Yamaha reface User manual

InformatIon GuIde about the reface mInI mobIle Keyboards
06|2015
REFACE ESSENTIAL KNOWLEDGE
Create your sound
any plaCe, any time

REFACE EssEntiAl knowlEdgE 06|2015
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Text: Hans-Peter Henkel, Yamaha
Layout & editing: Björn Meyer
© June 2015 Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany

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REFACE EssEntiAl knowlEdgE 06|2015
Contents
refaCe YC 22
tone Generator,
operation & effeCts 22
praCtiCal hints 23
refaCe Capture
ios app 26
praCtiCal hints 27
soundmondo 28
„Create your soundmondo.
inspire and be inspired“
speCial keYboard
Commands 29
faCtory set 29
auto power-off 29
speaker output 29
speCifiCations 30
aCCessories 31
refaCe
Create Your sound
anY plaCe, anY time 4
refaCe Cs 6
the osCillators 6
filter & envelope 7
advanCed osCillator parameters 7
effeCts, portamento & lfo 8
looper & pitCh bend 8
praCtiCal hints 9
refaCe dX 13
the tone Generator 13
memory & operatinG ConCept 14
operators & alGorithms 16
edit mode & effeCts 16
funCtions & looper 17
praCtiCal hints 17
storinG a voiCe 18
refaCe Cp 19
the tone Generator & voiCe 19
the effeCts 20
praCtiCal hints 21

refaCe
REFACE EssEntiAl knowlEdgE 06|2015
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Create Your sound
anY plaCe, anY time
With reface Yamaha is expanding its
product portfolio with a series of small but
very powerful keyboards.
The reface series consists of four instruments, each
of which is completely independent both in the sound
production and the user interface. Each of them is based
on a "large" Yamaha model, but without losing its own
character. The name "reface" is derived from the following
English sentence: "reface Mobile Mini keyboards are
reimagined interfaces of classic Yamaha keyboards."
reface is meant to appeal to experienced keyboardist,
who are interested in a high-quality sound that is guided
by the legendary originals and now revived by instruments
in an extremely compact form.
Another target group are young musicians,
singers / songwriters, who use these handy
instruments to be able to practically always and everywhere
develop their ideas, jam, or record.
The synthesizer-oriented reface models are very interesting
for electronic music producers who like to connect via the
Internet, exchange sounds, and publish their tracks in the
relevant portals.
In addition to a high degree of individuality there are
some things that connect the four instruments together.
In particular, the specially developed tone generators for
each model simply sound excellent. All reface models
seem very valuable by their balance of size and weight.
And the slogan says it all! The handling in combination
with a built-in stereo speaker system and possible battery
operation ensures that creativity can occur anytime,
anywhere.

The common features of all reface models are:
High Quality
Mini Keyboard
Internal
Speakers
Optional
Keyboard Bag
Optional Battery
Operation
Optional
Strap Kit
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In addition, all reface models offer a professional
connector panel. Naturally, the full sonic potential of
the tone generator unfolds only when connected to a PA
system or a pair of high-quality, active speakers. For this
purpose a stereo output (6.3 mm jack) is available. Also
via 6.3 mm jacks headphones and a foot controller can
be connected. For an external audio signal a 3.5 mm
mini-jack input is built-in. The signal from here is also
output via the output jacks.
The data exchange with the outside world is done via USB
and MIDI. For the MIDI connector a Y-cable is supplied,
which provides DIN connectors for the usual MIDI
interfaces. On the device side, the connection is made via
a mini-DIN connector.
To operate without batteries an external power supply is
included.
Right next to the volume control a slider is located on
all reface models that allows to shift the octave of the
keyboard by +/- two octaves. Sustained notes - also on
the sustain pedal - remain unaffected by the change, it
affects only the subsequently played notes.
The internal speaker system is designed in stereo and has
a surprisingly good sound - considering its size.
Rear side reface CS

refaCe Cs
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reface CS is a virtual analog synthesizer
with just such a control concept. CS stands
for "Control Synthesizer". All parameters
are set via screened or stepless sliders.
Important features include:
•ANToneGenerator(AnalogPhysicalModeling)
•Eightnotepolyphony,switchabletomonophonicmode
•FiveOscillatorTypes
•Foureffects
•LFOwithfourdestinations
•PhraseLooper
the osCillators
The following Oscillator Types are available:
Multi Saw
Pulse
Oscillator Sync
Ring Modulation
Frequency Modulation
The left slider of the OSC
section is used to select the
Oscillator Type, colored
LEDs indicate the selected
setting.

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The Oscillator Types can be described as follows:
Multi Saw produces a typical synthesizer sound
on the basis of sawtooth waveforms. The term
"Multi" stands for the possibility to layer multiple
waveforms.
The setting Pulse uses square waveforms. Again, the
use of two differently tuned waveforms results in a
fatter sound.
Oscillator Sync synchronises two Oscillators with
each other. The variation of pitch and tone of the
second Oscillator leads to characteristic changes in
the harmonics.
Ring Modulation multiplies the signals of two
Oscillators. The targeted detuning of the pitch of the
second Oscillator produces a metallic sound.
The Oscillator Type Frequency Modulation is similar
to the sound generation of the DX7 and other
Yamaha FM synthesizers. One Oscillator having a
base frequency is modulated by a second Oscillator
whose frequency is variably adjustable.
filter & envelope
reface CS is equipped with
a resonant low-pass Filter
(18 db). The sliders for Cutoff
and Resonance adjust the
respective values between
0 (lower slider position) and
127 (upper slider position).
The envelope (EG) is set by the
ADSR principle (Attack, Decay,
Sustain, Release) with four
sliders.
Again, the range of values is from 0 to 127.
Multi Saw
TEXTURE Adds a Sub-Oscillator that is detuned by minus one octave
MOD Layers multiple sawtooth waveforms to make a thicker sound. In addition, the detuning of
the waveforms is increased, which leads to a more undulating sound
Pulse TEXTURE Changes the pitch of the second square wave
MOD Changes the pulse width
Oscillator
Sync
TEXTURE Changes the pitch and tone of the second Oscillator
MOD Sets the degree to which the second Oscillator is detuned
Ring
Modulation
TEXTURE Changes the pitch of Oscillator 1
MOD Changes the pitch of Oscillator 2
Frequency
Modulation
TEXTURE Sets the degree to which modulation is applied
MOD Changes the pitch of the modulating Oscillator (OSC2)
advanCed osCillator parameters
There are two more sliders available for the direct modulation of the Oscillators in addition to
the selection of the Waveform: Texture and Mod.
The following table provides an overview of the functions of these two sliders depending on
the selected Oszllator Type.

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For those who are familiar with synthesizers the
descriptions of filter and envelope belong to the 101.
The so-called "EC Balance slider" however is new in this
context.
This slider sets the ratio the envelope affects the amplitude
or the filter. The position 0 (AEG) means that the envelope
only affects the amplitude. The further the slider is moved
up, the more influence the envelope takes on the filter.
In the middle position the effect on filter and amplitude
is proportionally the same. The maximum position (FEG)
results in having a reduced effect on the amplitude.
However, there is no position in which the envelope has
no influence on the amplitude at all.
effeCts,
portamento & lfo
On the far right of the control panel the Effect settings
are located. There are four
Effect Types available:
•Delay
•Phaser
•Chorus/Flanger
•Distortion
The slider [TYPE] selects the desired Effect, [DEPTH]
determines the Effect intensity (in other contexts named
"Wet / Dry"). The function of the slider labeled [RATE]
depends on the selected Effect, namely as follows:
Effect Function of the [RATE] slider
Delay Delay Time
Chorus/Flanger &
Phaser Effect Rate
Distortion Tone of the Distortion
The screened slider [PORTAMENTO] controls two
functions. Since Portamento is only useful for monophonic
sounds, its first stage switches from [POLY] to [MONO]
mode, but still does not activate Portamento. Only the
next stage activates the first of five selectable Portamento
values.
The LFO can affect the
following four areas:
•Amplitude(AMP)
•Filter
•Pitch
•Oscillator(OSC)
The sliders [DEPTH] & [SPEED] control the intensity and the
speed of the modulation.
looper & pitCh bend
Using the Looper small sequences can be recorded.
The recording capacity is
approximately 2,000 notes or
10 minutes of recording time at a
tempo of 120 BPM. It is possible
to do overdubs. Recorded data
is lost by turning the power off.
Set the left slider to the position [REC] to activate recording
standby. The red LED flashes in the rate selected by the
slider [TEMPO]. With the first note played the recording
starts. The change from [REC] to [PLAY] stops recording. It
is possible to activate an acoustic signal as a metronome.
This is provided by the tone generator with the parameters
currently set. This means that with changing the sound
settings also the metronome sound changes. The
metronome function is only active if there is no recorded
data in Looper.
The metronome function is activated by first selecting
the position [CLEAR] (with an empty memory) and then
changing to the recording standby mode. To enter the
recording standby without a metronome simply switch
from [PLAY] to [REC].

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The functions [STOP] and [PAUSE] work as you might
expect them from conventional sequencers. They work
for the recording and playback equally: [STOP] finishes
recording or playback and sets the looper back to the zero
position. After selecting [PAUSE], the current position is
maintained and the playback will be restarted from there.
After a recording was finished, you can record overdubs
by selecting [REC] again. This process can be repeated as
often as you like, until the limit of memory is reached. From
the first overdub the recording is used for orientation, the
metronome function is automatically disabled.
praCtiCal hints
no sound?
Certain parameter settings may cause that no audible audio signal is generated. The current positions of the sliders are
taken both after a reboot and a Factory Reset. If you are at home in the world of synthesizers and their parameters, you will
elicit an audible audio signal from the instrument with a few specific steps. However, if you do not go quite as experienced
by synthesizers and want to demonstrate the instrument after someone (intentionally or unintentionally) has left it in "silent
mode", a little "Backup" can spare you one or another bead of sweat on your forehead.
With the app "reface Capture" (the description follows at the end of this document) on an iPad or iPhone you could send a
working Voice to the reface CS via Bulk Dump. If you just have nothing like that tangible: An easy-to-remember way is to
actually bring all the sliders to their central position. From there it is easy to grope for new settings.
The Pitch Bend stick has a fixed
range of +/- 12 semitones
assigned to it. The range can
be inverted for guitar- and
keytar-like playing styles. See
the manual for instructions on
that procedure.
usinG the looper
Since both iOS apps and USB feature the possibility to make recordings, hardly no one wants to make someone
elaborate compositions with the Looper. In addition, there is a bit of a challenge to finish a recording so that the loop runs
smooth.
The Looper is rather intended to support sound editing. You might be inspired by a current parameter setting to a small
phrase - or vice versa. After you have recorded the phrase, it's really fun to change the parameters during the playback of
the Looper. Both your hands are free, so more parameters can be varied simultaneously.
It is interesting that even the Bulk Dump to the "reface Capture" app on an iPad / iPhone that is connected via USB works in
parallel to the running Looper. By this you have the ability to archive many versions of a sound.

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demonstration
reface CS sounds excellent! To demonstrate this, it is advisable to start with a basic setting that focuses exclusively on
the Oscillator section. To do this, use the following basic setting for example, in which all sliders - with the exception of
those marked red - are set to their minimum position. With the blue marked sliders from the oscillator section you can
demonstrate very impressively, which sonic possibilities the different Oscillator Types using [TEXTURE] and [MOD] are
able to offer.
arChivinG
reface CS does not have a memory for selected sound settings. If you want the result of your personal settings held save, use
the app "reface Capture", which is described at the end of this guide for all reface models.
If you return a Voice saved in this way to the reface CS, it is very likely that there is no relationship between the actual
sound and the current positions of the sliders. And there's no visual indication of the current values - apart from the
Oscillator. With a little time, you can reconstruct every slider position by moving one by one through its value range.
Otherwise, just as in the early days of synthesizer history, a piece of paper and a pen helps. Even and especially if you are
traveling, perhaps with battery operated reface, but without iOS Device.
On the next page four examples show how this might look - so ge ahead and try to re-program those sounds!

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sounds to try

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for your own Creations

refaCe dX
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REFACE EssEntiAl knowlEdgE 06|2015
With reface DX true FM will return to
modern times! The compact instrument and
a superior sound will lead you to real "DX7
feeling". A carefully developed operating
concept offers an intuitive access to the FM
synthesis - even for beginners.
Important features include:
•FMToneGenerator(FrequencyModulation)
•Eightnotepolyphony,switchabletomonophonicmode
•FourOperators
•TwelveAlgorithms
•32memorylocationsforVoices
•SevenEffects,twocanbeusedinparallel
•LCDdisplay(128x64pixels)
•Touchsliders/switch
•PhraseLooper
the tone generator
A detailed description of FM synthesis is neither possible
in the course of this guide nor necessary. Nevertheless,
certain basic knowledge is helpful.
Frequency Modulation is based on the principle that a
base frequency is modulated by a second frequency - and
thereby a new tone is produced, from which the originally
used frequencies are not necessarily audible. In Frequency
Modulation one does not speak of Oscillators, but of
Operators. These can be used as a so-called Carrier for
the base frequency or as a Modulator.

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reface DX features four Operators. Twelve Algorithms
ensure variable interconnections of the Operators to each
other. Such an Algorithm is shown in the display like this
example:
So the functional diagram of FM looks like this:
For each Operator
a separately control-
able Feedback is
available.
A newly developed
Feedback process
provides two shapes of Feedback, Square and Sawtooth.
With a controllability between
0-127 each individual Operator
can already be assigned an
individual sound character.
memorY &
operating ConCept
reface DX is equipped with a Voice memory which is
organised into four Banks with eight Voices each.
The four Banks are sequentially selected using the Bank
button, the buttons 1-8 select the respective Voice. All
32 memory slots contain a Voice on delivery. These are
overwritten when you save your own creations. Using a
Factory Reset you can restore those "Factory Presets". Of
course there is a module for reface DX within the Capture
app, making data exchange possible.
Between Display and Bank section the FM keypad can
be found. This section gives justice to the generic term
"Quick Edit". Here it's child's play to explore the "research
area" FM. The link between the touch panel and the
display is perfectly implemented. Addictive potential:
extremely high!
The buttons of the FM keypad allow direct access to the
following parameters:
[FREQ]-FrequencyselectionforeachOperator
[LEVEL]-VolumeforeachOperator
[ALGO]-SelectionoftheAlgorithm
[FB]-FeedbackLevelandShapeforeachOperator

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The data can be modified with a touch area to the left
of the display. The function of the touch area is tailored
with a sophisticated system to match any parameter
situation. Four touch areas are arranged side by side and
contain backlit symbols. The following figure illustrates the
possible gestures:
An upward or downward movement (wiping) acts as a
slider. The speed of movement has an influence on the
rate the values change. Faster movements generate
larger changes in value. Tap and hold on the arrow (up or
down) provides continuous data change until you release
or the end of the value range is reached. A single tap
on the arrow changes the value in the smallest possible
increments +/- 1.
If there is something to turn on or off, a dot appears in the
center and is active as a switch.
The display gives information about the respective
assignment. With this combination it's possible to work in
a very intuitive way.
All buttons are backlit, many are - especially in Edit mode
- assigned with multiple functions which are reached by
pressing the buttons repeatedly. In the upper right corner
of the display some dots indicate the number of pages that
are assigned to the button and which of them is currently
active.
In this example the solid dot indicates that page 1 of 4
is selected.
As already mentioned, the four buttons combined under
"FM" provide quick access to the essential parameters of
the FM Tone Generator. In normal operation one of these
buttons is always active, which is signaled by its backlight.
At the same time, the touch panel displays its willingness
to change data by luminescent arrows.
If one of the arrows is touched, the associated parameter
is immediately changed. At the same time, the display
automatically switches to the corresponding parameter
display and shows the change in value.
On the far right on the control panel you will find the
button [STORE], which lets you store Voices.
As usual a name can be assigned and the target memory
slot can be choosen.

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A new and very useful feature goes by the name "Check".
Pressing the corresponding button on the touch panel,
the display shows a speaker symbol and the
Voice of the selected destination memory
slot is playable on the keyboard. By this you
can avoid the accidental overwriting of
a favorite Voice.
operators &
algorithms
With the parameters of the just described FM section very
impressive sound changes are easy to implement.
By pressing the button [FREQ] the current frequencies of
all Operators are displayed.
With the button [ALGO] the Algorithm is shown.
[LEVEL] calls up the display for Volume control of all
Operators.
[FB] will display the Feedback Level and Shape.
Using the touch panel all parameters are instantly
changed. It really is best to experiment a little in this
area of the FM-parametrics. This way you can playfully
experience how and which parameter changes affect the
sound.
If you - deliberately or accidentally - have achieved an
interesting result, simply save it with [STORE]. As long as
only Factory Presets are present in the memory, nothing
can get lost. If the memory is already occupied with your
own Voices, the Capture app can help to archive the
currently edited Voice.
edit mode & effeCts
reface DX has a very extensive set of parameters. It
would go beyond the scope of this guide to describe the
individual parameters and their impact in detail. However,
I would like to provide a brief overview at least.
After pressing the [EDIT] button the buttons 1-8 are
assigned with the function that is specified as text behind
the number.
The buttons 1-4 select the Operators and their associated
parameters, which go beyond what is possible in the
FM section. Among other things, these are the following
settings:
•AdvancedTuning
•FrequencyMode(Ratio/Fixed)
•VelocitySense
•KeyScaling(Rate&Level)
The buttons 5 and 6 contain all the parameters of the
Envelope Generator (EG). Each of these are available
per Operator.
The LFO [7] provides seven waveforms. This can be
controlled in rate and intensity for each Operator and can
affect both the pitch and the amplitude of a Voice.
The Pitch EG (Pitch Envelope Generator) [8] provides the
parameters Rate and Level and is also useable for each
Operator.

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The Effect section offers two parallel Effects. Simply
press the button [EFFECT] to get to the selection and the
parameters of the first Insert Effect. The following Effect
Types are available:
•Distortion
•TouchWah
•Chorus
•Flanger
•Phaser
•Delay
•Reverb
Each Effect has two Type-related parameters that can
be controlled via the touch sliders. Press on [EFFECT] a
second time to select the second Effect.
funCtions & looper
The button [FUNCTION] features four areas with
corresponding sub-functions. These are:
•VOICE
>Transpose
>Mono/Poly
>Portamento
>PitchBendRange
•MIDI
>TransmitChannel
>ReceiveChannel
>ControllerOn/Off
>LocalOn/Off
•SYSTEM
>AutoPowerOff-On/Off
>SpeakerOn/Off
>SustainFC4/FC5
>DisplayContrast
•JOB
>EditRecall
>VoiceInit
>VoiceRecall
>FactoryReset
The Looper and its functions are exactly the same as
of reface CS. Its operation is only adjusted to the user
interface of the reface DX and requires no renewed
description.
praCtiCal hints
easy voiCe edit
With its intuitive operating concept reface DX has the
potential to bring the FM synthesis close to even those
musicians, that would not necessarily be described as
synth nerds.
For the demonstration, it may be useful under certain
circumstances, to focus initially on a single Operator. In
order to isolate it acoustically, just change the Level of the
other Operators to 0.
•Choose one of the Presets, for example,
Bank1,No.5"DynaLead"
•Press[LEVEL]
•Reduce theLeveloftheOperators 2,3,and4tothe
value0
•Press[FB]
•Use slider 1 to demonstrate the different Feedback
Shapesandtheireffectonthesoundoftheindividual
Operators
There is no exit button. Usually [BANK] leads back to the
normal Voice mode.
Important: If you want to save your changes, do so before
choosing a different Voice. In an emergency you can fall
back on the job "Edit Recall" in [FUNCTION].
advanCed voiCe edit
If you want to give a short and simple sense of the "real"
Voice Edit mode, the LFO is your easiest choice. Here's a
short example:
•Choose one of the Presets, for example,
Bank3,No.1„WoodEP“
•Press[EDIT]
•Press button7 [LFO](ifnecessary severaltimes)until
"LFOAMD"isshownonthedisplay
•Change the values of the Carrier Operators 1 and 3
from0toabout50

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storing a voiCe
If you want to demonstrate the storage process, just follow
this compact procedure:
•Press[STORE]
•Press[NAME](leftswitchinthetoucharea)
•Use[ABC]withthetouch-arrowkeystoselectaletter
•Usetheswitchesleft/righttoselecttheletteryouwant
tomodify
•Thebuttononthefarleftinthetouchfield"store"lets
youreturntothechoiceofthememoryslot
•Select a memory slot using the Bank and number
buttons
•IfnecessaryusethepreviouslydescribedCheckfunction
•Press"STORE"withtherightswitchintoucharea

refaCe Cp
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REFACE EssEntiAl knowlEdgE 06|2015
As a "Combo Piano" reface CP provides six
classic keyboard sounds in outstanding
quality - and the smallest space. Carefully
chosen Vintage Effects help the sounds
to gain even more authenticity that
immediately calls legendary examples of
rock and pop music history into memory.
Important features include:
•Tone Generator: SCM (Spectral Component
Modeling)+AWM2
•Sixhighqualitykeyboardsounds
•EightVintageEffects
•FiveparallelEffects
•128notepolyphony
•Designandcontrolswith"retrofeel"
the tone generator &
voiCes
In reface CP the Tone Generator "SCM (Spectral
Component Modeling) + AWM2" is used. This Tone
Generator has already conquered the stages of the world
in recent years with the "big brother", the Yamaha CP1,
and has since been implemented in other instruments of
the CP series.
Six excellent sounding Voices are available and can be
selected via a rotary switch:
•RdI-ElectricPianofromtheearly70s
•RdII-ElectricPianofromtheearly70s
•Wr-ClassicE-Pianofromthelate60s
•Clv-TypicalClavinetsound
•Toy-VintageToyPiano
•CP-YamahaCP80GrandPiano

REFACE EssEntiAl knowlEdgE 06|2015
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A red LED indicates the current selection, which also
applies to the Effects described below.
the effeCts
reface CP features eight Vintage Effects, which are
finely tuned to the Voices. Up to five Effects can be
simultaneously combined. The following options are
available:
•Drive
•Tremolo
•Wah
•Chorus
•Phaser
•DigitalDelay
•AnalogDelay
•Reverb
drive
The Drive knob is right
next to the Voice selection
knob. This Effect adds
a Distortion that is
respectively tuned to the
selected Voice. At the
same time the sound is
sonically colored and gets some more brilliance. If the
knob is turned all to the left, the Effect is turned off, a
clockwise rotation increases the Effect to the maximum
possible level.
The following six Effects are combined in pairs. For
each pair a three-stage switch is available. At the center
position none of the Effects is active (Bypass). Switching
it up / down turns on the corresponding Effect. The LED
indicates that the Effect is active, the knobs are used to
control its parameters.
The Effects are individually tailored to the different Voices.
tremolo/wah
The Tremolo Effect works as Stereo Panner for the Voices
RdI, RdII, and Cp. For the Voices Wr, Clv, and Toy an
amplitude modulation in mono is provided. The Wah
Effect modulates the filter, depending on the volume of
the signal. The knob "DEPTH" controls the intensity, "RATE"
the speed of the Effect.
Chorus/phaser
These are the well known Effects that affect all Voices
equally. The control options are similar to the other Effects.
diGital delay/analoG delay
The two Delay Types differ in the precision with which
the signal is repeated. The Digital Delay generates exact
repetitions of the signal, while the Analog variant works
with slightly inaccurate repetitions - which leads to a