LED next to it lights.
Press a tone selector to change the UPPER tone color.
Hold down the SPLIT switch and press a tone selector to change the LOWER tone color.
Adjust the relative loudness of the two tone colors with the DUAL/SPLIT BALANCE control.
Notes: e When the function is first activated, the keyboard is split at the point marked with a triangle on the front panel, and the
LOWER keyboard assumes the STRING ENSEMBLE tone color.
e The LOWER tone color specification remains in effect until the power is removed or the tone color is changed.
e Switching from DUAL operation to SPLIT operation makes the UPPER keyboard assume the right tone color and the
LOWER assume the STRING ENSEMBLE or the tone you chose for the LOWER tone color.
e You must turn the SPLIT operation off before you can return to DUAL operation.
. To change the SPLIT point, see “Changing the SPLIT point”,
SUYA
OO
O
70°
O
O
OO
O
O
oO
O
oO
CICICICIJCICICICI A a
HARPSI. VIBRA FULL JAZZ BRASS STRING
PIANO PIANO E-PIANO E CHORD PHONE ORGAN ORGAN TREMOLO CHORUS ENSEMBLE ENSEMBLE
1 2 1
(4) Play
Experiment with the various tone colors to acquaint yourself with the sounds that are available.
(5) (Optional) Add an effect!
Press an effect switch to add a special effect (CHORUS or TREMOLO).

a ee
2 The NEXT Function
Pressing a tone selector switch does not necessarily produce an immediate change. If you are pressing any keys on the keyboard or
holding down the damper pedal, the LED next to the switch will start flashing to indicate that the piano is ready to change. When
you release all keys and the damper pedal, the tone color will instantly change and the LED will light steadily. This allows you to
make a smooth, natural transition without removing your hands from the keyboard.
Note: This function applies to the DUAL and SPLIT modes of operation as well.
3 TRANSPOSE
ENGAGE ae e DISENGAGE
Remains lit to indicate that
20% Flashes transposition is in effect, - Flashes
©
En
C3
TRA E
TRANSPOSE
(1) Hold down (1) Hold down
` (2) Select any key but C. a second time.
{3} Release
O Goes out
(==
TRANSPOSE
12) Simply releasing the switch
is sufficient to return the
keyboard to C (No transposition}.

Advanced
Features
1) MIDI Interface
1 Introduction
The letters MIDI stand for Musical Instrument Digital Interface, an international standard for connecting synthesizers, drum
machines, and other electronic musical instruments so that they can exchange performance data. The model 350 features three
MIDI jacks — IN, OUT, and THRU — that allow it to both send and receive these kinds of data.
Note: The sending and receiving instruments must be assigned the same channel number before they can communicate.
2 Typical Applications
2.1 Ensemble playing with another keyboard instrument
Example: a Kawai K3 digital synthesizer
If you connect the MIDI OUT jack on your electronic piano to the MIDE IN jack on the synthesizer and the synthesizer’s LINE
OUTPUT jack to the piano's LINE IN jack, you will be able to play both instruments simultaneously from the piano keyboard. The
interface transmits both the keys played and the strength with which you played them, so the synthesizer output is exactly the
same as it would be if you were playing the keyboard directly. The only differences is that the synthesizer uses a different tone
color, which blends with the digital piano’s to create an ensemble effect. You can, for example, add the synthesizer’s strings to
your piano solo to give it more depth.
Note: If you reverse the MID! IN and MIDI OUT connections, you can play the piano from the synthesizer just as easily.

2.2
Drum Machines
Example: a Kawai R-100/R-50 drum machine
R-100/R-50
Connecting a drum machine allows you to add a rhythm accompaniment to your playing or create special effects by adding notes
from the percussion instrument to the piano output.
2.3
Sound Generator Modules
Example: a Kawai K3m synthesizer module
Bass Piano
{source = K3m) (built-in source)
Connecting your piano to a Kawai K3m allows you to play the ensembles discussed in the first example above. You can split the
keyboard into two sections, each of which uses a separate sound. The illustration shows a piano-bass combination,
Note: You must set the LOCAL CONTROL parameter (described on a later page in this section) to OFF to use the split feature.
3 MIDI Implementation
The MIDI interface on your Kawai Electronic Piano allows you to:
(1)
(2)
(3)
(4)
(5)
(6)
Receive and transmit keyboard data.
Receive and transmit soft and damper pedal data (ON/OFF).
Receive and transmit program numbers — codes for changing tone colors.
Set MIDI channel numbers for sending and receiving to any number between 1 and 16,
Simultaneously receive data on multiple channels (MULTI TIMBRE) and simultaneously transmit on two channels (SPLIT).
Turn LOCAL CONTROL on and off — either from the keyboard or another instrument.

4 Operation
To issue commands to the MIDI interface or use the tuning capability, you must first switch the piano to a special “programming”
mode.
4.1 Entering the programming mode
Hold
down
the
CHORUS
switch
and
simultaneously
press
the
first
three
tone
selector
switches
(PIANO
1,
PIANO
2,
and
E
PIANO
1).
The
LEDs
next
to
the
CHORUS
and
PIANO
1
switches
should
then
start
flashing
to
indicate
that
the
piano
is
in
the
program-
ming
mode.
In
this
mode,
striking
the
keyboard
produces
no
output.
HARPSI- VIBRA-
o.
o
O
O
O
© O
PIANO
PIANO
E-PIANO
E-PIANO
CHORD
PHONE
CHORUS
1
2
1
2
t
Press
simultaneously.
Hold
down.
4.2 Sending a program number (tone color code)
The model 350 can send commands to other MIDI equipment to force program changes.
In the programming mode, the flashing LED next to the PIANO 1 switch indicates that the interface is ready to transmit a program
number,
Select
the
program
number
by
pressing
the
corresponding
pair
of
black
keys
at
the
lower
end
of
the
keyboard.
There
are
a
total
of
128
numbers
possible:
the
first
thirteen
black
keys
give
the
first
and
second
digits
(*00”
—
**12")
of
this
three-digit
number;
the
next
ten,
the
final
digit
(707
—
9”).
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=O-
O O
O
O
O
202
<—
Flashes.
moomoo
-f
y
HARPSI- VIBRA-
PIANO PIANO E-PIANO EPIANO CHORD PHONE
1 2 1 2
CHORUS
Note: You must press the two keys in order from left to right. Alternatively, you can press just the second one to change only
the third digit.
lidia), ie H |
SA Y AA
First two digits Final digit

A
5
AA
NAAA
ANN
nn.
e Examples:
® Press the “00” key and then
e
Program
No.
3
the
“3”
key.
|
e Program No. 20
e Press the 20” key and then
the “0” key.
O 10 20
e Press the “40” key and then
e Program No. 42 the 2" key.
4.3 Setting the channel
With
the
piano
in
the
programming
mode,
press
the
PIANO
2
switch
so
that
it
flashes
to
indicate
that
the
interface
is
waiting
for
a
channel
specification.
{It
is
also possible
to
turn
the
MULTI
TIMBRE
function
ON
and
OFF.
See
following
section.)
awl, se Flashes.
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O
ooo
50%
—
Flashes.
omogo
g
-f
a
HARPSI- VIBRA-
PIANO P EPIANO E-PIANO CHORD PHONE
1 1 2
CHORUS
Select
the
channel
by
pressing
the
one
of
the
first
16
white
keys
at
the
lower
end
of
the
keyboard.
41/213]/4/5]/6}3 7] 8] 2 $18] 14112 [13] 14 | 15 | 16
Note: You have 16 channels to
choose from.
« _- ——_—_—__—_—_—_——_——_—_—_————————
Channel No.
Pressing one of these keys automatically sets the instrument's sending and receiving channel to the number selected,
Note:
When
the
power
is
first
applied,
the
interface
uses
Channel
1
and
has
the
OMNI
parameter
on.
Changing
to
another
channel
automatically
turns
the
OMNI
parameter
off.
In
OMNI
mode, information
from
all
channels
is
received.

A LE EEE EE E OE A sree rr eee RR _ o A O SS oe
4.4 Turning MULTI TIMBRE on and off
The MULT! TIMBRE function allows external MIDI instruments operating on different channels to simultaneously use up to 16
tone colors. The following chart gives the channel number assignment.
Channel 1 PIANO 1 Channel 9 : BRASS ENSEMBLE
Channel 2 PIANO 2 Channel 10 : STRING ENSEMBLE
Channel 3 E.PIANO 1 Channel 11 : TUBULARBELL
Channel 4 E.PIANO 2 Channel 12 : E. GUITAR
Channel 5 HARPSICHORD Channel 13 : PIPEORGAN
Channel 6 VIBRAPHONE Channel 14 : FUNK BASS
Channel 7 FULL ORGAN Channel 15 : ECHO BRASS
Channel 8 JAZZ ORGAN Channel 16 : E.BASS
m Procedure
Follow the procedure in the preceding section to set the LED next to the PIANO 2 switch flashing.
Press the highest black key to turn the function off, the highest white one to turn it on.
Notes: e When the power is first applied or reapplied after a short break, MULTI TIMBRE is off.
e SPLIT function transmits MEDI messages for the upper half of the keyboard on the current MIDI channel or, if no channel
has been selected, channel 1. Those for the lower half go out over the next channel.
m= Example
If the current MIDI channel is 3, the upper half of the keyboard sends on channel 3 and the lower half sends on channel 4. If the
current channel is 16, the lower half sends on channel 1.
4.5 Turning LOCAL CONTROL on and off
LOCAL CONTROL refers to the connection between the internal sound source and the keyboard. It is normaliy on. Turning it
off disconnects the keyboard; the instrument sounds only when it receives keyboard data through the MIDI interface. The key-
board can still control other MIDI devices connected to the modei 350’s MIDI OUT.
u Procedure
With the piano in the programming mode, press the E PIANO 1 switch so that it flashes to indicate that the interface is waiting for
a LOCAL CONTROL specification. Press the highest black key to turn it off, the highest white one to turn it on.
tt, Flashes. ai,
O
O
-:O-
O
O
O
3-
Fleshes.
0000
-f
a
HARPS!- VIBRA-
PLANO PIANO E- E-PIANG CHORD PHONE
2
CHORUS
1 2
OFF ON
Note: Momentarily turning off the power also turns LOCAL CONTROL on.
2) Tuning
With the piano in the programming mode, press the E PIANO 2 switch so that it flashes to indicate that the piano is ready to be
tuned. Unlike the other functions in the programming mode, this one produces keyboard output so that you can compare the
piano’s pitch with another instrument. It uses the same keys as the LOCAL CONTROL function: Press the highest black key to
lower the pitch, the highest white one to raise it. It may be necessary to press these keys repeatedly to achieve proper tuning.
ata, Flashes. dd
OO
o
`%
o
O
20
<—
Flashes.
00000
-f
=
HARPSI- VIBRA-
PIANO PIANO E-PIANO Ect CHORD PHONE CHORUS
1 2 1
DOWN UP
Note: Momentarily turning off the power restores the original pitch.

3) Temperaments
Your Kawai digital piano offers not only equal temperament (the modern standard), but also immediate access
to those popular during the Renaissance and Baroque period.
a Procedure
With the piano in the programming mode, press the HARPSI-
CHORD switch so that it flashes to indicate that the piano
is waiting for a temperament specification. Press one of the
seven white keys at the lower end of the keyboard to select
one of these corresponding temperaments.
1. Equal temperament without the tuning curve
. Mersenne pure temperament
Pythagorean temperament
. Meantone temperament
. Werckmeister HI temperament
. Kirnberger I temperament
. Equal temperament with the tuning curve
JO 0 WN
Note: e When the power is first applied or reapplied after
a short break, the piano returns to the modern
standard, equal temperament with the tuning
curve (#7).
Key set function is also available at this point. As you know,
limitless modulation of the key became available only after
the inventation of Equal Temperament. When we use a
temperament except Equal Temperament, we must carefully
choose the key signature to play in.
To select the key signature setting, simply press one of the
keys marked on the front panel. For example, if the tune
you are going to play is written in D major, press D key to
set the key.
Please note that this will onty change the “balance” of the
tuning, and the pitch of the keyboard will remain unchanged.
Use the Transpose function to change the pitch of the whole
keyboard.
Notes: e The order in which the temperament and key
signature are pressed does not affect the final result.
e These temperament and key signature specifications
remain in effect until the power is removed.
u Temperament Characteristics
e Equal temperament
This, by far the most popular piano temperament, divides the
scale into twelve equal semitones and has the advantage of
producing the same chords for all transpositions.
e Mersenne pure temperament
This temperament, which eliminates consonances for thirds
and fifths, is stil} popular for choral music.
e Pythagorean temperament
This temperament, which uses mathematical ratios to elimi-
nate consonances for fifths, has problems with chords, but
produces a very beautiful melodic line.
® Meantone temperament
This temperament, which uses a mean between a major and
minor whole tone to eliminate consonances for thirds, was
devised to eliminate the tack of consonance experienced
with certain fifths for the Mersenne pure temperament. It
produces chords that are more beautiful than those with the
equal temperament.
© Werckmeister I temperament, Kirnberger M temperament
For key signature with few accidentals, this temperament
produces the beautiful chords of the mean tone, but, as the
accidentals increase, the tension increases, and the tempera-
ment produces the beautiful melodies of the Pythagorean
temperament. It is used primarily for classical music written
to take advantage of these characteristics.
4) Changing the SPLIT Point
u Procedure
With
the
piano
in
the
programming
mode,
press
the
SPLIT
switch
so
that
it
flashes
to
indicate
that
the
piano
is
waiting
for
a
SPLIT
point
specification.
Press
the
key
corresponding
to
the
lowest
note
for
the
desired
UPPER
range.
For
example,
pressing
the
lowest
key on the keyboard makes UPPER the entire keyboard,
Note: This specification remains in effect until the power is removed.
e Leaving the programming mode
To
leave
the
programming
mode,
simply
press
the
CHORUS
switch.
The
flashing
will
stop,
and
you
will
return
to
the
tone
color
in effect when you entered the programming mode.

11
Specifications
Keyboard
88 keys (wood)
Tone Colors
Effects
Special Mode
Temperaments
Controls
Other Fittings
Output Power
Speakers
Power Consumption
Finish
Dimensions (W x D x H}
Weight
Piano 1, Piano 2, È. Piano 1, E. Piano 2
Harpsichord, Vibraphone, Full Organ, Jazz Organ
Brass Ensemble, String Ensemble
Tremolo, Chorus
Dual, Split
Equal, Mersenne pure
Pythagorean, Meantone
Werckmeister IM, Kirnberger M
Volume, Brilliance, Transpose, Tune
Dual/Split Balance, Split Point
Headphone Jack, Pedal Jacks (Soft, Damper)
Line Input Jacks (L[Monol/R), Input Level Switch (H/L)
Line Output Jacks (L[Mono]/R), Output Level Switch (H/L)
Expression Pedal Jack, MIDI Jacks (IN, OUT, THRU)
20W x 2
16cmx2, 6cmx2
90W
Dark Grey
1379 x 475 x 779 mm (Including Stand)
49.4 kg (Including Stand)

KAWAI
Kawai Musical Instruments Manufacturing Co., Ltd.
200 Terajima-cho, Hamamatsu, Japan
OM803Y
Printed in Japan