Kawai PH50 User manual
KAWAI
ul
POP
KEYBOARD
(1-150
OWNER’S
MANUAL
Welcome
to
the
sound-creation
world
of
the
Kawai
PH5S0
Pop
Keyboard.
Be
sure
to
read
these
instructions
so
that
you
will
always
be
able
to
use
your
PH50
in
optimum
conditions
and
allow
it
to
demonstrate
its
exceptional
capabilities
to
the
fullest.
|
SPECIFICATIONS
Keyboard
49
keys
Number
of
Voices
16
Maximum
Tone
Patches
250
(200
Tones/50
Combinations)
Effect
Pitch
Bend
Up/Down,
Vibrato,
Forte
Sw.
(Joy
Stick)
Rhythm
30
Patterns
Start/Stop,
Intro/Fill
In,
Tempo,
Rhythm
Volume
Combination
Edit
30
Forms
Assign,
Volume
System
Tune,
Transpose,
Transmit
Channel,
Receive
Channel,
Omni
On/Off,
Program
Change,
Pressure
On/Off,
Pitch
Bend
On/Off,
Modulation
On/Off,
Volume
On/Off,
Hold
On/Off,
Velocity
On/Off
Others
Power,
Master
Volume,
MIDI
Jacks
Headphone,
L
(Mono)/R,
MIDI
(In,
Out),
Hold
Display
3
LEDs
Sound
System
10
cm
x
2
Power
Supply
Household
power
supply
(Using
AC
adaptor
PS121)
or
6
size
C
dry
batteries
Dimensions
(W
<
D
x
H)}
77x
29x7
(cm)
30%"
x
11%"
x
2%"
Weight
3.7kg
8
Ibs.
2.
POWER
SUPPLY
The
PH50
can
be
plugged
into
ordinary
household
power
outlets
or
be
used
with
dry
batteries.
Use
the
PS-121
AC
adapter
for
connecting
this
instrument
to
household
power
outlets.
To
use
with
dry
batteries,
open
the
battery
case
lid
on
the
rear
of
the
PH50
and
insert
six
size-C
batteries
into
the
case,
making
sure
that
the
polarities
(+,
-)
are
correct.
Notes:
®@
When
the
batteries
are
worn,
the
volume
and
quality
of
the
sound
will
be
lessened.
It
is
important
to
change
the
batteries
at
that
time.
@When
you
change
the
batteries,
do
not
use
old
and
new
batteries
together,
or
mix
batteries
of
different
types.
@
lf
you
are
not
going
to
use
the
PH50
for
a
long
time,
remove
the
batteries.
|
5.
COMBINATION
Up
to
four
tones
can
be
combined
easily
with
the
COMBINATION
function.
Before
explaining
how
this
works,
we
shall
take
a
look
at
some
basic
examples
of
combining
tones.
The
principle
methods
are
as
follows:
(1)
SPLIT
SPLIT
literally
splits
the
keyboard
up
into
sound
zones,
so
that
different
tones
can
be
played
depending
on
the
zone.
E
BASS
Look
over
the
Form
list
on
page
8.
You
will
see
that
Form
9
is
a
2-zone
split,
while
Forms
21
and
22
are
4~zone
splits.
(2)
DUAL
DUAL
layers
one
tone
onto
another
one,
across
the
whole
keyboard.
By
making
the
pitch
of
these
tones
slightly
different
and
playing
them
together,
you
can
thicken
the
sound.
PIANO
———
STRINGS
Forms
1
through
8
are
FUAL
forms
which
assign
two
tones
to
the
whole
keyboard.
The
form
list
describes
how
each
of
these
DUAL
forms
differ.
(3)
LAYER
This
is
the
same
kind
of
combination
as
DUAL,
but
is
called
LAYER
when
three
or
more
tones
are
used.
E.
PIANO
STRINGS
BRASS
form
12
is
a
3-part
layer.
Forms
19
and
20
are
4-part
layers.
(4)
Mix
MIX
combines
the
functions
of
SPLIT
and
LAYER.
Forms
11
and
15-18
are
mix
forms.
BASS
SAX
STRINGS
By
using
the
above
combinations
you
can
create
new
sounds
and
surprising
effects
that
are
impossible
to
obtain
with
single
tones.
The
PH50’s
combinations
have
been
preset
so
that
anyone
can
enjoy
combining
sounds
effortlessly.
Selected
to
give
you
optimum
flexibility
for
casual
playing
or
live
performance,
these
30
preset
combinations
require
only
that
you
choose
the
tones.
These
predetermined
groupings
of
zones
are
called
FORMS.
You
can
assign
from
two
to
four
tones
to
a
FORM
(the
number
of
assignable
tones
varies
depending
on
the
FORM).
The
location
on
the
keyboard
where
the
respective
tones
can
be
assigned
are
called
PARTs.
In
addition
to
the
zones,
the
FORM
enables
different
values
of
DETUNE
and
TRANSPOSE
to
be
set
for
each
PART.
(See
the
FORM
list.}
Example
1:
FORM
9
FORM
9
is
the
basic
SPLIT
type.
|
PART
A
PART
B
Example
2:
FORM
26
FORM
26
is
a
MIX
type
of
SPLIT
and
DUAL.
PARTs
A
and
C
have
been
transposed
into
a
minor
key
and
PARTs
B
and
D
have
been
transposed
into
a
major
key.
|
PART
A
PART
B
:
PART
CG
PART
D
You
can
adjust
LEVEL
(the
volume)
for
each
tone
when
you
are
assigning
the
tone
for
each
section.
This
lets
you
balance
the
volume
between
tones
to
suit
each
piece
of
music
you
perform.
Listen
to
a
number
of
COMBINATIONs
while
looking
at
the
COMBI-
NATION
and
FORM
lists.
That
is
the
quickest
way
to
gain
an
understanding
of
this
powerful
capability.
FEATURES
®
200
Great
VM
Tones
The
PHS50
is
an
entirely
new
type
of
keyboard.
The
new
VM
(Variable
Memory)
tone
generator
has
been
developed
especially
for
KAWAI
SYN-
THESIZERS,
allowing
the
PH50
to
provide
200
rich
tones
including
realistic
instrumental
sounds
and
stunning
digital
effects.
©
COMBINATION
If
200
tones
are
not
enough
for
you,
the
PH50
provides
the
COMBINATION
function,
with
which
you
can
select
up
to
four
tones
from
the
200
and
assign
these
in
various
combined
patterns
(called
FORMs)
that
go
far
beyond
conventional
DUAL
or
SPLIT
functions.
You
will
have
countless
sound
variations
at
your
command.
Up
to
50
COMBINATIONs
can
be
stored
in
memory.
@
30
Up-to-date
Rhythm
Sounds
The
PH50
contains
its
own
pop
rhythm
section
with
30
rhythm
sounds
built
in
—
enough
to
create
a
dynamite
rhythm
performance.
©
Joystick
You
can
add
delicate
touches
to
your
performance
by
using
the
joystick
for
vibrato
and
pitchbend,
as
well
as
adjusting
volume.
©
LED
Display
The
tone
and
rhythm
selections,
tempo
settings
and
other
information
are
shown
on
the
Alpha-Numeric
LED
Display.
You
can
operate
the
PH50
easily
by
referring
to
these
numbers
and
symbols.
1.
NAMES
OF
PARTS
AND
BASIC
OPERATION
i
Front
Panel
()
POWER
switch
Switches
the
power
on
and
off.
@
MASTER
VOLUME
Adjusts
the
volume
touder
or
softer.
)
Joystick
Used
for
changing
the
tone.
@
FORTE
switch
Increases
the
overall
volume
when
the
joystick
is
shifted
toward
you
(downward).
The
volume
returns
to
the
previous
setting
when
the
joystick
is
shifted
toward
you
once
again.
©
VIBRATO
Adds
vibrato
to
the
sound
when
the
joystick
is
shifted
away
from
you
(upward).
The
further
it
is
shifted,
the
greater
the
vibrato.
®
BEND
UP
Raises
the
pitch
when
the
joystick
is
moved
to
the
right.
The
further
to
the
right
it
is
shifted,
the
higher
the
pitch.
@
BEND
DOWN
Lowers
the
pitch
when
the
joystick
is
shifted
to
the
left.
The
further
to
the
left
it
is
shifted,
the
lower
the
pitch.
(4)
TONES
Displays
the
names
and
numbers
of
the
200
TONES.
©
PATTERNS
(rhythm)
Displays
the
names
and
numbers
of
the
30
rhythm
patterns.
@)
LED
display
Displays
numbers
of
tones,
rhythms,
COMBINATIONs,
tempo
settings,
and
other
system
information.
®
BANK
switch
Used
to
switch
between
TONE
selection
and
COMBINATION
selection.
The
BANK
switch
moves
the
LED
on
the
right
between
TONES
and.
COMBINATIONS.
When
the
TONES
LED
is
lit,
PH50
is
in
the
TONE
select
mode,
and
the
LED
display
indicates
the
TONE
numbers
(001-200).
ca
eae
Ea
-
BANK
When
the
COMBINATION
LED
is
lit,
PH50
is
in
the
COMBINATION
select
mode,
and
the
LED
display
indicates
the
COMBINATION
numbers
(001-050).
lea}
°
C3
COMBINATION
-
BANK
For
changing
the
tones
or
COMBINATIONS,
the
four-way
cursor
enables
you
to
select
any
number
you
want.
COMBINATION
EDIT
section
Used
when
editing
COMBINATIONs.
There
are
three
COMBINATION
switches:
@
FORM
Used
to
select
the
FORM
that
determines
the
combination
of
tones.
PH50
offers
30
types
of
FORMs
{including
splits,
layers,
and
multi-timbral
mode).
©
ASSIGN
Used
to
select
the
tones
to
be
combined.
Two
to
four
tones
can
be
combined
depending
on
the
FORM
you
Select.
@
LEVEL
Used
to
change
the
volume
level
of
the
tones
selected.
FRONT
PANEL
SS)
()
RHYTHM
section
@
RHYTHM
switch
Used
for
selecting
rhythm
pattern
and
adjusting
tempo
and
level.
Each
time
the
RHYTHM
Switch
is
pressed,
the
LED
on
its
right
changes
from
patterns
to
tempo
to
level.
When
the
PATTERNS
LED
is
lit,
PHS0
is
in
the
rhythm
PATTERN
select
mode
and
the
LED
display
indicates
the
PATTERN
numbers
(1-30).
CC)
&
PATTERNS
-
(318
RHYTHM
¢
When
the
TEMPO
LED
is
lit,
PH50
is
in
the
TEMPO
set
mode,
and
the
LED
display
indicates
the
TEMPO
(
j
=
50-250).
if
a
value
smatier
than
50
is
set,
the
display
indicates
“SYC”,
and
the
rhythm
function
synchronizes
with
external
MIDI
information.
When
this
happens,
START/STOP
and
TEMPO
setting
are
disabled,
so
care
should
be
taken
when
setting
the
tempo
value.
(Refer
to
“Enjoying
MIDI
Functions”
for
an
explanation
of
synchronized
performance.)
ac
alo)
—
le
rafts
ain)
-
[2]
a
mii
+
TEMPO
When
the
LEVEL
LED
is
fit,
PH5O
is
in
the
mode
for
adjusting
the
rhythm
volume,
and
the
LED
display
indicates
the
LEVEL
value
(0-100).
ane.
(Lie)
-
Lisle
RHYTHM
=
-*
LEVEL
For
changing
the
numbers
and
values,
the
four-way
cursor
enables
you
to
select
any
number
you
desire.
7.
ENJOYING
MIDI
FUNCTIONS
MIDI
is
the
world
standard
used
for
connecting
electronic
musical
instruments
to
each
other.
The
following
possibilities
are
open
to
you
when
your
electronic
instrument
is
equipped
with
a
MIDI
interface.
(1)
Using
the
PH50
to
play
another
instrument
(Use
a
MID!
cable
to
connect
the
PH5S0’s
MIDI
OUT
port
to
the
MID!
IN
port
of
brother
instrument.)
|
MIDI
OUT
|
mint
IN
Synthesizer
ta
oS
Oo
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Qa
00000
aa
Drum
machine
Synthesizer
module
You
can
use
your
PH50
to
play
other
instruments
such
as
the
K1
synthesizer
and
the
K1m
synthesizer
module.
By
connecting
the
PH50
to
an
instrument
like
the
R-50
drum
machine,
you
can
add
percussion
sounds
to
the
30
rhythm
PATTERNS
of
the
PH50,
and
use
the
R-S0
to
program
a
rhythm
completely
different
from
any
of
the
PH50
rhythms.
:
“Make
sure
you
match
the
PHS50's
transmit
channel
and
the
receiving
instrument's
receive
channel.
(2)
Using
the
PH50
as
a
sound
source
module
(Use
a
MIDI
cable
to
connect
the
MIDI
OUT
port
of
another
instrument
to
the
PHS0’s
MIDI
IN
port.)
Synthesizer
You
can
play
an
electronic
piano
or
synthesizer
and
add
the
sound
of
the
PHS50.
PHS50
packs
an
impressive
200
TONES,
50
COMBINATIONSs,
and
30
rhythm
PATTERNS,
so
it
can
be
used
for
expanding
sound
sources
and
changing
rhythms.
*
Make
sure
you
match
the
sending
instrument's
transmit
channel
and
the
PHS50’s
receive
channel
(system).
When
playing
COMBINATIONS,
set
the
transmit
channel
to
CH1.
(3)
Using
the
PH50
with
sequencer
Sequencer
By
connecting
to
a
sequencer
such
as
the
Q-80,
PH50
can
play
five
parts
simultaneously
(four
parts
plus
rhythm).
Example:
Set
COMBINATION
as
foliows
(same
as
COMBINATION
27):
*
With
the
PH50,
you
can
select
the
MID!
CLOCK
from
SYC,
50-250.
Set
the
PH50
to
SYN
(SYNCHRONIZATION)
when
matching
the
tempo
of
a
drum
machine.
—
FORM
27
—
MIDI
CH1
=
TONE
A:
005
AL’s
RHODES
—
MIDI
CH2
=
TONE
B:
025
PULL
BASS
—
MIDI
CH3
=
TONE
C
:
020
BRASS
ENS
—
MIDI
CH4
=
TONE
D:
131
FLUTE
—
MID!
CLOCK
=
PHS0
Rhythm
:
16
FUNK1
Choose
from
among
the
30
rhythm
PATTERNS.
Combinations
27
through
30
are
set
up
to
show
you
how
to
utilize
the
PHS50's
multi-timbral
capability.
Look
over
numbers
27-30
on
the
LIST
OF
COMBINATIONS.
You
will
see
that
the
tones
and
levels
are
identical
on
all
of
these
Combinations.
Only
the
FORMS
are
different.
Now
look
at
the
FORM
LIST.
You
can
see
that
Forms
27-30
are
set
up
for
“sequencer.”
When
Form
27
is
selected,
only
the
tone
assigned
to
Part
A
will
be
generated
from
the
PH50
keyboard.
In
the
preset
Combinations
27-
30,
AL’s
RHODES
is
assigned
to
Part
A.
Therefore,
you
will
only
hear
AL’s
RHODES
when
you
lay
your
first
track.
Once
the
first
track
has
been
recorded
into
the
sequencer,
you're
ready
to
overdub
a
second
tone.
Set
the
PH50
to
transmit
on
MIDI
channel
2.
Select
Form
28
which
allows
only
the
tone
assigned
to
Part
D
to
be
generated
from
the
keyboard.
If
you
select
Combination
28,
PULL
BASS
has
been
assigned
to
Part
B.
Therefore,
you
will
only
hear
PULL
BASS
when
you
play
the
PHS0
keyboard.
Your
first
track
(AL’s
RHODES)
will
play
back
through
the
PH50
via
MIDI
ailowing
you
to
overdub
the
new
track
in
real-time.
To
overdub
a
third
track
using
the
tone
assigned
to
Part
C,
use
Combination
29
(or
Form
29).
Set
the
PH50
to
transmit
on
MID!
channel
3.
Now
the
tone
from
Part
C
will
be
generated
from
the
keyboard
and
Part
A
and
B
tones
will
play
back
via
MIDI.
Overdub
a
fourth.
track
using
MIDI
channel
4
and
Combination
30
(or
Form
30).
Remember
that
you
are
limited
to
16
polyphonic
notes.
If
you
use
percussion,
only
12
notes
are
available.
@
Procedure
for
recording
with
a
sequencer:
Connect
the
PH50
and
the
sequencer
as
shown
in
the
illustration.
Select
one
of
the
COMBINATIONS
set
as
above.
Set
the
PH50
transmit
channel
to
CH1.
Set the
sequencer
CLOCK
to
EXTERNAL.
Select
the
PH50's
rhythm
and
tempo
(50-250).
Make
the
sequencer
ready
to
start
recording.
Start
the
PH50
rhythm,
and
play
it
to
the
sound
of
AL's
RHODES.
Press
the
PH50
STOP
key
when
the
performance
is
completed.
Change
to
factory~set
COMBINATION
No.
28.
(Or
just
change
FORM
to
No.
28.)
10
Set
the
PH50
transmit
channel
to
CH2.
11
Make
the
sequencer
ready
to
start
over
dubbing.
12
~~
Start
the
PH50
rhythm,
and
play
it
to
the
sound
of
PULL
BASS.
13
Press
the
PHS0
STOP
key
when
the
performance
is
completed.
COON
DOaAA
WH
=
In
this
way,
the
recording
is
done
by
changing
the
numbers
of
the
COMBINATIONs
(or
FORMs)
one
at
a
time
for
each
part.
Finally,
adjust
the
LEVEL
for
TONES
A,
B,
C
and
D.
When
you
play
back
on
the
sequencer,
the
music
just
recorded
with
the
four
parts
plus
the
rhythm
will
be
performed
automatically.
When
you
wish
to
change
the
TONE,
use
ASSIGN.
|
3.
CONNECTING
TO
AUDIO
EQUIPMENT
|
|
4.
HOLD
PEDAL
JACK
You
can
perform
with
a
more
powerful
sound
by
connecting
the
LINE
OUT
jack
to
audio
equipment
or
amplifier
with
a
standard
%"
cord.
Note:
When
you
are
connecting
equipment
to
the
OUTPUT
jack,
be
sure
to
either
turn
the
power
off
or
turn
the
volume
down
as
far
as
it
will
go.
%”
Standard
plug
LINE
IN
0
Pin
plu
plug
ee
This
jack
accepts
the
plug
of
the
optional
F-1
foot
pedal.
When
you
step
on
the
hold
pedal,
the
notes
continue
even
when
you
have
released
your
fingers
from
the
keys.
O
HOLD
Here's
the
procedure
for
editing
combinations.
@
Procedure
(4)
Press
the
BANK
switch
until
the
COMBINATIONs
LED
lights.
Then,
use
the
four-way
cursor
to
select
the
combination
you
wish
to
edit
(The
3-digit
display
will
show
combination
numbers).
°
TONE
3
COMBINATION
eae
|
BANK
rnioale
&
LJ
|
|
of
(2)
First,
set
FORM.
Press
the
FORM
switch.
The
LED
display
alternately
indicates
£-
}
(abbreviated
display
for
FORM)
and
the
FORM
number.
Cas
FORM
im
7
7
&,
Fle]R]
>
(lel
if
(3)
When
you
have
decided
which
FORM
you
will
use
(from
the
FORM
list),
set
the
FORM
number
using
the
four-way
cursor
keys.
SO)
oS
(4)
Next,
assign
the
tones
for
each
PART.
Press
the
ASSIGN
switch.
The
LED
display
alternately
indicates
}-
9
(abbreviated
display
for
ASSIGN
—
PART
A)
and
the
TONE
number.
In
this
example,
the
display
indicates
that
TONE
61
has
been
assigned
to
PART
A.
(The
first
letter
—
capital
upper
or
lower
case
—
tells
you
the
PART.)
a
mele
Al-|A]
[o}6}
f
(5)
When
you
have
decided
which
tone
to
use
(from
the
tone
list
on
the
PHS0's
front
panel),
set
its
number
with
the
four-way
cursor
keys.
&
ALE)
(6)
Each
time
you
press
the
ASSIGN
switch,
the
PART
changes.
Assign
the
tones
to
the
other
PARTs
in
the
same
way
as
you
did
for
PART
A.
ASSIGN
9-&--
Indicates
PART
B.
9-£.--
Indicates
PART
C.
A-¢f---
Indicates
PART
D.
ASSIGN
(7)
Next,
adjust
the
volume
LEVEL.
Press
the
LEVEL
switch.
The
LED
display
alternately
indicates
i-R
{abbreviated
display
for
LEVEL
—
PART
A)
and
LEVEL
value
(0-100).
‘
o
mae
o
ie]
[A
o
[ale
(8)
Use
the
four-way
cursor
keys
to
change
the
LEVEL
value.
&
(9)
Each
time
you
press
the
LEVEL
switch
the
PART
changes.
Change
the
other
PARTs
in
the
same
way
as
you
did
for
PART
A.
i-b--:
Indicates
PART
B.
i-£--
indicates
PART
C.
i-d-~
Indicates
PART
D.
Goes
aGe
f
LEVEL
0
ta]
[Es]
(e3
fea]
(3)
[ca
o
|
(aia
Cia
an
Lad
||
faa]
Lee)
With
this
step
the
operation
is
completed.
Press
the
BANK
switch
to
return
to
the
previous
mode.
Notes:
®
You
can
select
FORM,
assign
tones
and
adjust
LEVEL
in
any
order
you
wish.
®
To
return
to
the
factory-set
COMBINATIONS,
turn
the
POWER
switch
on
while
simultaneously
pressing
the
LEVEL
and
SYSTEM
switches.
This
resets
the
PHS0
to
its
original
COMBINATIONs.
FORM
LIST
LOW
i
ALL
Zone
No.
FORM
FORM
Contents
A
B
\
DUAL
ALL
ALL
Two
PARTs,
A
and
B,
layered
one
over
the
other.
2
|
DETUNED
DUAL
1
ALL
ALL
The
pitch
of
the
two
layered
PARTs,
A
and
B,
differs
slightly
compared
with
No.
1,
to
yield
a
chorus
effect.
3.
|
DETUNED
DUAL
2
ALL
ALL
The
pitch
of
the
two
layered
PARTs,
A
and
B,
differs
more
than
for
No.
2,
to
yield
a
chorus
effect.
4
|
DETUNED
DUAL3
ALL
ALL
The
pitch
of
the
two
layered
PARTs,
A
and
B,
differs
more
than
for
No.
3,
to
yield
a
chorus
effect.
5
|
HONKY
TONK
DUAL
ALL
ALL
The
pitch
of
the
two
layered
PARTs,
A
and
B,
differs
more
than
for
No.
4,
to
yield
a
detuned
effect.
6
|
TRANSPOSED
DUAL
1
ALL
ALL
PART
B
is
layered
one
ontave
above
the
key
for
No.
1.
7
|
TRANSPOSED
DUAL
2
PART
B
is
layered
one
octave
below
the
key
for
No.
1.
8
|
TRANSPOSED
DUAL
3
PART
B
is
layered
two
octaves
above
and
PART
A
two
octaves
below
the
key
for
No.
1.
9
|
SPLIT
SPLIT
of
PARTs
A
and
B
(PART
A
on
the
left,
PART
B
on
the
right).
10
|
TRANSPOSED
SPLIT
SPLIT
of
the
two
TONES,
A
and
B,
as
in
No.
9,
but
with
PART
B
one
octave
down.
11}
MIX1
PART
A
is
assigned
to
the
left
half
of
the
keyboard,
and
PART
B
generates
sound
across
the
whole
keyboard.
12
|
LAYER3
PARTS
The
three
PARTs,
A;
B
and
C,
are
layered
over
each
other.
13
|
TRANSPOSED
LAYER
1
The
same
as
in
No.
12,
but
PART
C
is
one
octave
lower.
14
|
TRANSPOSED
LAYER
2
The
same
as
in
No.
12,
but
PART
B
is
one
octave
higher
and
PART
C
is
one
octave
lower.
15
}
MIX2
The
same
as
in
No.
8,
plus
PART
C
extending
across
the
whole
keyboard.
16
|
MIX3
17
|
MIX4
The
same
as
No.
9,
plus
PART
C
layered
over
the
left
half
of
the
keyboard.
The
same
as
No.
9,
plus
PART
C
layered
over
the
right
half
of
the
keyboard.
18
|
MIX5
The
same
as
No.
9,
plus
PART
C
layered
one
octave
lower
on
the
left
half
of
the
keyboard.
19
|
LAYER
4
PARTS
1
PARTs
A,
B,
C
and
D
are
layered
one
over
the
other.
20
|
LAYER
4
PARTS
2
The
pitch
of
PARTs
A
and
B
of
No.
19
differ
slightly
with
the
pitch
of
PARTs
C
and
D.
21
|
MULTISPLIT1
The
keyboard
is
split
into
four
zones.
22
|
MULTISPLIT
2
The
keyboard
is
split
into
five
zones,
and
PART
A
is
generated
from
B1
down
and
from
C4
up.
23
|
DOUBLE
SPLIT
PART
C
is
layered
above
PART
A
of
No.
9,
and
PART
D
above
PART
B,
and
the
pitch
of
PARTs
C
and
D
is
slightly
different
from
that
of
PARTs
A
and
B.
24
|
TRANSPOSED
DOUBLE
SPLIT
The
same
as
in
No.
23,
but
PARTs
B
and
D
are
one
octave
lower.
25
|
CHORD
1
C1~B3
|
C1~B3
|
C4~C5
A
major
chord
can
be
played
with
one
key.
26
|
CHORD
2
Minor
chords
can
be
played
with
the
left
half
of
the
keyboard,
and
major
chords
with
the
right
half.
27
|
SEQUENCER
1
28
|
SEQUENCER
2
29
|
SEQUENCER
3
PART
A
is
generated
from
the
keyboard
PART
B
is
generated
from
the
kayboard
MIDI
receive
channels
are
PART
A
=
CH1,
PART
B
=
CH2,
PART
C
is
generated
from
the
kayboard
PART
C
=
CH3,
PART
D
=
CH4.
30
|
SEQUENCER
4
caer
ia
aaa
ee
PART
D
is
generated
from
the
keyboard
WARNING:
This
equipment
generates,
uses,
and
can
radiate
radio
frequency
energy.
If
not
in-
stalled
and
used
in
accordance
with
the
instruction
manual,
it
can
cause
interference
to
radio
com-
munications.
The
rules
with
which
it
must
comply
afford
reasonable
protection
against
interfer-
ence
when
used
in
most
locations.
However,
there
can
be
no
guarantee
that
such
interference
will
Not
occur
in
a
particular
installation.
If
this
equipment
does
cause
interference
to
radio
or
the
re-
lated
equipment
off
and
on,
the
user
is
encouraged
to
try
correct
the
interference
by
one
or
more
of
the
following
measures:
—
reorient
the
receiving
antenna.
—
move
the
receiver
away
from
the
instrument.
—
plug
the
instrument
into
a
different
outlet
so
that
it
and
receiver
are
on
different
branch
circuits.
—
consult
the
dealer
or
a
qualified
service
personnel.
This
instrument
has
been
certified
to
comply
with
the
limits
for
a
class
B
digital
apparatus,
pursu-
ant
to
the
Radio
Interference
Regulations,
C.R.C.,
c.
1374.
Cet
instrument
a
été
certifié
conforme
avec
les
limites
pour
un
appareil
numérique
de
la
classe
B
relatives
au
Réglement
sur
le
brouillage
radioélectrique,
C.R.C.,
ch.
1374.
Kawai
Musical
instruments
Manufacturing
Co.,
Ltd.
Printed
in
Japan
sear
oan
6.
SYSTEM
The
functions
related
to
TUNE,
TRANSPOSE
and
MIDI
all
come
under
the
heading
of
SYSTEM.
Each
of
these
functions
is
outlined
in
the
table
below.
The
LED
display
alternately
indicates
the
symbol
for
the
function
and
the
set
value.
Use
the
four-way
cursor
to
change
the
set
values.
Function
Display
Set
Value
Explanation
TUNE
Fine-tunes
the
overall
pitch
of
the
PH50.
TRANSPOSE
Changes
the
overall
pitch
of
the
PH50
in
half-tone
steps.
The
key
can
be
changed
easily
for
performing.
TRANSMIT
CHANNEL
Sets
the
MID!
transmit
channel.
RECEIVE
CHANNEL
Sets
the
MID!
receive
channel.
“
COMBINATION
is
set
to
CH1
and
cannot
be
changed.
However,
COMBINATIONs
using
FORMs
27-30
are
set
to
CH1~4.
OMNI
ON/OFF
PROGRAM
CHANGE
Sets
whether
or
not
PH50
will
receive
all
the
MID!
channels
simultaneously.
(NORMAL
A)
n
aor
a
(NORMAL
B)
PROGRAM
CHANGE
information
is
not
received.
The
PROGRAM
CHANGE
numbers
and
the
corresponding
TONE/COMBINATION
numbers
are
as
shown
on
the
right.
PROGRAM
CHANGE
No.
:
0-99
100-124
:
125-127
:
TONE/COMBINATION
No.
:
TONEs
1-100
COMBINATIONS
1-25
PROGRAM
CHANGE
No.
:
0-99
100-124
:
125-127
:
TONE/COMBINATION
No.
:
TONEs
101-200
COMBINATIONSs
26-50
(SECTION
A)
oY
4
JjALYg
(SECTION
B)
The
PART
set
to
the
same
MID!
channel
as
the
receive
data
receives
the
PROGRAM
CHANGE.
The
TONE/COMBINATION
Numbers
corresponding
to
the
PROGRAM
CHANGE
numbers
are
as
shown
on
the
right.
PROGRAM
CHANGE
No.
:
0-99
100-124
:
125-127
:
PROGRAM
CHANGE
No.
:
0-99
100-124
:
125-127:
TONE/COMBINATION
No.
:
TONEs
1-100
COMBINATIONS
1-25
TONE/COMBINATION
No.
:
TONEs
101-200
COMBINATIONS
26-50
PRESSURE
Sets
whether
or
not
PH50
will
receive
PRESSURE
information.
PITCH
BEND
a4
/
4
Fe
on/
oF
Sets
whether
or
not
PH50
will
receive
PITCH
BEND
information.
MODULATION
=
_~f£C
on/oFF
Sets
whether
or
not
PH50
will
receive
MODULATION
information.
VOLUME
Pate
Laie
oe
Fd
on/
oFF
Sets
whether
or
not
PH50
will
receive
VOLUME
information.
ae
ae
al
oe
ary
Sets
whether
or
not
PH50
will
receive
HOLD
information.
VELOCITY
-
/
OFF
cures
ory
y
Sets
whether
or
not
PH50
will
receive
VELOCITY
information.
©
Powerful
MIDI
functions
Just
as
the
tone
selection
is
on
a
par
with
that
offered
by
pro-level
synthesizers,
so
are
the
MIDI
functions.
By
using
a
MID]
sequencer
you
can
unleash
the
full
potential
of
the
variable
multitimbral
functions.
*
Variable
multitinbral
function:
When
multiple
tones
are
simultaneously
played,
this
function
automatically
redistributes
voices
that
are
not
in
use
so
that
the
number
of
the
simultaneous
voices
per
tone
at
a
time
requires
no
restriction,
allowing
you
to
efficiently
use
the
maximum
voices
available.
|
CARE
AND
MAINTENANCE
@
Never
place
the
PH50
in
direct
sunlight
or
near
heaters
and
air~condi-
tioners.
@
Never
insert
anything
into
the
spaces
between
the
keys.
If
by
chance
something
does
get
into
the
instrument,
pull
the
power
cord
out
of
the
wall
socket
and
contact
the
store
where
you
bought
the
PH50.
If
you
use
the
PH50
when
something
has
fallen
or
spilled
into
it,
the
instrument
may
become
damaged.
@
Never
take
the
PH50
apart,
as
you
could
receive
an
electric
shock
and
also
damage
the
instrument.
Contact
the
store
where
you
purchased
the
PH50
if
you
want
it
adjusted
or
serviced.
©
START/STOP
switch
Press
to
Start
or
stop
the
rhythm
pattern.
©
INTRO/FILL
IN
switch
Used
to
insert
an
introduction
or
fill
in.
When
this
switch
is
pressed
while
the
rhythm
function
is
stopped,
the
rhythm
section
will
start
in
after
the
intro
pattern.
When
this
switch
is
pressed
during
performance,
a
fill
in
(variation
on
the
rhythm)
is
inserted.
FOUR-WAY
cursor
Used
when
changing
any
of
the
values
or
numbers
of
the
modes.
+10:
Values
will
change
in
increments
of
10.
+1;
Values
will
change
in
increments
of
1.
1:
Values
will
change
in
decrements
of
1.
-10:
Values
will
change
in
decrements
of
10.
When
the
cursor
key
is
held
down
the
values
will
continue
to
change.
In
the
ON/OFF
mode,
pressing
+10
or
+1
selects
ON,
and
pressing
-10
or
-1
selects
OFF.
<2,
>
a
()
SYSTEM
switch
Used
when
deciding
the
TUNE,
TRANSPOSE
and
MIDI
functions.
The
following
functions
can
be
set
with
this
switch:
@
TUNE
Enables
fine
tuning
and
is
used
when
matching
the
pitch
to
other
instruments.
@
TRANSPOSE
Changes
the
pitch
in
half-tones.
This
function
is
handy
tor
changing
keys
during
performance.
@
MIDI
transmit
channel
Sets
the
MIDI
transmit channel.
©
MIDI
receive
channel
Sets
the
MIDI
receive
channel.
—
Omni
mode:
Toggles
omni
mode
on/off.
—
Program
change:
Sets
the
range
for
tone
change.
—
Pressure
—
Pitch
bender
—
Modulation
-~—
Volume
—
Hold
pedal
—
Velocity
These
functions
toggle
MIDI
receive
on
and
off.
*
For
details
of
these
functions,
see
the
section
on
“SYSTEM"
@
Rear
Panel
QO
o
0oo
rn
rs
a
@
MIDI
Used
for
connecting
to
other
MIDI
instrument
or
a
personal
computer.
@
iN
Input
terminal
for
external
MIDI
information
©
OUT
Output
terminal
for
this
instrument's
MIDI
information
(3
HOLD
Used
for
connecting
to
a
foot
pedal.
When
the
foot
pedal
is
pressed,
the
sound
continues
even
if
the
fingers
stop
touching
the
keys.
(4
PHONES
Used
for
connecting
headphones.
(5)
LINE
OUT
Used
for
sending
the
PH50
sound
to
audio
equipment,
amplifiers,
or
tape
recorders.
(6
DC
IN
Used
to
connect
the
plug
from
the
9-12V
AC
adaptors
such
as
PS-121.
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Other Kawai Keyboard manuals
