Rhodes 660 User manual

Rhodes
modeilbBbBt
OVVNER'S MANUAL

Information
@Please use this AC Adaptor only with the specified device.
@Picase use the AC Adaptor of appropriate voltage (120, 220 or 240 ) depending on the voltage een in your
country.
@When the device is not used for a long period, be sure to disconnect the AC Adaptor (Power Supply Unit)
from the wall outlet.
@When you need repair service, call your local Roland Service Station or the authorized Roland distributor in your
country as shown below.
U.S.A.
Roland Corp US
7200 Dominion Circle
Los Angeles, CA. 90040 - 3647
U.S. A.
[phone]
CANADA
Roland Canada Music Ltd.
(Head Office)
13880 Mayfield Place
Richmond B. C., V6V 2E4
CANADA
@ [phone]
Roland Canada Music Ltd.
3469 rue Ashby,
St Laurent.
Quebec H4R 2C1
CANADA
® (514) 335 - 2009
Roland’Canada Music Ltd.
Unit B-12. 1515 Matheson Blvd
Mississauga. Ontario L4W 2P5
CANADA
® (416) 625 - 4880
AUSTRALIA
Roland Corporation
(Australia) Pry. Ltd.
(Head Office)
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
G (02) 982 - 8266
Roland Corporation
(Australia) Pty. Ltd.
(Melbourne Office)
50 Garden Street
South Yarra, Victoria d141
AUSTRALIA
@ [phone]
NEW ZEALAND
Roland Corporation (NZ) Ltd.
97 Mt. Eden Road. Mt, Eden,
Auckland 3
NEW ZEALAND
& (O09) 398-715
UNITED KINGDOM
Roland (UK) Ltd.
Amalgarnated Drive
West Cross Centre, Brentford,
Middlesex TWB SEZ,
GNITED KINGDOM
G (O61) 568-4578
WEST GERMANY
Roland Elektronische
Musikinstrumente
Handelsgesellschaft mbH.
Oststrasse 96,
2000 Norderstedt
WEST GERMANY
@040,/52 60 09 25
BELGIUM/HOLLAND ~
LUXEMBOURG
Roland: Benelux N. V.
Houtstraat |
B - 2431 Oevel - Westerlo
BELGIUM
7014-58 45 39
DENMARK
Roland Scandinavia A/S
Langebrogade 6, 1937.
DK - 1023 Copenhagen K.
DENMARK
@. (01) 95 31 11
SWEDEN
Roland Scandinavia A/S
Swedish Sales Office
DanvikCenter 28A, 2tr.
S-131 30 Nacka,
SWEDEN
08-702 00 20
NORWAY
Benum Music A/S
Haakon den godes Vei 14
N-0319 Oslo 3,
NORWAY
(Box 145 Vindern, N - 0319
Oslo 3 NORWAY)
@02 141266
FINLAND
OY Mustikki Fazer Musik AB
Takamotie 3
00380 Helsinki 38,
FINLAND
@05 56551
ITALY
Roland Italy S. P. A.
Via Gallarate 58
20151 Milano
ITALY
B 02 - 3086849
SWITZERLAND
Musitronic AG
Gerberstrasse 5, CH - 4410
Liestal
SWITZERLAND
@061,/921 16 15
FRANCE
. Musikengro
102, Avenue Jean - Jaures
69367 Lyon Cedex 07
FRANCE
® (7) 858-54 60
Musikengro
(Paris Office)
Centre Region Parisienne
4} rue Charles - Fourier.
94400 Vitry s/“Seinc
FRANCE
@ (1) 4680 86 62
SPAIN
Vietronic S. A.
Bolivia 239
08020 Barcelona
SPAIN
@ 34-307 47 12
AUSTRIA
E. Dematte & Co.
Neu-Rum Siemens- Strasse 4
A-6021 Innsbruck Box 591
AUSTRIA
@43 (05222) 63 4510
GREECE
A. ANDREADES & Co. Ltd.
Fidicu Str., 106 78
Athens
GREECE
@ 3620130

Rhodes move BBO
Owner’s Manual
Thank you, and congratulations on your purchase of the Rhodes Model 660. The
Model 660 is an electronic keyboard instrument that contains a full palette of high -
quality sounds, produced by its RS-PCM process sound source, and is also capable
of serving as a multi-timbral sound module. It can be used alone, for keyboard
performances, or combined with a sequencer or the like for ensemble performance.
In order to get a good understanding of the unit's wide range of superior functions,
and assure continuing satisfaction, please read this manual in its entirety.
Copyright © 1989 by ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in
any form without the written permission of ROLAND CORPORATION.

uncuscnsiecnscescocecsscesnessttssiciecicsescetscitA
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tkSSAStnStA
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LADALC
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LUAU
ANAL
ANOLE
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OLE
LO
OREO
NOONAN
LEANN
NEE
LENEEEA
OI
NN
A
How to Use This Manual
This
manual,
in
three
main
sections,
explains
the
functions
and
procedures
necessary
for
normal
play
of
the
instrument,
and
the
various
types
of
settings
and
how
they
are
made.
It
should
be
read
while
referring
to
the
table
of
contents
when
necessary.
Provided
at
the
rear
is
an
alphabetical
index,
which
is
convenient
to
use
when
you
are
uncertain
about
something
during
operation
of
the
unit.
The information provided in each section is as follows:
Section I PLAYING
Here
explained
is
how
the
Model
660
is
played;
including
connection
of
external
equipment,
tuming
on
power,
selecting
tones, and using the performance functions.
Section I CHANGING SETTINGS
On
the
Model
660
a
variety
of
settings,
such
as
those
for
sounds
or
performance
functions,
can
be
altered
as
desired.
This
section
explains
how
to
make
such
settings,
and
how
the
various
functions
work.
Section I USING MIDI IN PERFORMANCE
Explained
here
are
the
basic
concepts
behind
MIDI,
how
MIDI
is
used
on
the
Model
660
and
how
the
settings
are
made,
along
with
explanation of applications using other MIDI devices.
FEATURES
@ RS - PCM Process Sound Source
Equipped
with
an
RS
-
PCM
sound
source,
the
same
as
that
which
has
won
acclaim
for
the
Roland
U-20.
You
are
thus
provided
with easy access to realistic, dynamic, high - quality sounds.
@
A
Wealth
of
Tones
Contained
Internally
Starting with piano and organ, in total there are 128 different
sounds
(Tones)
contained
within
the
Model
660.
Moreover,
you
can
increase
the
number
of
Tones
even
further
by
adding
optional
PCM Cards (Rhodes SN - UO! Series).
@ Keyboard Well - suited for Performance
Instantaneous changes for a variety of settings, such as selection of
the tone, or whether effects are on are off can be made. The
convenience can be well appreciated in live performance.
@ Comprehensive Performance Functions
A variety of key effects can be used to enhance your
performances, including Harmony, Chase, and Arpeggio.
@ Equipped with Digital Effectors
More breadth and depth can be obtained with sounds, since the
unit is provided internally with Chorus and Reverb effectors.
@ Serves as Multi - Timbral Sound Module
The Model 660 is capable of being used as a multi - timbral sound
module, with 6 separate parts. It provides readily for ensemble
performances when connected with a sequencer.

CONTENTS
IMPORTANT NOTES cecccceccecccerreccceteceterencceereestesteesseeees 6
PANEL DESCRIPTION coreeesececeeecccettteereececeereeneeeeeteenseees 7
Section I] PLAYING
(v Making CONNECTIONS evrscreseeeeeeestteeeeetteeeens 10
(2) Auditioning the Unit -:-------c ee eeeeeeeeeeee ll
1. Turning ON POWES creer erees eee ec rece eee ete eee ete eeeeneaees 1]
2. Listening to ROM Play ---------eeeeeeeee 12
3. Altering the Mixture of Sounds --+---+----+----+-- 13
Selection of a Key MOE coerce ees ecete re ecer eee eeeseteres 13
Selection of the Pane] Mode ----------++---+-eeereeeerrees 14
4. How Tones are Selected:---------:-+-eerereees 14
Selecting Tones from a PCM Carde---++-+++sesee-20 16
Changing PALtS vrcrereecee etree t eee eeeneereceseceneneseeseacrers 17
Changing PAtCheS «+-+--+ecceereceeeescrecccntevesenceeerenweees 17
[Concerning RS -PCM Sound Sources / Tone Types and
Maximum Simultaneously Producible Notes / Upper Limits
of Soundable Range] sgb'ecodbae cbeesccoiss se Vauseadsoe eens ccednoe see e sey. 18
(3) Usin g the Performance Functions..-.....- 19
Keyboard Effects (Velocity / Aftertouch)------------ 19
Using the Bender / Modulation Lever----------.------ 19
Adjusting the Tone with Brilliance Control -------- 19
On/Off of Effectors.::------1eesecereeeeeeeneeeeneneveeeertecees 20
Using a Hold Pedal -cc----ssccesccresseecnenseceneasesenenenens 20
Selection of Key Effects ------:cc:eeeeeeseeeeceeeeeeeeeeeeees 20
Transposition (Key Transpose)--1--+--+-sreee eee 22
Un \¢) Ree 22
(J Before Changing Any Settings.-..-...-.--- 24
1. Mode! 660 Organization ges ees eee hice caschitesees 24
Concerning Parameters-:-::+scscceececeeecseeereessenessnenes 5
Usage Of Patches ---reccscececeeeeeeeteceeeeeeeeceneeeeceeeeeenee 28
2. Basic Procedures for Making Changes --------- 29
How to Store Patches:--:::-::screseereeeeeeereeese reece eaeee 30
Restoring the Unit to the Factory Presets ------------ 31
[2] How to Make the Changes ----eee 32
BP Settings FOr Partgecc::-ccecreceeeeececeeeceereasccneerseeesees 32
2. Settings FOr TOmes-e:::::eeeeseeeeeseceeeceersserrereeeneeeee 34
Altering the Pitch --cccccec-seececeeeeessececeseuseseceeeeeeesees 35
Changing
the
Vibrato
Effect
---+++------:+-1::eessceseees
35
Changes In VOlUme -eeeececcenseeceeeeeeeeeeeceseeeeeeeneeeees 36
Settings for Drom Toneserssscccssreseeeersecaeenrecusennes 38
3. Settings for the Performance Functions-------- 39
Selection for Key Mode/Panel Mode -------+--+------+ 39
Setting a Split 176) 13 | eee 40
Setting Key Transpose dla d vaatnedpaete cdisaieonet aa senerens et tere 4)
Settings FOr CHOruse ec seeee reese eee erece eee eeee ene een ere een ees 4]
Settings for Reverb/Delay--1-1- ise eres 42
Selection of Key Effects --::cccccc reece eee eee ee eet ete en eens 43
Settings for Chase -rvreccerec rece e cet ee teen eee neee renee eens 43
Settings for Arpeggio Ciebnla pF Kelle wanede aaawtiacarsoaage deen 45
Setting for Hold Mode-errecrceeecetertceeeeeeste rer eeee enone 46
About MIDIseseeacweeanten 48
1. The Exchange of MIDI Data ---.--+-+--- ee 48
2. MIDI Messages Recongnized
by the Model 660 --- eee eeceeeeee reese neeceeten eee een een enee 49
Messages Handled for Each MIDI Channel
(Channel Messages) iidneloceetos Sepa cdias sa dtaes he heans 49
Messages Handled Independently MIDI Channels
(System Messages) psd deewosecetvacsniwctenesesseatnoten 50
(2] MIDI on the Model 660......-:::+e-e 51
1. The MIDI Data Flow---ecc:eeceesccsceseeesseereeeesens 5]
2. Changing Tones/Patches Using MIDI -.-------- 52
Changing 0 We) 1 eee 52
Changing Patches -ccrceerereecerersececneecseasetecn renters eens 52
3. Settings for MIDE cece eec tere eeeee teeter eeeen arena eee eees 53
Setting the MIDI Channel for the Part--------------- 53
Settings for other MIDI Parameters-:--+1-----+0-+ 53
(3) MIDI Applications lig Saree aaa ie 56
1. Use as a Multi - Timbral Sound Module.---...56
2. Using Sound Modules ----------:- 0-1 58
3. Transfer of Data Using
Exclusive Messages weaduieaes de dedvaseeasevanande stan asuis v4 59
CONNECTIONS ----we vere eee te eee ect teen etter tenet teat rere 59
Carrying
OUt
TranSMiSSiOn
vercecresseceec
reer
eee
eter
ees
59
TROUBLESHOOTING -----cectee ree rtt ee est cence ree ree eee settee en neee 62
OPERATION MAP erreeeccerec cscs serene rence eee reeserrenseseensrenewtane 64
PARAMETERS LIST ded eneecccceseeeeenasaanrsnaseeceseseerstacseoeeaton 65
BO) \\| otows i ho) MR 66
BLANK CHARTS > -reee re cree eccc reece ee cre etter en ete e ecto renee 7
ROLAND EXCLUSIVE MESSAGES eee re eee eee eee eee ees LL
MIDI IMPLEMENTATION PPrerererrer reer irre reer reer errs creer reer ee 76
SPECIFICATIONS eee Pere reeeeer ere rer eer errr tetera es ee reer eer eresy 86
TS] D) =>, Qe eee ee 87

IMPORTANT NOTES
When employing an AC adaptor, make certain you use only one
that has been supplied by the manufacturer. Use of any other
power adaptor could result in malfunction or damage.
[Concerning the power supply]
@ Whenever you make any connections with other devices,
always tum off the power to all equipment first. This will help
in preventing malfunction, and damage to speakers.
@ Do not force the unit to share the same power outlet as one
used for distortion producing devices (such as motors, variable
lighting devices). Be sure to use a separate power outlet.
@ Before using the AC adaptor, always make certain the voltage
of the available power supply conforms to its rating.
@ Do not place heavy objects onto, step on, or otherwise risk
causing damage to the power cord.
@ Whenever you disconnect the AC adaptor from the outict,
always grasp it by the plug, to prevent intemal damage to the
cord and the hazard of possible short circuits.
@ If the unit is not to be used for a long period of time, unplug the
cord from the socket.
{Concerning placement]
@ Avoid using or storing the unit in the following places, as
damage could result.
© Places subject to extremes in temperature. (Such as under
direct sunlight, near heating units, above equipment
generating heat, etc.)
© Places near water and moisture. (Baths, washrooms, wet
floors, etc.) Places otherwise subject to high humidity.
© Dusty environments.
© Places where high levels of vibration are produced.
@ Should the unit be operated nearby television or radio
receivers, TV pictures may show signs of interference, and
static might be heard on radios. In such cases, move the unit
out of proximity with such devices.
[Maintenance]
@ For everyday cleaning, wipe the unit with a soft dry cloth, or
one that is dampened slightly. To remove dirt that is more
stubbom, wipe using a mild, neutral detergent. Afterwards,
make sure to wipe thoroughly with a soft cloth.
@ Never apply benzene, thinners, alcoho! or any like agents, to
avoid the risk of discoloration and deformation.
{Other Precautions]
@ Protect the unit from strong impact.
@ Avoid getting any foreign objects (coins, wire. etc.), or liquids
(water, drinks, etc.) into the unit.
@ A certain small amount of heat will be radiated from the unit,
and thus should not be considered abnormal.
@ Before using the unit in a foreign country, check first with your
local Roland Service Station.
@ At any time that you notice a malfunction, or otherwise suspect
there is damage, immediately refrain from using the unit. Then
contact the store where bought, or the nearest Roland Service
Station.
[Concerning memory backup]
@ Within the unit is contained a battery which serves in
maintaining the contents of memory while the main power is
off. The normal life of this battery is 5 years or more, but it is
strongly recommended that you change it every 5 years as a
rule. When it is time to change the battery, contact a Roland
Service Station.
* The first time you need to change the battery could occur before
5 years have passed.
@ When the battery gets weak the following will appear in the
display. By this time, it is possible that the contents of memory
have already been Jost.
“Check Internal Battery”
@ Please be aware that the contents of memory may at times be
lost; when sent for repairs or when by some chance a
malfunction has occurred. [mportant data should be saved on
*** | or written down on paper. During repairs, due care is
taken to avoid the loss of data, however, in certain cases, such
as when circuitry related to memory itself is out of order, we
regret that it may be impossible to restore the data.

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PLAYING

[1] Making Connections
Since the Model 660 does not incorporate an amplifier or speakers within the unit, you will need to have a separate amplifier and speakers.
Before making any connections, first make sure you have power off on both this unit and your
amplifier or other equipment. If connections are made while power is on, you may cause damage to
the speakers, or the equipment.
The supplied cable can also be connected directly with ordinary audio equipment by removing the
plug adaptors, and using the phono plugs. In order to enjoy the capabilities of the unit to the full, we
recommend that you use it in stereo. However, if you wish to use it in mono, connect the cord to the
L (MONO) jack.
Mio} PEDAL PHONES UT DC IN SV POWER
THRU
OuT
IN
HOLD
L
(MONO)
850mA
CI
=,
o—C—o
Ome ] - ON
SL oorrF
ADAPTOR ONLY
1 USE ROLAND ACI
Supplied AC Adaptor
= Insert in AC receptacle
a
a :
U i
Pedal Switch i agai ah a a a
(DP-2R, BOSS FS-5U, etc.) jascecensecceeebectecersccecnensscsenenscasenscesreey :
ia
Stereo Headphones ze
(Roland RH - 100, etc.)
Peer eee ee rer eer ree rerre er Trier TT Tre erere TTT Teri ere eter rere etter ety See eree rere erry
To AUX or LINE IN jacks
®
ofS 50
000 =] |0002
te et
; Monitor Speaker ‘
7
Mixer
(BOSS
MA-12V.
etc)
Stereo
set,
radiocassette
player,
etc.
Keyboard Amplifier (BOSS BX - 800, etc.)
(Roland CK - 40, etc.)

Auditioning the Unit
(2] Auditioning the Unit
You should now be ready to try selecting and playing some of sounds.
1. Turning on Power
@ Check once again to make sure all connections are in order, then turn on the Model 660’s
power switch.
sok
bs Se os
After a brief interval, the display will show what was displayed
the last time the unit was on.
* Since the unit is equipped with a circuit protection device, it requires a brief interval after
power is turned on before it can be operated.
@ Turn on power to the amplifier, then adjust the volume on this unit and other external
equipment.
The unit is now ready to be played. If you play the keyboard, you will notice that with middle C (C4)
as the dividing line, keys to the right of it (Upper section) produce a piano sound (A. PIANO 1), and
those to the left of it (Lower section) produce a bass sound (AC. BASS).
This condition is referred to as Split, and the key at the dividing line, C4, is called the Split Point. In
the display, the name of the Upper Tone is shown on the upper line, and the Lower Tone’s name
appears on the lower line.
cor MD) LEVEL_ «PAN PART,
ee | CE) CaCI) eae | ee
PARAMETER
Vv TUNE REY MODE ecneeme =— PANEL MOOEW.
SPUT AL ‘WHOLE LOWER UPPER
a Part number Tone name
VALUE KEY
Vv TRANSPOSE KEY EFFECT a EFFECTOR
HARMONY “CHASE ARPEGGIO © CHORUS REVERB
ecco co Pesspeses Oo
gag 65099 co Beeccenes a
°
eeece oo 2m caceras a
Liatide baie babuGLAdbe ut
_———_— > The Upper Tone
Piano sound
The Lower Tone
Bass sound
Split Point : C4

{2} Auditioning the Unit
2. Listening to ROM Play
Stored inside the Model 660 are three songs which have been created to demonstrate how the internal
multi - timbral sound source could be employed to the full. By listening to them you should be able to
confirm the high - quality sound provided by the Model 660.
@To return to the original, play mode, press [EDIT].
@ While holding down [EDIT], press [TUNE]:-
PART
ne
@lf you wish to choose a certain song, select it using : : — PANEL MODE
PARAMETER[ALW]. j | ™ he RIC CE] CoC]
SPuUT DUAL WHOLE LOWER UPPER
If making a selection is skipped, both songs will be
played, starting at number 1.
@ Press either [A] or [¥] at VALUE, and the song starts s playing.
(Press either once again and play will stop.) 0 0
a KEY EFFECT
Alea HARMONY “CHASE ARPEGGIO CHORUS REVERB
Song Title Biographies of Composers
Mitsuru Sakaue
Mitsuru Sakaue began composing and doing arrangements for commercials and videos while still in school.
mmm EFFECTOR cerns
Zone 4 U
Music by
Mitsuru Sakaue
Copyright © 1989,
Roland Corporation
In particular, his studio work earned for him a solid reputation. Currently, as chief producer within Idecs,
Inc., he produces commercial musics and jingles for FM stations. His range of activity is broad, and includes
his work as an instructor and expert on musical instruments/computer music for the Roland Learning
Center (Japan), as well as for other schools. In addition, he has had numerous other opportunities for
displaying his talents well while serving as demonstrator product specialist for Roland. The ROM demo,
“T - Jazz #1”, in the U-110 was also one of his creations.
Adrian Scott
Adrian Scott formerly handled the vocals and keyboards for the popular group from Australia, “Air Supply”.
Since following the solo path, he in 1984 won the Silver Prize at the “World Song Festival Tokyo ‘84”.
Country Rhodes
Music by
Adrian Scott
Copyright © 1989,
Adrian Scott
Currently, he is involved as a a producer of commercial music and music for films. In addition, as a session
player, he has performed along with a number of Australia’s top musicians, including Jhon Farnham and
Kylie Minogue. He lives in Melbourne, Australia.
Marvin Sanders
Marvin Sanders is an accomplished composer/“keyboardist and authority on creative sequencing
applications. An active musical director and composer for film, television, and theatre, he lives in Los
Angeles where his talents are utilized in studios and live performance. As a product specialist and clinician
for the Roland Corporation, other contributions have included the “Cityslicker" ROM demo in the D-5,
and programming for the TN-Series Style Cards.
Funk Patrol
Music by
Marvin Sanders
Copyright © 1989,
Marvin Sanders
* Should you wish to have the Model 660 be played similar to ROM Play, you would need a
separate unit used to play it automatically, such as a sequencer.
* During ROM Play, nothing will be heard if you play the keyboard. Also, the performance
data of ROM Play is not output from MIDI OUT.
| @ Multi-timbral Sound Sources
A
multi-timbral
sound
source
is
a
device
which
is
capable
of
functioning
as
multiple
individual
sound
sources,
|
Fall
in
one
unit.
Within
the
Model
660,
six
Parts
are
provided,
and
through
assigning
a
different
Tone
to
each
}
|
of
them,
they
can
each
be
played
individually.
In
other
words,
each
of
the
Parts
functions
like
a
conventional,
stand-alone
sound
module.
With
the
Model
660
alone
in
control,
only
2
Parts
can
be
handled
at
the
same
time.
In
order
to
obtain
fuller
use
of
the
multi-timbral
capabilities,
you
will
need
a
separate
sequencer.
For
details,
i
‘.
refer
to
Section
Three
(=p.
47).

Auditioning the Unit
3. Altering the Mixture of Sounds
WiSelection of a Key Mode
On the Model 660 there are many different types of sounds, 128 in total, that are contained internally.
These sounds are referred to as Tones. When playing the keyboard, such Tones can be used in
differing combinations to produce the sound you want. The function which determines how the Tones
are to be used is called the Key Mode.
Selection for the Key Mode is made using the KEY MODE buttons. Try changing the Key Mode by
pressing the buttons. You should be able to get some idea of how changes occur in the way Tones are
used.
@SPLIT: The keyboard is divided at the Split Point into Upper and Lower sections.
poniucpe In this mode, bass can be played in the Lower section, and the melody can be played in the Upper
of Bel Renal section, for example, or the Lower section can provide accompaniment while the Upper section is used
AL
for solos. When shipped, the unit is set with the Split Point at middle C (C4).
TEL
SCT eee ee! Tr
Upper Tone
Lower Tone
Split Point : C4
@DUAL: The Upper and Lower Tones are stacked together.
ile In this mode you can obtain fatter sounds by stacking together two Tones of a similar nature, such as
a td from the strings or brass groups. In addition, you can experiment with any variety of Tone
J
combinations.
La ULE
Upper and Lower Tones are stacked together.
@WHOLE: The Upper Tone alone is sounded.
Syhieee Effective to use when numerous notes need to be sounded, such as with piano. For most ordinary
Bill | intl | Meri.
SPLIT DUAL
playing it also may be best to leave the unit set at WHOLE.
ET AMMAN
Upper Tone

Zl Auditioning the Unit
HiSelection of the Panel Mode
When using the Split or Dual Key Modes, the PANEL MODE buttons are used to change to either
Upper or Lower Tones. This is called the Panel Mode. You can tell which is selected, since the
indicator on its button will light, and in the display, a “ & ” will appear next to it. Note that you
cannot change to Lower while set to WHOLE, since only the Upper one can be sounded.
When selectting the Upper Tone. When selectting the Lower Tone.
4. How Tones are Selected
Using TONE SELECT, choose the general type of Tone, then with VARIATION [aly]. select the
variation of it you desire.
A. GUITAR 1 STRINGS 1 BRASS 1
A, GUITAR 2 STRINGS 2 JP. BRASS 1
A, GUITAR 3 STRINGS 3 JP. BRASS 2
A. GUITAR 4 STRINGS 4 RICH BRASS
A. GUITAR 5 JP. STRINGS BRASTRINGS
STRINGPAD} METAL HIT
STRINGPAD2
FANTASIA
FANTA BELL
L. CALLIOPE
CALLIOPE
BELL PAD
SYNTH HARP
SPECT BELL
PIZZAGOGO
BELL DRUM
SPECTRUM }
SPECTRUM 2
N. DANCE
PPPPPrPPrp mMmmommmmmm
WOOnNGA Mawr”
Stone e4
if
VARIATION :
"i=
RPANO A GUITAR ‘STRINGS BRASS ae ORGAN
at eed re Cl ri Ca Cp Cer
> PIANO, ce ae CHOIR TRPTRE MALLETS SYNTH WAVE BASS “eau CARD 2”
a |
. PIANO E. GUITAR I CHOIA } SOFT TP 1 PULSEWAVE! AC. BASS
. PIANO E. GUITAR 2 CHOIR 2 SOFT TP 2 PULSEWAVEZ2 FRETLESS 1
. PIANO E. GUITAR 3 CHOIR 3 TP / TRB I PULSEWAVE3 FRETLESS 2
. PIANO E. GUITAR 4 CHOIR 4 TP / TRB 2 SAW WAVE 1 FINGERED 1
. PIANO HAEVY. EG } SYN CHOIR TP / TRB 3 SAW WAVE 2 FINGERED 2
BRIGHT EPI HAEVY. EG 2 SYN. VOX 1 PICKED 3
BRIGHT EP2 SYN. VOX 2 PICKED 2
BREATH VOX SYN. BASS
SYN. BASS
SYN. BASS
SYN. BASS
SYN. BASS.
SYN. BASS
SYN. BASS
SYN. BASS.
1
2
3
4
5
6
7.
8
* A Tones List has been provided inside the front cover of this manual. It can be removed at
the perforations, and for convenience placed nearby while you play. In addition, for more
details on available Tones, refer to the Reference section at the rear of the manual.
14

Auditioning the Unit
For example, if you want to change to an organ Tone, press @ |E.ORGAN]|. then with @)
VARIATION [all¥]. select the variation of it you want to use.
Name of the selected Tone
TONE SELECT.
anus! <j ‘one
A AGUITAR STRINGS BRASS E SLAP BASS “WINDS “CARD T
| VARIATION |
pee
0)
naa
For each TONE SELECT button, the most recently selected variation of it is stored at that position in
memory. So, you can select the previously chosen variation simply by pressing the TONE SELECT
button.
Checking the Drum Sounds
When you press | DRUMS Jand select drums, a variety of different drum sounds will be produced for
the keys. When you wish to, while playing drums, check the name of the sound being played,
perform the following steps:
@The name of the percussion instrument for the key
pressed will be displayed.
@ Press [EDIT].
The LEDIT] indicator will light...
Drum name Note name ™
ee
@Press
[EDIT]
once
again
to
return
to
the
Play
mode.
EDIT MID) LEVEL. FAN
ee | ee
pareneTen 7
10 Vv TUNE ewmmenee KEY MODE w= PANEL MODE,
ITIL
o
aie
VALUE KEY
TRANSPOSE eee KEY EFFECT
a Oe Rl | el |
me Sard ae
HARMONY CHASE = ARPEGGIO CHORUS REVERB
ome EFFECTOR
* When you press a key for which no drum sound has been assigned, no sound is produced.
In such cases, OFF will appear in the display.
* When you wish to sound those drum sounds which are assigned to keys lying beyond the
soundable range of the keyboard, use the Key Transpose function to shift the keyboard's
range.(=" p.41)

(Auditioning the Unit
Wi Selecting Tones from a PCM Card
By employing optional PCM Cards (SN - UOI Series), you can increase even further the number of
Tones you have ready for use. The PCM Cards that are available include the following:
[or [Pow Gono Hon ][06 [ota vine |
:
Fae [etme sons || 10 [ros dons |
Gana
:
01
Electric Grand Piano Sound Effects
Orchestral Strings Sax & Trombone
* If you insert any cards other than those specified, lp-mria (sired will be displayed,
and no sound will be produced. in such cases, pull out the card immediately, otherwise
malfunction could result.
@ Insert the PCM Card into the card slot at the rear of the panel, until
it fits securely in place. The PCM CARD 1 and PCM CARD 2 slots
correspond respectively to the buttons,[CARD 1] and [CARD 2].
@For a card inserted in slot number 1, press [CARD 1].
For a card inserted in slot number 2, press [CARD 2].
“@® Using VARIATION [A][¥], select a Tone.
TONE SELECT.
: CARO 1 £
: VARIATION
v :
E PIANO E GUITAR “CHOIR “TRG MALLETS SYNTH WA BASS DRUMS =: CARO 2:
* Each Tone on a PCM Card is numbered. When VARIATION [A |[ ¥ is used to select a
Tone, you are offered the possible selections in that numerical order.
[@A Point of Advice
On the PCM Card SN-UO1-02, there is a Latin percussion set (LATIN 2). If you
put the Key Mode at Dual, and combine this unit's internal DRUMS with the
LATIN 2 tones, you can then obtain a drum sound from nearly all the keys, from
BI to C#7.

BlAuditioning the Unit
Mi Changing Parts
Six Parts are provided on the Model 660, allowing it to be used as a multi - timbral sound source.
Parts will be explained in detail in Section II. However, to begin with you should understand that for
each Part you can make selection for its Tone.
In other words, this means that you can choose a Tone for each Part in an order convenient to use
when playing, and then be able to quickly get the Tone you want simply by changing Parts.
By pressing PART [<4][>]. you obtain change of Parts, in numerical order.
(When a Tone is selected, the Tone is changed for the Part currently selected.)
Part number
LEVEL «PAN PART.
NQeooansa
PanaieTen
OOo SSeS SS
LOWER UPPER
Wi Changing Patches
So far, you have made selection for the Key or Panel modes, etc. by pressing the relevant buttons on
the panel each time needed. Through the use of Patches, however, a whole group of such setting
choices can be switched to instantaneously. Each Patch can contain the settings for how Tones are
used in combination with the Key and Panel modes, as well as other settings such as those for
Effectors. A total of 8 patches are possible.
Greater convenience can be had by beforehand making all the basic settings needed for use in a
performance and storing them in Patches. Then each time you change songs, you can simply switch to
the next Patch. If your needs involving Tone changes and effects are simpler, it is probably best to
simply press the panel buttons while playing.
Patches are changed by pressing the USER PATCH buttons. For the time being, you may want to try
the various settings that already been made for the patches, and listen to and compare them.
USER PATCH
=== — !
ob
* For information on creation of Patches, refer to Section I]. (= p. 23)

Auditioning the Unit
@ Concerning RS-PCM Sound Sources
The Model 660 incorporates an RS-PCM Sound Source. RS-PCM stands for “Re-Synthesized Pulse Code
Modulation”, and is a process for the digital recording of a sound’s waveforms. The sounds of a musical
instrument are not simply recorded digitally and used as is, but are modelled and re-synthesized using
proprietary signal processing technology in order to obtain the utmost in realism for use in performance.
On the Model 660, the fundamental elements constituting sounds in the RS-PCM Sound Source are referred
to as “Tones.” Such Tones are of course good enough to be used alone, but you can also easily make
changes in the pitch or how vibrato is used, and alter the volume to suit your preferences.
@ Tone Types and Maximum Simultaneously Producible Notes
There are 5 different types of Tones, with each being constructed differently in order to obtain the most
suitable changes in timbre. In addition there are Tones such as those for drums which produce a different
sound for each key on the keyboard.
If the Tone is composed of one voice, a maximum of 30 notes can be produced simultaneously, but if
composed of 2 voices, only 15 notes can be produced at the same time. When using a sequencer or the
like to play the unit automatically, you need to take into consideration the number of voices making up
the various tones.
Number .
Type ; Composition
of Voices
Single ae Tone composed of 1 voice.
V-SW . ; . ;
. ; 1 Change between 2 voices obtained depending on strength key is played.
(Velocity Switch)
V — Mix
2 The volume balance for 2 voices changes depending on strength key is played.
(Velocity Mix)
four fk | Combination of 2 different voices.
Combination of 2 voices shifted slightly in pitch from each other.
@ Upper Limits of Soundable Range
With certain Tones, no sound will be produced above a certain limit. This is due to the fact that the
recording “modelling of the Tone is carried out based on the range the original acoustic instrument is capable
of producing. When playing it is perhaps best to keep in mind the personality of the instrument sounds
being used.
*To check which type each of the Tones is, refer to the Tones List (@ p. 66). Concerning Tones on PCM Cards, refer
to the instructions provided with the PCM Card.

(B}Using the Performance Functions
[3] Using the Performance Functions
The Model 660 is equipped with a range of functions that enhance the expressive capabilities of the unit. These performance functions are
explained in the following. For information on making settings for them, tum to Section II . (=7 p. 39)
Mi kKeyboard Effects (Velocity Aftertouch)
Velocity refers to the changes in volume that are obtained as a result of the differences in the strength
(speed) with which the keys are played. Changes in volume ranging from pianissimo to fortissimoe can
be obtained. In addition, the Aftertouch function allows you to hold down a key firmly to obtain
changes in pitch, volume, or vibrato.
Velocity Aftertouch
The stronger you continue to press,
Press lightly to get a faint_sound. Press strongly to get a louder sound. the greater the change obtained.
TN
* The sensitivity for Velocity can be adjusted using Velocity Sens (=r p. 36).
The way in which changes are obtained using Aftertouch is determined by the settings for
Aftertouch Bend (<=> p, 35), Aftertouch Sens for Vibrato (= p. 36), Aftertouch Sens for
Level (<> p. 36), and Arpeggio Aftertouch Sens (<7 p. 45).
Mi Using the Bender/Modulation Lever
Vibrato gets deeper The Bender/Modulation lever can be used to raise or lower the pitch, or to add
Pitch is lowered Pitch is raised 2 vibrato effect. It can be effective for expressing the choking technique with
oN guitar or the nuances of the breath with flute sounds.
*The amount of pitch change obtainable is set by means of Bender
Range (= p. 35), and the manner in which vibrato is obtained is set
~ BENDER i using Modulation Lever Sens (=r p. 35).
Mi Adjusting the Tone with the Brilliance Control
Sound gets Overall tone quality can be adjusted by moving the Brilliance control up or down.
brighter
HUTTEEHH
Sound becomes
milder

(BlUsing the Performance Functions
WOn Off of Effectors
senna EFFECTOR cee
ey
CHORUS IEVERB
d
WM Using a Hold
Hold Off
| a
Hold On
The Model 660 is equipped with Effectors providing Chorus, which adds depth and fatness to sounds,
and Reverb, which adds ambience, so what you play can sound like it is played in a spacious hall. To
use an Effector, press its button and the indicator will light, showing that it is on. Whether the
Effectors are On or Off can be set with respect to each Part.
* The manner in which the effects are applied can be set for each Patch. (<~ p. 41)
*When Chorus is turned on, the Pan (sound image orientation) for that Part will
automatically move to the center position. Note that the Chorus effect cannot be applied to
any Drum Tones.
Pedal
If you connect an optional foot switch (DP - 2R, etc.) to the PEDAL HOLD Jack, notes played can be
sustained for as long as you depress the pedal. This function is referred to as “Hold”, and provides an
effect similar to that of the damper pedal on a piano.
When shipped, the unit is set so that the Upper Tone will respond to the Hold function. Also, the result
obtained when using Hold may differ depending on how the Key Effects are used.
* A setting which determines whether the Upper or Lower Tone responds to Hold can be
made for each patch. (<r p. 46)
* When drums or other non - sustaining type tones are selected, the Hold effect will not be
obtained if you depress the pedal.
HiSelection of Key Effects
KEY EFFECT
el) all jel
HARMONY CHASE ARPEGGIO
d
@ Harmony
KEY EFFECT
i
HARJEINY “CHASE” ARPEGGIO.
20
Harmony, Chase, and Arpeggio are other functions convenient for playing that are provided on the
Model 660. Tum on the function you wish to use by pressing its button. Its indicator will light. The
effect you obtain will vary depending on the settings for Key mode and whether a hold pedal is used
or not.
* More than one Key Effect cannot be used at the same time.
The Harmony function, with the Split Point as the dividing line, adds the notes of a chord pressed in
the Lower section so that they underlie the notes played (top note) in the Upper section. You can thus
conveniently add harmony (chords) to the melodies you play in the Upper section. If you play only in
the Upper section, only one note at a time sounds. Thus, it is suitable for solos. Playing something in
the Lower section alone, however, produces no sound.