DIGITAL PIANO
ENGLISH
MAN0010006
E 2
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The lightning flash with arrowhead symbol
within an equilateral triangle, is intended to
alert the user to the presence of uninsulated
“dangerous voltage” within the product’s
enclosure that may be of sufficient magni-
tude to constitute a risk of electric shock to
persons.
IMPORTANT SAFETY INSTRUCTIONS
•
•
•
•
•
•
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
The exclamation point within an equilateral
triangle is intended to alert the user to the
presence of important operating and mainte-
nance (servicing) instructions in the literature
accompanying the product.
Mains powered apparatus shall not be exposed to dripping or
splashing and that no objects filled with liquids, such as vases,
shall be placed on the apparatus.
•
•
Clean only with dry cloth.
Do not block any ventilation openings, install in accordance
with the manufacturer’s instructions.
•
•
Do not install near any heat sources such as radiators, heat reg-
isters, stoves, or other apparatus (including amplifiers) that pro-
duce heat.
THE FCC REGULATION WARNING (FOR U.S.A.)
This equipment has been tested and found to comply with the limits
for a Class B digital device, pursuant to Part 15 of the FCC Rules. These
limits are designed to provide reasonable protection against harmful
interference in a residential installation. This equipment generates,
uses, and can radiate radio frequency energy and, if not installed and
used in accordance with the instructions, may cause harmful
interference to radio communications. However, there is no
guarantee that interference will not occur in a particular installation.
If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the
equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
Do not defeat the safety purpose of the polarized or ground-
ing-type plug. A polarized plug has two blades with one wider
than the other. A grounding type plug has two blades and a
third grounding prong. The wide blade or the third prong are
provided for your safety. If the provided plug does not fit into
your outlet, consult an electrician for replacement of the obso-
lete outlet. (for U.S.A. and Canada)
•
Protect the power cord from being walked on or pinched par-
ticularly at plugs, convenience receptacles, and the point where
they exit from the apparatus.
•
•
Only use attachments/accessories specified by the manufacturer.
• Reorient or relocate the receiving antenna.
Unplug this apparatus during lightning storms or when unused
for long periods of time.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from
that to which the receiver is connected.
•
Turning off the power switch does not completely isolate this
product from the power line so remove the plug from the
socket if not using it for extended periods of time, or before
cleaning. Please ensure that the mains plug or appliance couple
remains readily accessible.
• Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modification to this system can void the
user’s authority to operate this equipment.
•
Refer all servicing to qualified service personnel. Servicing is
required when the apparatus has been damaged in any way,
such as power-supply cord or plug is damaged, liquid has been
spilled or objects have fallen into the apparatus, the apparatus
has been exposed to rain or moisture, does not operate nor-
mally, or has been dropped.
CE MARK FOR EUROPEAN HARMONIZED STANDARDS
CE mark which is attached to our company’s products of AC mains
operated apparatus until December 31, 1996 means it conforms to
EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).
And, CE mark which is attached after January 1, 1997 means it
conforms to EMC Directive (89/336/EEC), CE mark Directive (93/68/
EEC) and Low Voltage Directive (73/23/EEC).
•
•
•
Do not install this equipment on the far position from wall out-
let and/or convenience receptacle.
Also, CE mark which is attached to our company’s products of Battery
operated apparatus means it conforms to EMC Directive (89/336/EEC)
and CE mark Directive (93/68/EEC).
Do not install this equipment in a confined space such as a box
for the conveyance or similar unit.
Use only with the cart, stand, tripod, bracket, or table specified
by the manufacturer, or sold with the apparatus. When a cart is
used, use caution when moving the cart/apparatus combination
to avoid injury from tip-over.
IMPORTANT NOTICE TO CONSUMERS
This product has been manufactured according to strict specifications
and voltage requirements that are applicable in the country in which
it is intended that this product should be used. If you have purchased
this product via the internet, through mail order, and/or via a
telephone sale, you must verify that this product is intended to be
used in the country in which you reside.
WARNING: Use of this product in any country other than that for
which it is intended could be dangerous and could invalidate the
manufacturer's or distributor's warranty.
Please also retain your receipt as proof of purchase otherwise your
product may be disqualified from the manufacturer's or distributor's
warranty.
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EXAMPLE SCREENS
UPDATING THE SOFTWARE
Some pages of the manuals show LCD screens along with an explanation of
functions and operations. All sound names, parameter names, and values are
merely examples and may not always match the actual display you are work-
ing on.
The system software of your C-720 can be updated. From time to time, Korg
might release new versions including bug fixes and new features. Please
check our website for more information.
LIABILITY
CLEANING THE DISPLAY
Korg products are manufactured under strict specifications and voltages
required by each country. These products are warranted by the Korg distrib-
utor only in each country. Any Korg product not sold with a warranty card
or carrying a serial number disqualifies the product sold from the manufac-
turer's/distributor's warranty and liability. This requirement is for your own
protection and safety.
Use a soft cotton cloth to clean the screen. Some materials, such as paper
towels, could cause scratches and damage it. Computer wipes are also sug-
gested, provided they are specifically designed for LCD screens.
Do not spray any liquids on the LCD screen directly. Always apply the solu-
tion to your cloth first, then clean the screen.
TRADEMARKS
ASSISTANCE AND SERVICE FOR MUSICIANS
Macintosh is a registered trademark of Apple Computer, Inc. MS-DOS and
Windows are registered trademarks of Microsoft Corporation. All other
trademarks or registered trademarks are the property of their respective
holders.
For repairs, contact your nearest Authorized KORG Service Center. For more
information on KORG products, and to find software and accessories for
your piano, please contact your local Authorized KORG distributor.
KORG ON THE INTERNET
DISCLAIMER
The information contained in this manual has been carefully revised and
checked through. Due to our constant efforts to improve our products, the
specifications might differ to those in the manual. Korg is not responsible for
any eventual differences found between the specifications and the contents
of the instruction manual - the specifications being subject to change with-
out prior notice
WARRANTY
KORG products are manufactured according to the strictest electrical and
mechanical regulations that exist in various countries of the world. These
products are warranted by the KORG distributor only in each country. Any
KORG product that is not sold with the manufacturer’s or distributor’s war-
ranty, or without a serial number, cannot benefit from servicing under the
warranty. This regulation is for the consumer’s own protection.
DATA RESET
When the instrument is turned off, any unsaved parameters or songs are
reset.
© 2006 Korg Inc. Printed in Italy.
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>
Contents
Main features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Saving a sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Setting the volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Adjusting the effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Setting the reverb effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Setting the insert effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Selecting a scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Open the key cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Using the music stand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Listening to the Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Transposing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Changing the brilliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Touch settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Master tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Brilliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Default split point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Fast Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Mute Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
MIDI Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
MIDI Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
General Reset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Editing a performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Adjusting the tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Drum patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Selecting the accent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
What is MIDI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Program Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Control Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
How to select a song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
How to start playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Cycle Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Saving the song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Caution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Error messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Polyphony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Erasing a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Quantizing the song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Deleting the song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Saving the song after editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . . . 77
3
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Introduction > Main features
Introduction
Main features
Piano eXperience (or EPx) effects are particularly evident in
sounds like GrandPiano, BriteGrand and MelloPiano.
Wide range of sounds
Forty different and expressive high-quality sounds, including
a Stereo Concert Grand Piano. You can use the Layer and Split
functions to simultaneously play a combination of two
sounds. Sounds and sound combinations can be freely modi-
fied.
One-hundred eighty-five songs
The C-720 includes a huge library of songs, based on famous
pieces and lesson books. These songs are perfectly suitable for
piano lessons, being recorded into two separate parts (left
hand on Part 1, right hand on Part 2) that you can easily turn
off and play on the keyboard. In addition, you can change the
metronome’s tempo and let a defined passage play in cycle.
Performances
Sound combination can also be saved into performances, giv-
ing you an additional set of 30 timbres (3 banks of 10 perfor-
mances). Performances also store a custom split point, for
custom combinations of sounds over the keyboard.
SongBook included
The SongBook album is also included as a printed music book
– a great resource for practicing and playing along with your
preferred tunes.
Four zones keyboard
The new high-quality, realistic Korg RH3 keyboard features
four zones with different weights. This gives you the same re-
alism and feeling as a grand piano keyboard.
Onboard recorder
A multi-track, easy-to-use onboard recorder, lets you record
your own songs, or read Standard MIDI Files that you can
transfer via the integrated USB port from an external comput-
er.
Touch control
You can choose from nine different settings to adjust how the
sound will respond to your keyboard playing dynamics.
Metronome
Pedal effects
The built-in metronome allows you to select the time signa-
ture, tempo, and volume, and use a bell sound as the accent. It
can even give you a drum accompaniment in a musical style of
your choice (drum patterns).
The C-720 provides the same three pedals as a grand piano,
controlling the soft, sostenuto, and damper functions respec-
tively. The damper pedal simulates the natural string reso-
nances and noises of an acoustic piano, by means of the
innovative Korg EPx (Piano eXperience) technology. Both the
damper and soft pedals let you vary the amount of the effect by
how far you press down on them (“half-pedal” function). In
addition, pedals can be freely assigned to other functions, like
starting the recorder or changing the speed of the rotary speak-
er.
Data transfer via USB
When connected to a personal computer via the USB port, the
C-720’s internal memory can be seen as a USB disk. This way,
you can backup your data, or transfer files between the C-720
and the personal computer.
Piano eXperience
MIDI capabilities
While existing piano sampling techniques have resembled an
audio snapshot, our new “Piano eXperience” technology is
more of a hologram, accurately reproducing every dimension-
al detail of the sound. All piano sampling for the C-720 is done
in stereo to preserve the natural imaging of the sound. Differ-
ent dynamic levels are captured to extend the instrument's ex-
pressive vocabulary.
The C-720 supports the MIDI protocol, the standard that al-
lows music data to be transferred between musical instru-
ments and computers. MIDI allows two or more devices to
control or be controlled by each other, and also allows you to
use the C-720 as a 16-part multitimbral tone generator.
MIDI over USB
Going even further, the C-720 uses the sound of the key being
released and the hammer returning, as well as the sympathetic
damper resonance of the strings to create all of the subtle shad-
ings that create a superior instrument sound. This attention to
detail defines the sound of the new C-720, providing an instru-
ment that can interpret every nuance of touch into a meaning-
ful musical gesture.
The USB port also carries MIDI data, so that you can connect
the C-720 directly to your personal computer with a single ca-
ble and without the need of a dedicated MIDI interface. A ded-
icated KORG USB MIDI Driver is freely available for full use
of the C-720’s MIDI features.
4
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Introduction > Main features
an insert effect (delay, phaser, equalizer, rotary speaker,
etc…), that is specially suited to each particular sound.
Temperaments
In addition to the Equal temperament, the C-720 allows you to
select nine alternative temperaments, for historically accurate
performance of classical music, or experimenting. When se-
lecting an acoustic piano sound, the typical Stretched Tuning
is automatically selected.
Powerful integrated amplification
The C-720 includes a powerful, 2 × 35 Watt, plus 2 × 12 Watt
double stereo amplifier, with two woofers in closed box and
two dome tweeters. This gives the most authentic sound re-
production, together with enough volume to deliver the full
power of an acoustic piano.
Adjustable pitch
The Transpose function lets you change the pitch of the piano,
and the Master Tuning function allows you to make fine tune
adjustments.
Two sets of headphones
You can connect two stereo headphones, to play with your
teacher or another musician. Connecting a headphone set au-
tomatically disconnects the speakers, so there is no risk to dis-
turb others when practicing by night.
Effects
The C-720 provides built-in digital effects that can simulate
the natural ambience of a concert hall (reverb) and add rich-
ness to the sound (chorus). In addition, each sound includes
5
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Control panel >
Control panel
PERFORMANCE
button:
Enters/exits
Performance
mode. While in this mode,
the sound selection buttons
are used to choose perfor-
sounds. See page 18.
ꢀ ꢁ
/
(Scroll) but-
tons: Move the cursor
in the display, from
one parameter to the
following or the previ-
ous one. The cursor is
indicated by a point-
VARIATION
button:
MASTER
VOLUME
Selects one of the avail-
able variations of the cur-
rently selected sound, or
one of the three perfor-
mance banks.
knob: Adjusts the vol-
ume for the speakers,
the Output and the
Phones connectors
Display: Shows the vari-
ous sound names and
parameters.
ꢂ
ing arrow ( ) next to
a parameter’s name.
SPLIT button: Turns Split mode on or off. When in
Split mode, a sound is assigned to your right hand,
and a different one to the left hand. Keep it pressed
ent split point. See page 15.
SOUND SELECTION buttons: Press a button to select a sound (Sin-
gle mode). You can press two buttons at the same time, to play
two sounds at the same time on the keyboard (Layer mode). Press
with your left hand (Split mode). See page 13.
When the PERFORMANCE indicator is turned on (Performance
page 18.
POWER switch: On/Off
switch. When in the
Standbay position, the
piano is turned off.
Power LED
6
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Control panel >
+/YES / -/NO (Value) but-
tons: Change the value of
the parameters appearing
in the display. The editable
parameter is shown by the
EDIT button: Press it
to access the Edit
mode relevant to the
current type of data
selected in the dis-
play. Four Edit modes
(see page 38), Perfor-
Song (see page 34)
ꢂ
cursor ( ) placed on its
left, or (when editing text)
with the character/cipher in
edit flashing. By keeping
them pressed, the values
start changing automati-
cally, first slowly, then
slightly faster. By pressing
them together, the param-
eter is reset to its default
value.
REVERB button:
Turns the reverb
on/off. This adds
ambience to the
sound. Keep it
pressed for more
than one second
to access the
(see page 17).
CHORUS button:
Turns the chorus
on/off. This makes
the sound richer.
Keep it pressed
for more than
one second to
access the Chorus
page 17).
page 47). Global edit
mode can be
accessed by keeping
the EDIT button
METRONOME
button:
Turns the metronome click
on/off. The tempo and
time signature depend on
the chosen values, or the
While in the Main page,
these buttons can be used
to select a different varia-
tion of the current sound.
pressed for more
than one second).
page 20).
TEMPO/MET.SET but-
tons: Adjust the met-
ronome tempo. The +
button
faster, while the
makes
it
–
button
slower.
makes
it
Pressed
together, they give
editing. See page 20.
RECORDER
but-
tons: Control the
playback or record-
page 23,
page 27.
TRANSPOSE
button:
EXIT button: Press it to
exit Edit mode, or to
return to the Main page
from other pages. When
exiting from the Edit
mode, the Save proce-
dure will be recalled.
When a drum pattern is
assigned to the Metro-
nome, and it is running,
this button doubles as a
BRILLIANCE
Press this button to
open the Brilliance
button:
DEMO button: Turns
the Demo mode on/off,
to listen to the demo
songs. Select the songs
with the sound selec-
Press this button to
open the Transpose
page and change the
master transpose value.
When the indicator is
turned on, transposi-
tion is active. Changes
made after pressing this
button are not saved to
memory, and are reset
page and change the
brilliance value. When
the indicator is turned
on, a brilliance varia-
tion is active. Changes
made after pressing this
button are not saved to
memory, and are reset
page 11). You can play
together with the demo
songs.
when
turning
the
when
turning
the
instrument off. See
page 16.
page 21, page 30).
instrument off. See
page 17.
7
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Connections >
Connections
MAINS socket: Connect
the power cord to this
connector.
MIDI (OUT, IN) connectors:
Pedals connec-
OUTPUT (L/MONO, R) connec-
Connectors that are used to
connect other MIDI devices
(sequencer, keyboards, etc.).
OUT: Data output (to be
connected to the MIDI IN
connector of another MIDI
device). IN: Data input (to be
connected to the MIDI OUT
connector of another MIDI
device).
tor: Connect the
supplied pedals
to this connector.
tors: Audio outputs. Connect
these connectors to an external
amplifying system. (With a hi-fi
system use the LINE, AUX, CD or
TAPE connectors, not the
PHONO connector). To amplify
the C-720 in mono, connect the
single L/MONO connector. Use
the MASTER VOLUME knob to
set the output volume.
USB connector: Type B (slave),
INPUT (L/MONO, R) connectors:
USB 1.1-compliant, standard
connector. Connects to a per-
sonal computer (PC or Mac).
MIDI use (see page 56).
Line audio inputs. Connect to
these connectors an external
audio source, such as a CD, MP3
or tape player, or another key-
board. To connect a microphone,
you need an external microphone
preamplifier or a mixer.
Warning: Avoid connecting the
output of a power amplifier to
these inputs!
Headphone Hook
PHONES connectors: Con-
nect one or two pairs of
headphones to these jacks.
The integrated speakers
will turn off.
8
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Connections > Connecting to external audio devices
Connecting to external audio devices
amplification, connect only the L/MONO output. Do not con-
Connecting to an external amplification system
nect the output of a power amplifier!
Use the OUTPUT connectors, if you like to connect your C-
720 to a high-quality mixer, stereo hi-fi, or a couple of active
monitors. When using a stereo hi-fi, connect the OUTPUTs to
the LINE, AUX, CD or TAPE inputs (never use the PHONO
inputs). For mono amplification, connect only the L/MONO
output.
L/MONO
R
AUX IN
OUTPUT
Connecting other audio devices to the C-720
Use the INPUT connectors, to connect a computer, mixer,
drum machine, synthesizer, MP3 or tape player, to your C-
720, and hear their sound run through its speakers. For mono
INPUT
9
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Before you begin > Open the key cover
Before you begin
Open the key cover
Gently lift the center of the sliding key cover by the indented
portion, and support it while you slide it carefully and fully
into the C-720. Before you open the key cover, make sure that
no foreign objects such as papers or coins are on the top of the
key cover itself, otherwise, these objects may fall into the in-
strument.
To close the key cover, gently lift the center by the indented
portion, and slide it forward. The cover has a soft-landing
mechinism, that makes closing it safer.
Note: Be careful not to pinch your fingers or hand while open-
ing or closing the key cover.
Note: The key cover may be damaged if you use excessive force
when opening or closing it.
Turning the instrument on
Connect the supplied power cord to the dedicated socket un-
der the rear of the instrument. Then, plug it into a wall socket.
You don’t need to worry about the local voltage, since the C-
720 uses a universal power adapter.
To turn the instru-
ment off, press the
POWER
again.
switch
After having connected the power cable, press the POWER
switch. When the instrument is turned on, the buttons on the
control panel and the display will light up. Also, an LED on the
front of the instrument, also visible when the key cover is
closed, will light up.
Power LED
Using the music stand
Opening and closing the music stand
Using the score holders
Tilt the music stand up-
right, and use the two
stoppers located on the
rear to hold the music
stand in place.
To keep a music book open, use the two score holders in front
of the music stand. Push on the shorter side to make them slide
up. Push on the longer side to make them slide down. Do not
apply excessive strength or weight to the holders, or you will
risk to break them.
To lower the music stand,
release the stoppers and rest the music stand on the flat top.
10
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Before you begin > Adjusting the volume
Adjusting the volume
Rotate the MASTER VOLUME knob towards the right to in-
crease the volume; towards the left to decrease the volume. The
maximum value is “10”; the minimum (silence) is “0”. This
control adjusts the output level of the headphones, the internal
speakers and of the OUTPUTs.
It does not control the volume of an audio device connected to
the INPUT connectors. Use the audio device’s own controls to
set its volume.
It is always better to start with a low volume and then increase
gradually.
Using the headphones
For playing or practicing during night hours, or when you
don’t want to be heard by others in the same room, connect
one or two pairs of high-quality headphones (32Ω impedance
suggested) to the appropriate PHONES connectors. These
connectors are standard 1/4” phone jacks. If your headphones
have a mini-jack adapter, grasp the adapter when plugging in
or out the headphones.
Warning: When using headphones, protect your hearing by
avoiding extended listening at high volumes.
Note: When not using them, you can append your headpho-
hones to the dedicated hook under the piano.
Listening to the Demo
The C-720 contains 20 pre-recorded demo songs. Listen to
them to experience the rich sound and expressive potential of
this instrument. Here is a list of the available demo songs:
to the demo song currently in play will turn on. The name
of the song will be shown in the display:
DEMO:GrandPiano1
ꢂ
Bk1 Press Sound
Button
Bank 1 (1-10)
Bank 2 (11-20)
PIANO 1
GrandPiano1
Honky-Tonk
El. Piano 1
Digi Piano
Harpsichord
Vibes
GrandPiano2
Piano Pad
El. Piano 2
Vintage EP
Clav.
All demo songs will be played back one after the other.
After the last song, the playback will begin again from the
first song.
PIANO 2
E.PIANO 1
E.PIANO 2
HARPSI/CLAV
VIBES/GUITAR
ORGAN 1
ORGAN 2
STRING/CHOIR
BASS
3. To pause the current song, press the PLAY/PAUSE button.
Press it again to restart playback from the same position.
4. To stop the playback and exit the demo mode, press the
Ac. Guitar
Jazz Organ2
Pipe Flute
Choir
DEMO or the EXIT button.
Jazz Organ1
Full Pipe
Listen to a specified song
Strings
You can select just one demo song to be played back.
1. First of all, you must select one of the demo song banks.
Ac. Bass
El. Bass
•
To select the first bank (Bk1, songs 1-10), press the DEMO
button once. The indicators will blink sequentially, from
left to right. The Demo page will appear in the display:
During the demo playback you can’t use any other buttons.
However, you can still play the keyboard to play along with the
demo songs.
DEMO:-----------
Listen to all songs at once
ꢂ
Bk1 Press Sound
You can listen to all demo songs with a single command.
1. Press the DEMO button. The sound selection indicators
will blink sequentially from left to right. The Demo page
will appear in the display:
•
•
To select the second bank (Bk2, songs 11-20), press the +/
YES button.
To return to the first bank, press the -/NO button.
DEMO:-----------
2. Press one of the sound selection buttons to select the cor-
responding demo song in the selected bank. The demo is
based on the sound associated with the button. The indi-
cator on the selected demo button will stay on, while the
other indicators will turn off.
ꢂ
Bk1 Press Sound
2. Wait some seconds, without pressing any button. The first
demo song will begin to play. The indicator corresponding
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Before you begin > Listening to the Demo
3. After the end of the selected song, all the songs will be
6. To stop the current song without exiting from the Demo
mode, press STOP. Choose a different song and wait for it
to start playing back.
played back in cycle.
4. If you want to select a different song, press one of the
sound selection buttons.
7. To stop the playback and exit the demo mode, press the
DEMO or EXIT button.
5. To pause the current song, press the PLAY/PAUSE button.
Press it again to restart playback from the same position.
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Basic functions > Playing a single sound (Single mode)
Basic functions
Playing a single sound (Single mode)
When you turn the instrument on, it is in Single mode.
Main sound
Main
ꢂ
GrandPiano 4/4
120
The single Grand Piano sound is selected, and plays over the
full keyboard. Its name is shown in the display:
You can replace it with any of the 40 sounds supplied with the
details on each sound are on page 68):
Sound
Button
Var. 1
Var. 2
Var. 3
Var. 4
Var. 5
Var. 6
PIANO 1
GrandPiano*
Honky-Tonk
Tine EP 1
Dig. EP 1
Harpsi 8'
BriteGrand*
MelloGrand*
SuitTineEP
Dig. EP 2
Rock Piano
Piano&Pad
DynoTineEP
Reed EP
Piano&Str.
Elec.Grand
Tine EP 2
PIANO 2
M1 Piano
E.PIANO 1
E.PIANO 2
HARPSI/CLAV
VIBES/GUITAR
ORGAN1
TremReedEP
Synth Clav
Harpsi 16'
Vibes 2
Clav
Vibes 1
Nylon Gtr.
Perc.Org.2
Pipe Tutti
String Pad
Fretless B
Jazz Organ
Church Org
Strings
Perc.Org.1
Pipe Flute
Slow Str.
ORGAN2
STRINGS/CHOIR
BASS
Choir
ScatVoices
Vocal Pad
Ac. Bass
El. Bass
Bass&Ride
* Note: The EPx effects are not available when you are in Layer mode.
Selecting a sound
You can use the sound selection buttons to select a different
sound.
The indicator on the button you pressed will light. The
name of the selected sound will appear in the display:
1. Press one of the sound selection buttons in order to select
Sound name
a sound type.
ꢂ
GrandPiano 4/4
120
1
6
2
7
3
8
4
9
5
2. Use the VARIATION button to select one of the available
variations of the base sound (see table above). When the
last variation has been selected, press it again to select the
base sound again.
10
As an alternative, use the +/YES button to scroll the sound
variation list forward; the -/NO button to scroll it back-
wards.
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Basic functions > Playing two sounds at the same time (Layer mode)
Playing two sounds at the same time (Layer mode)
You can play two sounds at the same time on the keyboard. It
is like having two “overlapping” sounds. This is called the Lay-
er mode.
Selecting a variation of the Main sound
You can select a variation of the current Main sound.
1. Be sure the cursor is in the first line of the display. If it isn’t,
ꢀ
use the SCROLL
button to move it there:
Main
Cursor
Layer
ꢂ
GrandPiano 4/4
Strings 120
Keep in mind that, when in Layer mode, the total number of
voices that you can play at the same time is reduced, depend-
ing on the total number of oscillators used by the selected
sounds.
2. Use the VARIATION button to select a different sound
variation. As an alternative, use the +/YES and -/NO but-
tons to choose a different sound variation.
Entering the Layer mode
Selecting a variation of the Layer sound
To access Layer mode from any other mode, press together
two sound selection buttons. The lowest-numbered sound in
the following diagram will be the Main sound, while the high-
est-numbered sound will be the Layer sound:
You can select a variation of the current Layer sound.
ꢁ
1. Use the SCROLL
button to move the cursor to the Lay-
er sound.
1
2
3
4
5
ꢂ
GrandPiano 4/4
Strings 120
6
7
8
9
10
ꢁ
Scroll
GrandPiano 4/4
ꢂ
Strings
120
The name of the two sounds will appear in the display:
Main sound
2. Use the VARIATION button to select a different sound
variation. As an alternative, use the +/YES and -/NO but-
tons to choose a different sound variation.
ꢂ
GrandPiano 4/4
Strings 120
ꢀ
3. If you desire so, use the SCROLL
buttons to move the
cursor back to the Main sound.
Layer sound
Balancing layered sounds
Exit from the Layer mode
You can adjust the sound’s volume balance.
To exit Layer mode, press a single sound selection button, or
the SPLIT button. You will return to the Single mode, with a
single sound playing on the keyboard, or to the Split mode,
with a sound on the left and one on the right of the split point.
•
Keep the Main sound button pressed, to increase its vol-
ume and (after the maximum value has been reached)
decrease the volume of the Layer sound. Release the but-
ton when done.
•
Keep the Layer sound button pressed, to increase its vol-
ume and (after the maximum value has been reached)
decrease the volume of the Main sound. Release the but-
ton when done.
Selecting a different pair of sounds
To select different sounds, press a different pair of sound selec-
tion buttons. The last selected variation of the sounds corre-
sponding to the new buttons will be selected.
While the volume is changing, a meter is shown in the display:
Main sound’s volume
ꢃ ꢃ ꢃ ꢃ ꢃ
M:90
L:127
ꢃ ꢃ ꢃ ꢃ ꢃ ꢃ
Layer sound’s volume
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Basic functions > Playing different sounds with your left and right hand (Split mode)
Playing different sounds with your left and right hand
(Split mode)
You can play a sound with your right hand (the Main sound),
and a different one with the left hand (the Left sound). This is
called the Split mode.
Selecting a variation of the Main sound
You can select a variation of the Main sound after accessing the
Split mode.
1. Be sure the cursor is in the first line of the display. If it isn’t,
Split Point
ꢀ
use the SCROLL
button to move it there:
Cursor
ꢂ
GrandPiano 4/4
Main
Left
Ac.Bass 120
2. Use the VARIATION button to select a different sound
variation. As an alternative, use the +/YES and -/NO but-
tons to choose a different sound variation.
Entering the Split mode
To access Split mode from any other mode, press the SPLIT
button. The Main sound of the Single or Layer mode will be as-
signed to the right half of the keyboard (Main area, shown in
the first line of the display), and a Bass sound will be assigned
to the left half of the keyboard (Left area, shown in the second
line of the display).
Selecting a different Left sound
You can select a different Left sound after accessing the Split
mode.
1. Keep the SPLIT button pressed. The indicator of the Left
Main sound
sound lights up.
2. Use the sound selection buttons to select a different sound.
3. Release the SPLIT button.
ꢂ
GrandPiano 4/4
Ac.Bass 120
Left sound
As an alternative, use the display controls:
While the Ac.Bass sound will be chosen as the Left sound the
first time you enter Split mode, the last selected sound will be
assigned if you return to Split mode later.
ꢁ
1. Use the SCROLL buttons to move the cursor to the Left
sound.
ꢂ
GrandPiano 4/4
Exit from the Split mode
Ac.Bass 120
To exit Split mode, press the SPLIT button again to return to
the Single mode, or press two sound selection buttons together
to enter Layer mode.
ꢁ
Scroll
GrandPiano 4/4
Choosing a different split point
ꢂ
Ac.Bass
12
If the selected split point is too high or too low, you can choose
a different one. Please note that you can set a default split
(see “Default split point” on page 48).
2. Use the sound selection buttons as you would do to select
a sound in Single mode.
ꢀ
3. Use the
buttons to move the cursor back to the Main
1. Keep the SPLIT button pressed. The current split point is
sound.
shown in the display while you keep the button pressed.
Selecting a variation of the Left sound
ꢂ
SplitPoint: F#3
You can select a variation of the Left sound after accessing the
Split mode.
2. Play a note to set a different split point.
3. Release the SPLIT button.
1. Keep the SPLIT button pressed. The indicator of the Left
sound lights up.
2. Use the VARIATION button to select a different sound
Selecting a different Main sound
variation.
You can select a different Main sound after accessing the Split
mode. Use the sound selection buttons as you would do to se-
lect a sound in Single mode.
3. Release the SPLIT button.
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Basic functions > Using the pedals
As an alternative, use the display controls:
Balancing sounds in Split mode
ꢁ
1. Use the SCROLL buttons to move the cursor to the Left
You can adjust the sound’s volume balance.
sound.
•
Keep the Main sound button (the one whose indicator is
turned on) pressed, to increase its volume and (after the
maximum value has been reached) decrease the volume of
the Left sound. Release the button when done.
ꢂ
GrandPiano 4/4
Ac.Bass 120
ꢁ
•
Keep the SPLIT button pressed, or press the SCROLL
ꢁ
Scroll
button to move the cursor to the second line of the dis-
play. The indicator of the Left sound lights up. Then, keep
the Left sound button pressed, to increase its volume and
(after the maximum value has been reached) decrease the
volume of the Main sound. Release the button when done.
GrandPiano 4/4
ꢂ
Ac.Bass
12
2. Use the VARIATION button to select a different sound
variation. As an alternative, use the +/YES and -/NO but-
tons to choose a different sound variation.
While the volume is changing, a meter is shown in the display:
Main sound’s volume
ꢀ
3. If you want, use the SCROLL
buttons to move the cur-
ꢃ ꢃ ꢃ ꢃ ꢃ
M:108
L:127
sor back to the Main sound.
ꢃ ꢃ ꢃ ꢃ ꢃ ꢃ
Left sound’s volume
Using the pedals
The C-720 has three assignable pedals, usually acting as damp-
ferent functions (see page 44 for sound-level assignment, or
page 49 for global programming).
producing a richly resonant decay. You can control the damp-
er’s depth by how far down you press on the pedal (“half-ped-
aling”).
Sounds like GrandPiano, BriteGrand and MelloGrand also
trigger EPx effects while in Single and Split mode. However,
these effects are not available when you are in Layer mode.
With the default settings, you can use these pedals to add ex-
pression to your playing, as on a traditional piano.
(2) Sostenuto pedal
3
2
1
Pressing this pedal will apply the damper effect only to the
notes that are already being held down on the keyboard, and
will sustain only those notes. The damper effect will not be ap-
plied to any additional notes that you play while holding down
the Sostenuto pedal (apart for the notes already held).
Soft
Damper
Sostenuto
(3) Soft pedal
Pressing this pedal will make the tone softer. You can control
the soft effect depth by how far down you press on the pedal
(“half-pedaling”)
(1) Damper pedal
The damper pedal simulates the natural string resonances of
an acoustic piano. Pressing this pedal will sustain the sound,
Transposing
In some cases, a song may be written in a difficult key (e.g.,
many black keys), or you may wish to shift the pitch to match
another instrument or vocalist. In such cases, you can trans-
pose (shift the pitch) so that you can use an easier fingering, or
use the same familiar fingering to play at a different pitch. This
is called the Transpose function.
For example if you transpose upward by one semitone, playing
the notes shown at the lower left will produce the pitches
shown at the right.
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Basic functions > Changing the brilliance
Note: When the instrument is turned on, transposing is reset.
2. Use the +/YES and -/NO buttons to change the transpose
value in steps of one semitone, within a range of 11 semi-
tones. When a transposition is active, the indicator turns
on.
1. Press the TRANSPOSE button to show the Transpose dis-
play:
Transpose
3. Press the EXIT button to exit from this page.
ꢂ
+02 semitones
4. Press the TRANSPOSE button again to turn transposition
off. The indicator will turn off.
Transpose value
5. Press the TRANSPOSE button if you want to turn transpo-
sition on again, with the last value selected. The indicator
will turn on again. Wait some seconds for the page to dis-
appear, or press the EXIT button to exit immediately.
If you do no changes, just wait some seconds for the page
to automatically disappear. Otherwise, you can exit from
this page by pressing the EXIT button.
Changing the brilliance
Brilliance is the sound’s brightness, that may be affected by the
sound of the room the piano is placed into. For example, a
heavy carpeted room sounds duller than a room containing
less carpeting or furniture. You can set an overall increase or
decrease of brilliance for all sounds.
If you do no changes, just wait some seconds for the page
to automatically disappear. Otherwise, you can exit from
this page by pressing the EXIT button.
2. Use the +/YES and -/NO buttons to change the brilliance
value. When a brilliance change is active, the indicator
turns on.
page of the Global mode (see page 48). However, contrary to
the changes you can make in the Global mode, the changes
made with this button cannot be memorized, and are reset
when turning the instrument off.
3. Press the EXIT button to exit from this page.
4. Press the BRILLIANCE button again to turn brilliance
changes off. The indicator will turn off.
5. Press the BRILLIANCE button if you want to turn bril-
liance on again, with the last value selected. The indicator
will turn on again. Wait some seconds for the page to dis-
appear, or press the EXIT button to exit immediately.
Note: When the instrument is turned on, brilliance set in this
bal mode, see page 48).
1. Press the BRILLIANCE button to show the Brilliance dis-
play:
Brilliance
ꢂ
Bright
Brilliance setting
Turning the effects on/off
The C-720 has two global effects (reverb and chorus), in addi-
page 41). The reverb simulates the sound reverberation in a
room, while the chorus simulates a modulating effect that
makes the sounds richer.
can turn the reverb and chorus on/off as you like, by using the
REVERB and CHORUS buttons on the control panel.
However, selecting a different sound will reset the status of the
buttons, since it is saved with the sound itself. To permanently
these buttons pressed for a couple seconds. See page 41 for
more details.
The insert effect is part of the sound itself, and should remain
on to avoid a dramatic change in timbre. On the contrary, you
17
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Using performances > Choosing performances
Using performances
Performances are registrations of sound combinations. In-
stead of selecting single sounds, or a combination of sounds,
you simply select a performance. A performance then recalls
one or two sounds, each one with their own settings, plus the
memorized split point (if the sounds are in Split mode).
Performance
Bank 2
Button
Bank 1
Bank 3
5 (HARPSI/CLAV)
6 (VIBES/GUITAR)
7 (ORGAN1)
EGrand Pad* EP&NoFret
Guitar Pad*
GrandPiano
BriteGrand
MelloGrand
2 Pianists
Piano Pad*
Pno Choirs*
Pno Guitar*
Scat&Bass
Vibes&Bass
Bass&Guitr
Org&Bass 1
There are 30 performances (10 groups × 3 banks each). Each
group corresponds to one of the numbered sound select but-
tons (1 ~ 10). You can then choose one of the three banks in-
(more details are on page 70).
8 (ORGAN2)
9 (STRINGS/CHOIR) Piano BX3*
10 (BASS)
DualManual Org&Bass 2
PnoEXp-
DEMO**
* Note: These performances, with sounds set in Layer mode, do
not use EPx effects.
Performance
Button
** Note: Performance 30 (PnoExpDEMO) is designed to demon-
strate our “Piano eXperience” technology, by exaggerating the
amount of key-off/hammer return portion of the Grand Piano
sound; it is not intended to be a play-able timbre. Normally,
these additional Piano eXperience sounds are not perceived as
separate elements, but together with the other sample layers,
they are a vital part of the realism and the authentic piano tone.
Bank 1
Bank 2
Bank 3
1 (PIANO 1)
2 (PIANO 2)
3 (E.PIANO 1)
4 (E.PIANO 2)
Split&Layr
Digital EP*
Baroque*
Grand&Ride PaddedTine* Harpsi-Ch*
Grand&Ebas R&B EPno*
PnoStrings* EP Choir*
Harpsi-Org*
Church Mix*
Choosing performances
Here is how to choose a performance.
2. Use the sound selection buttons to select a different group
of performance.
Note: While in Performance mode, you cannot switch between
Single, Layer and Split modes. However, if you select a perfor-
mance with two sounds in Split, the SPLIT indicator will turn on.
1
6
2
7
3
8
4
9
5
1. Press the PERFORMANCE button to enter Performance
mode. The indicator turns on, and the latest selected per-
formance is recalled.
10
Perf.01
4/4
3. If needed, use the VARIATION button to select a different
performance inside the same group. There are three per-
formances for each group of performances.
Split&Layr 120
As an alternative, use the +/YES and -/NO buttons to
choose a different performance inside the selected group.
4. Press the PERFORMANCE button again to exit Perfor-
mance mode. The previous sound or combination of
sounds will be recalled. The indicator will turn off.
18
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Using performances > Changing the sounds assigned to a performance
Changing the sounds assigned to a performance
ꢀ ꢁ
buttons
to move the cursor to the sound you want to change.
You can change the sound or sounds assigned to the current
performance, without the need of accessing the Edit mode.
2. If there are two sounds, use the SCROLL
/
Note: You cannot change performance sounds while in Perfor-
mance Edit mode.
3. Use the +/YES and -/NO button to choose a different
sound.
Note: The EPx effects are not available when you are in Layer
mode.
4. Press the EXIT button to exit from the above page. If you
chose a different performance, changes are lost.
1. While you are in the Main page of the Performance mode,
ꢀ ꢁ
buttons together. The sound
press both SCROLL
/
plained in “Saving a performance” on page 39.
(or sounds) assigned to the performance are shown in the
display:
Main sound
ꢂ
Piano&Str.
Ac. Bass
Layer/Left sound
Editing a performance
See “Editing sounds and performances” on page 38.
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The metronome > Starting and stopping the metronome, adjusting the tempo
The metronome
The C-720 incorporates a metronome, with which you can beat the tempo during practice or song recording. The metronome can
beat ordinary times, or drum patterns.
Starting and stopping the metronome, adjusting the tempo
Use the METRONOME button to start and stop the metro-
nome.
2. Press the METRONOME button again to stop it (the indi-
cator turns off).
1. Press the METRONOME button to make the metronome
start (the indicator on the button turns on).
Tempo and time signature display
The metronome’s tempo and time signature are always shown
in the Main page:
hyphen (–) (see page 21 for information o how to select drum
patterns):
Metronome’s time signature
4/4 drum pattern selected
ꢂ
ꢂ
GrandPiano 4/4
GrandPiano 4-4
Strings 120
Strings 120
Metronome’s tempo
When listening to a song, the tempo and time signature are
those of the current song. You can use the TEMPO buttons to
adjust the tempo while the song plays. On the contrary, the
time signature cannot be modified after recording:
The metronome’s tempo and time signature also appear in
Performance mode:
Metronome’s time signature
Song’s time signature
Perf 01
4/4
01-Prelude 1
M: 1 4/4 120
Split&Layr 120
Metronome’s tempo
Song’s tempo
When a drum pattern is selected as the time signature, the sep-
arator between the fraction’s numerator and denominator is a
(Please remember you can exit from the Song Play page and
return to the Main page by pressing the EXIT button.)
Adjusting the tempo
When turning the metronome on for the first time, while in
the Main page, the default tempo of 120 BPM (beats per
minute) is chosen. You can adjust it by using the TEMPO but-
tons.
When turning it on from the Song Play (page 23) or Record
page (see page 27), the tempo is that of the current song. You
can adjust it by using the TEMPO buttons.
The last change is preserved, until you don’t choose a different
song and start playing it back.
20
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The metronome > Choosing a time signature
Choosing a time signature
When turning the metronome on from the Main page, the de-
fault time signature of 4/4 is chosen, but you can adjust it by
accessing the Metronome page (as shown below).
2. Use the +/YES and -/NO buttons to select a time signature.
Ordinary times are at the beginning, while drum patterns
are at the end. You can quick jump from the one to the
other by pressing the +/YES and -/NO button together.
Note: If the PLAY/PAUSE button is flashing, you cannot change
the time signature.
Note: If you enter editing later, you might see a different edit
Ordinary times
ꢀ
page instead of the first one. Use the SCROLL
reach it.
button to
1/2 ~ 16/2
1/4 ~ 16/4
1/8 ~ 16/8
1. Press the TEMPO + and TEMPO – (or MET.SET) buttons
together. The first Metronome page, Metro TS/Tempo,
will appear, with the Time Signature parameter selected:
3. Press the EXIT button to return to the Main page.
Metro TS/Tempo 1
ꢂ
4/4
120
Drum patterns
Instead of an ordinary time signature (4/4, 3/4, etc…), a drum
pattern can be assigned to the metronome. This will give you
the sense you are playing together with a real drum player. You
can also record a drum pattern into a song.
Drum patterns
16 Beat 3
Ballad 1
Rock
Mambo
Tango
Foxtrot
March
Rock 6/8
Dance
Ballad 2
Rhumba
Gospel
Swing 1
Note: Contrary to ordinary metronome “clicks”, drum pattern
notes can also be recorded by the internal recorder. They can
also be transmitted via MIDI, so you can record them on an ex-
ment (see “MIDI” on page 56).
Ballad 3
Beguine
Ballroom 1
Unplugged
Latin
Drum patterns are in the second half of the time signature list.
While the list is selected, either scroll to it, or press both the +/
YES and -/NO buttons together, to quick jump to the drum
patterns. Press these buttons together again to quick jump to
the ordinary time signatures (4/4 selected).
Here is how to use the drum patterns:
1. While in the Main page, press the METRONOME button
to start the metronome. A Count In is heard, then the
drum pattern begins.
2. While in the Main page (either with a sound or a perfor-
pedal with the Fill In function assigned, see page 49). A Fill
In is played, then a variation of the base drum pattern start
playing.
Drum patterns
8 Beat 1
8 Beat 2
8 Beat 3
16 Beat 1
16 Beat 2
Ballroom 2
Ballroom 3
Slow 6/8
Funk 1
Bossa 1
Bossa 2
Samba
Cha Cha
Salsa
Swing 2
Swing 3
Slow Waltz 1
Slow Waltz 2
Waltz
3. Press EXIT (or the pedal) again. A second Fill In is played,
then the base drum pattern returns playing.
Funk 2
4. Press the METRONOME button to stop the metronome.
21
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The metronome > Adjusting the metronome level
Adjusting the metronome level
ꢁ
You can adjust the metronome’s level, in relation to the overall
instrument’s volume.
2. Press the SCROLL
button to go to the second Metro-
nome page, Metro Lev/Rev. The Lv (Level) parameter will
be selected:
1. Press the TEMPO/MET.SET buttons together. The first
Metronome page should appear.
Metro Lev/Rev 2
ꢂ
Lv:100 Rv:64
3. Use the +/YES and -/NO buttons to change the metro-
nome’s volume.
4. Press the EXIT button to return to the Main page.
Adjusting the drum pattern’s reverb
ꢀ ꢁ
buttons to se-
You can add a reverb effect to the drum patterns.
2. If you are not there, use the SCROLL
lect the Rv (Reverb) parameter:
/
Note: Reverb does not apply to the metronome click (i.e., when
an ordinary time signatures is chosen).
Metro Lev/Rev 2
1. Press the TEMPO/MET.SET buttons together.
ꢂ
Lv:100 Rv:64
3. Use the +/YES and -/NO buttons to change the metro-
nome’s reverb.
4. Press the EXIT button to return to the Main page.
Selecting the accent
The accented beat of the ordinary times signatures can be
changed to a marcato or bell sound.
3. Use the +/YES and -/NO buttons to turn the bell on or off,
and choose one of the available accent options.
Note: The accent does not apply to drum patterns.
Option
Meaning
1. Press the TEMPO/MET.SET buttons together.
ꢀ ꢁ
buttons to go
Off
No accent
2. If you are not there, use the SCROLL
/
to the Metro Accent page:
Marcato
Bell
The first beat is played louder
The first beat is played by a bell sound
Metro Accent 3
ꢂ
Bell
4. Press the EXIT button to return to the Main page.
Saving the metronome settings
ꢁ
Metronome settings can be saved, so that they are not reset to
the default values when turning the instrument off. This pro-
cedure saves time signature, volume setting, reverb setting, ac-
cent. On the contrary, tempo settings are always reset.
2. Press the SCROLL
button four times, to go to the
fourth Metronome page. The Metro Settings Save param-
eter will be selected:
Metro Settings 4
Save? (Yes/No)
1. Press the TEMPO/MET.SET buttons together. The first
ꢂ
Metronome page appears.
3. Press +/YES to confirm saving, or -/NO to cancel saving.
You are automatically kept back to the Main page.
22
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Playing back a song > Accessing the Song Play mode
Playing back a song
The C-720 incorporates a multitrack recorder, with which you
can record and play back songs. Since you can turn off a single
part (say, the left hand), and leave another part playing (say,
the right hand), this can be very useful for practicing.
a collection of famous songs, and all the pieces included in the
supplied SongBook.
The recorder can also read 16-track songs in the Standard
MIDI Files (SMF) format, that can be created on a computer
or easily found on the market or in the public domain. Please
note that, while the C-720 complies with General MIDI (GM)
tailed list of sounds, see page 68.
Together with the C-720 come a huge number of classical
songs (185), with which you can play along for practicing or
for enjoying your preferred tunes. Songs are organized in “al-
bums”, that include famous lesson books (Beyer, Burgmüller),
Accessing the Song Play mode
After you press the SONG button, the Song Play page appears:
To return to the Main page, just press one of the sound selec-
tion buttons to select a sound, or press the EXIT button. The
selected song will still be active, but you will no longer see its
name in the display, until you press the SONG button again.
Song name
01-Prelude 1
ꢂ
M:--- 4/4 120
Tempo
Current measure
Time signature
How to select a song
To play a song, you must first select it from an album. Songs
are contained into a permanent memory, and are preserved
when turning the instrument off.
As an alternative, you can use the first six sound select
buttons to choose an album. See table on the next page.
4. Use the +/YES and -/NO buttons to select one of the avail-
page 72 for a detailed list of the included songs):
1. If you are in the Main page, press the SONG button twice.
If you are already in Song Play mode, press the SONG but-
ton once to access the Song Selection page:
Correspondin
g sound
button
Album
Album:SongBook
01-Prelude 1
Album
Content
ꢂ
Song
UserSong
Songs created using the internal
recorder, or created with an exter-
nal sequencer and then trans-
connection (see page 53)
(1) PIANO 1
2. Use the +/YES and -/NO buttons to select one of the avail-
able songs inside the selected album. If the name is longer
than the display, it will scroll up to the end, then returns to
the beginning.
SongBook
Classics
All the songs of the supplied
SongBook
(2) PIANO 2
ꢀ
3. To select a different album, use the SCROLL
button to
move the cursor to the first line of the display:
A collection of famous classical
pieces
(3) E.PIANO 1
Album:SongBook
Beyer A
Beyer B
The “Preparatory School, Op. 101” (4) E.PIANO 2
lesson book by Ferdinand Beyer,
ꢂ
01-Prelude 1
(5) HARPSI/
splitted in two separate parts (A
CLAV
ꢁ
Scroll
and B)
Burgmlr
Burgmüller’s “25 Easy and Pro-
gressive Studies, Op. 100” lesson
book
(6) VIBES/
GUITAR
ꢂ
Album:SongBook
01-Prelude 1
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Playing back a song > How to start playback
ꢁ
5. After having selected an album, use the SCROLL
but-
6. Press the PLAY/PAUSE button to start playback and re-
turn to the Song Play page, or the EXIT button to just re-
turn to the Song Play page, without starting the song.
ton to move the cursor to the song name again, then
choose a different song:
01-Prelude 1
ꢂ
Album:SongBook
ꢂ
M:--- 4/4 120
01-Prelude 1
ꢁ
Scroll
Album:SongBook
01-Prelude 1
ꢂ
How to start playback
After having selected a
song, you can play it
back.
1. Press PLAY/PAUSE to start playing the song. The indica-
tor on the button turns on.
2. Press PLAY/PAUSE again to stop the song at the current
Note: During playback,
song parts can be sent out
via MIDI. Song parts are
the following: Part 1, Part 2, and Drum (this latter is active only
if a drum patterns is playing).
position. The indicator on the button starts flashing.
3. Press PLAY/PAUSE again to resume playback. The indica-
tor on the button stays on steadily.
4. Press STOP to stop the song. The indicator on the PLAY/
PAUSE button turns off. The song returns to the begin-
ning (measure “---”).
Starting from a different measure
You can start playback from a measure different than the first
one.
different measure (+/YES is sometimes called Fast For-
ward, while -/NO is called Rewind):
Note: When releasing the +YES or -/NO button, you may hear
the EPx effects, due to Damper data recorded in the song.
01-Prelude 1
ꢂ
M:--- 4/4 120
1. While in the Song Play page, the M (Measure) parameter
is selected. Use the +/YES and -/NO buttons to choose a
2. Press the PLAY/PAUSE button to start playback from the
selected measure.
24
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Playing back a song > Muting/unmuting a recorder’s part
Muting/unmuting a recorder’s part
During playback, you can mute or unmute a recorder’s part.
Muting is useful to play a part on the keyboard, while letting
the recorder to continue playing the other.
1. Press the PART 1 or
PART 2 button, de-
pending on the part
you want to mute
(usually, Part 1 = left
hand, Part 2 = right
hand. This may be different with songs imported via USB).
The muted part’s indicator turns off.
Level” on page 50), muting may completely silence the part, or
just attenuate it. Attenuation is very useful for practicing, since
it lets you play over a part that you can still hear at a very soft
level.
At this point, you can play the muted part on the keyboard.
Note: The part’s status is automatically restored when you
choose a different song (it is turned on if there are notes, or
turned off if the part is empty).
2. Press the same button again, to unmute the part and let its
indicator turn on again.
Changing the song’s tempo
Each song contains its own tempo. You can, however, change
it during playback, for example to make it easier playing along
with the song.
2. Use the TEMPO - button to decrease the tempo and make
the song play slower.
3. Press both the +/YES and -/NO buttons at the same time
1. Use the TEMPO + button to increase the tempo and make
to recall the original tempo of the song.
the song play faster.
Play along with the song
During playback, you can play along with the song. The latest
selected sounds are still active on the keyboard. You can select
different sounds, as seen before. When you press a sound se-
lection button, the Main page appears. Press the SONG button
to return to the Song Play page.
When selecting different sounds, their effects are also recalled.
Be careful, since this can dramatically affect the song’s overall
sound. When selecting a different song, the song’s effects are
selected again.
25
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Playing back a song > Cycle Play
Cycle Play
When practicing, you can choose a passage to be repeated
again and again. This way, you can try it until it is perfect. This
is called the Cycle Play function.
5. Press the EXIT button to return to the Song Play page.
You’ll notice the Cycle Play icon appearing on the top right
corner of the display, indicating the function has been ac-
tivated:
longer works (see page 50).
Cycle Play icon
01-Prelude 1
Note: If you enter editing later, you might see a different edit
page instead of the first one. Use the SCROLL
reach it.
ꢂ
M:--- 4/4 120
ꢀ
button to
This icon will stay steadily on when cycle measures are
playing back. It will flash when measures located before or
after the cycle measures are playing (for example, it will
flash if measure 2 or 16 is playing back, when the cycle is
delimited by measures 4 and 12).
1. While in Song Play mode, press the EDIT button. The first
page of the Song Edit mode, Cycle Play, will appear.
Cycle Play
1
ꢂ
Off
6. Press PLAY/PAUSE to start playing. The song will cycle be-
2. Press the +/YES button to turn the Cycle Play mode on.
The S (Start Measure) and E (End Measure) parameters
will appear:
tween the chosen starting and ending points.
During playback, you can press the PLAY/PAUSE button
to pause the song, or restart it from the current point. You
can press the STOP button to stop the song and go back to
the Cycle’s Start Measure.
Cycle Play
1
ꢂ
On S:1 E:99
Note: If the S (Start Measure) parameter has a value other
than 1, the song will be set to pause even if you press STOP.
End Measure
Start Measure
ꢁ
3. Press the SCROLL
button to select the S (Start Mea-
Turning the Cycle Play off
sure) parameter, and use the +/YES and -/NO buttons to
choose the measure where the cycle will be starting. Keep
them pressed to scroll faster.
The Cycle Play will continue until you don’t select a different
song, or turn the instrument off. Otherwise, you can manually
turn it off.
Cycle Play
1
1. While in Song Play mode, press the EDIT button. The first
ꢂ
On S:1 E:1
page of the Song Edit mode should appear.
Cycle Play
1
By default, the “S” parameter corresponds to the first mea-
sure.
ꢂ
On S:1 E:1
ꢁ
4. Press the SCROLL
button to select the E (Ending Mea-
2. Press the -/NO button to turn the Cycle Play mode off.
Cycle Play
sure) parameter, and use the +/YES and -/NO buttons to
choose the measure where the cycle will be ending. Keep
them pressed to scroll faster.
1
ꢂ
Off
Cycle Play
On S:1
1
E:1
3. Press the EXIT button to return to the Song Play page. The
Cycle Play icon on the top right corner of the display will
be gone.
ꢂ
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Recording a song > Quick recording procedure
Recording a song
You can use the onboard recorder to create a song composed
of up to three parts (left hand, right hand, drum). This song
puter (see “Data transfer via the USB port” on page 53) and
played back on any other sequencer (see “MIDI” on page 56).
When you try to select a different song while a new or modi-
fied song has not yet been saved, you are asked whether you
want to save it or not (the “Song Modified” message appears).
page. See “Saving the song” on page 33 for more information.
Note: A song is recorded into a temporary memory, that is lost
when the instrument is turned off. To preserve a new or modi-
instrument off. See “Saving the song” on page 33.
User-created songs are first contained in a temporary, non-
permanent memory, and are to be saved into a special album
called the User Song album. You must save a song into this al-
bum, before turning the instrument off or choosing a different
song.
Quick recording procedure
1: Entering the Record mode”.
4. Press the TEMPO/MET.SET buttons together to open the
Metro TS/Tempo page. Select the time signature, then
press the EXIT button to exit.
1. Select the preferred sound, sound combination or perfor-
Metro TS/Tempo 1
mance.
ꢂ
4/4
120
2. Press the SONG and RECORD buttons together to access
Record mode with a new, empty song.
Time Signature
Record:Untitled
5. Either play the keyboard, press the PLAY/PAUSE button,
or (if you chose a drum pattern as the time signature) the
METRONOME button to start recording.
ꢂ
M:--- 4/4 120
3. Use the TEMPO buttons to set the tempo.
6. Play freely.
7. Press the STOP or RECORD button to stop recording.
Step 1: Entering the Record mode
If you try to access Record mode while a new or modified song
has not been saved, you are asked whether you want to save it
or not:
Entering Record mode with a new, blank song
To enter record with a new, empty song with default settings,
press the SONG and RECORD buttons at the same time (the
recorder must not be playing).
Song Modified
Save? (Yes/No)
Waltz
ꢂ
M:--- 3/4 120
page. See “Saving the song” on page 33 for more information.
SONG +
RECORD
Entering Record mode with an existing user song
You can enter recording with the current User song (i.e., a
song contained in the UserSong album), to add more notes
(Overdub recording) or add an additional part to. You can
even record an existing part again (Overwrite recording).
Blank song name
Record:Untitled
M:--- 4/4 120
ꢂ
27
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Recording a song > Step 2: Selecting sounds
To record over an existing song, select the song and press the
RECORD button.
Please remember that you can only access Record mode on
User songs. Songs contained in albums other than UserSong
cannot be modified.
Existing song name
Exit from the Record mode
Record:Michelle
ꢂ
M:--- 4/4 120
To exit from the Record mode, press the RECORD button
again (or the STOP button, to end the Record session). The
RECORD indicator will turn off.
Step 2: Selecting sounds
When you enter Record mode with a new, empty song, the
sounds that were selected for playing on the keyboard are also
selected for recording. If you enter recording on a part already
recorded, the sound previously used to record that part is se-
lected again. If you are not happy with them, you can still select
different sounds now.
Here is what the indicators’ status mean:
Part 1/2 status Meaning
On
The part already contains data. It may happen
when you are recording over an existing song,
or doing second-pass recording. During record-
ing, you will hear this part, but not record over
it.
Note: Sounds also carry their own effects. By choosing a sound,
you also choose its associated effects.
Off
The part does not contain data or is in mute,
and is not enabled for recording.
Use the sound selection buttons to select different sounds for
recording. You can also select a different mode (e.g., switching
from Single to Split) during recording.
Flashing
The part is enabled for recording. If you are
recording in Overdub mode, new data will be
added to the old data (if any). If you are
recording in Overwrite mode, new data will
replace the old data.
When you enter Record on a
new, empty song, both re-
corder’s parts are ready for
recording (actually, if you
play something on the key-
board, recording begins).
Therefore, everything you
play on the keyboard will be
recorded to the song. De-
pending on the current
mode (Single, Layer or
Split), one or both parts will
be recorded.
What if I record a Layer or Split on a single part?
When only a single part is enabled for recording, only the
Main sound will be recorded. The Layer or Left sound will be
ignored.
Example 1: Recording a single sound
When you enter recording with a single sound on a new, emp-
ty song, both PART indicators will be flashing. You don’t need
to do anything else. Go on with actual recording, and your
sound will be recorded over Part 2. When recording is fin-
ished, the PART 1 indicator will turn off, and the PART 2 in-
dicator will stay steadily on.
Each sound is recorded into a separate recorder’s part. Nor-
mally, the Main sound goes to Part 2, while the Layer or Left
sound go to Part 1 (see diagram).
You can change this, for example if you don’t want to record
the Layer sound, or if you want to record the Main sound into
Part 1 instead of Part 2. To change a part’s status, repeatedly
press the corresponding PART button:
Example 2: Recording a single sound into Part 1
Layer/Left sound
Main sound
When you enter recording with a single sound on a new, emp-
ty song, both PART indicators will be flashing. Press the PART
2 button to turn its indicator off. At this point, you can go on
with actual recording over Part 1.
Example 3: Recording first with a single sound
then both
When you enter recording a single sound on a new, empty
song, both PART indicators will be flashing. This means both
sounds will be recorded. Go on with actual recording in Single
mode, then switch to the Layer or Split mode (by respectively
pressing two sound selection buttons, or pressing the SPLIT
button). The Main sound will be recorded over Part 2, while
the Layer or Left sound will go to Part 1.
28
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Recording a song > Step 3: Setting the record options
dicator will continue flashing. Go on recording your right
hand.
Example 4: Recording each hand of a piano piece
in two separate parts
When done, start recording your left hand, with the PART 1
indicator flashing, and the PART 2 indicator steadily on. This
way, you will be recording your left hand to Part 1, while Part
2 will be playing back the recorded right hand.
In this case, enter recording in Single mode, and press the
PART 1 button to turn its indicator off. Only the PART 2 in-
Step 3: Setting the record options
Before starting to record, you can set some options.
Quantization is
a
Off
1/16
1/8
way of correcting
timing errors; notes
played too soon or
too late are moved
to the nearest axis
Note: The Pedal Punch and Auto Punch functions will not work
on an empty song. At least one track must already be recorded.
1. While the RECORD indicator is lit, press the EDIT button
to access the Record Option pages. The first page is the
Record Mode option page:
of
a
rhythmic
Record Mode
1
“grid”, set with this parameter, thus playing perfectly in
time. For example, when you select 1/16, all notes are
moved to the nearest 1/16 division. When you select 1/8,
all notes are moved to the nearest 1/8 division.
ꢂ
Overwrite
Use the +/YES and -/NO buttons to choose a recording
mode.
Beware that choosing too low a value will over-correct,
and make everything sound mechanical.
Recording mode
Meaning
ꢁ
3. Press SCROLL
to go to the third page, and set the Tem-
po Record mode:
Overdub
Notes are added to a previous recording
Overvwrite
Notes replace any older recording (every-
thing is deleted)
Tempo Record 3
ꢂ
Auto
Pedal Punch
page 32)
Use the +/YES and -/NO buttons to change the mode.
There are three options:
recording (see “Auto Punch recording” on
page 32)
Tempo Record mode Meaning
Manual
The latest manual tempo setting (made
using the TEMPO buttons) is considered
the current tempo value. No tempo
change events will be recorded. This is
very useful to record the song much
slower than its actual tempo
ꢁ
2. Press SCROLL
to go to the second page, and set the
Quantize value. This is the quantize that happens during
recording:
Quantize
2
ꢂ
Off
Auto
The recorder plays back all recorded
tempo events. No tempo change events
are recorded
Use the +/YES and -/NO buttons to change the quantize
value, indicated as a musical figure. “Off” means free
rhythm, with no quantization.
Record
All tempo changes made during record-
ing will be recorded
4. If done, press the EXIT button to return to the Record
Quantize values
page.
Off
1/32 = ꢀ
1/24 = ꢁ3
1/16 = ꢁ
1/12 = ꢂ3 1/8 = ꢂ
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Recording a song > Step 4: Setting the time signature and tempo
Step 4: Setting the time signature and tempo
Before starting to record, tempo and time signature are those
you last selected with the TEMPO and MET.SET buttons. You
can however choose a different tempo and time signature.
Use the +/YES and -/NO buttons to choose a time signa-
ture. You can select either an ordinary time signature (4/4,
3/4 and the like), or a drum pattern (8 Beat, Jazz,
Waltz…). In case you choose a drum pattern, it will be
recorded with the song as the Drum part, and sent out via
MIDI.
Note: After having started recording a song, you can no longer
pass recording” on page 31, step 6).
2. If done, press the EXIT button to return to the Record
Note: You can record a drum pattern only during the first pass.
ond-pass recording” on page 31, step 6).
page.
3. If you wish to set a different starting tempo, use the TEM-
PO buttons to change the tempo value.
1. If you wish to set a different time signature at the begin-
ning of the song, press the TEMPO/MET. SET buttons to-
gether to access the Metro TS/Tempo page:
ꢂ
Record:Untitled
M:001 4/4 120
Tempo
Metro TS/Tempo 1
ꢂ
4/4
120
Step 5: Recording
After you have entered the Record mode, chosen the part(s) to
be recorded, and having set the various options, you can start
recording.
the initial pause will be ignored during playback (see “Fast
Play” on page 50).
3. Press STOP to stop recording. As an alternative, press the
RECORD button, or the pedal assigned as the Stop func-
tion. The indicator on the RECORD button turns off. The
song returns to the beginning.
A: Recording with no metronome
Here is how to record freely, without using the metronome.
1. Press the PLAY/PAUSE button to start recording. The in-
dicator on the PLAY/PAUSE button will turn on. As an al-
ternative, you can play a note on the keyboard, or press the
pedal assigned as the Play/Pause function.
C: Recording with a drum pattern
Recording with a drum pattern is a bit different, since you
must decide how to start the drum pattern.
To start with a pick-up measure (or anacrusis), start with
the PLAY/PAUSE button, then wait until the desired beat
is playing. Assuming the Fast Play option has been left on,
the initial pause will be ignored during playback (see “Fast
Play” on page 50).
1. Use one of the following ways to start recording:
•
If you want to start with a keyboard-only intro, and start
the drum pattern at a measure other than the first one,
press the PLAY/PAUSE button. As an alternative, you can
play a note on the keyboard, or press the pedal assigned as
the Play/Pause function. When it is time to start the drum
pattern, press the METRONOME button, and wait until
the next measure for the drum pattern to actually start (it
will start with a 1-measure intro).
2. Press STOP to stop recording. As an alternative, press the
RECORD button, or the pedal assigned as the Stop func-
tion. The indicator on the RECORD button turns off. The
song returns to the beginning.
B: Recording with the metronome
•
If you want to immediately start with a drum pattern,
press the METRONOME button to start recording. A 1-
measure intro will play, then the regular pattern will start
playing.
Here is how to record, if you chose an ordinary time signature.
1. Press the METRONOME button to hear the click before
starting to record.
2. Press the PLAY/PAUSE button to start recording. The in-
dicator on the PLAY/PAUSE button will turn on. As an al-
ternative, you can play a note on the keyboard, or press the
pedal assigned as the Play/Pause function.
An Intro will be played back before the main pattern of
the drum pattern begins.
2. During recording, you can press the EXIT button to trigger
a Fill In, break the rhythm, and go to a variation of the ba-
sic pattern. Press it again to play a different Fill In, and re-
turn to the basic pattern.
To start with a pick-up measure (or anacrusis), start with
the PLAY/PAUSE button, then wait until the desired beat
is playing. Assuming the Fast Play option has been left on,
30
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Recording a song > Step 6: Second-pass recording
3. Press STOP to stop recording. As an alternative, press the
tion. The indicator on the RECORD button turns off. The
song returns to the beginning.
RECORD button, or the pedal assigned as the Stop func-
Note: After 999 measures, the record automatically ends.
Step 6: Second-pass recording
After the first recording, you can start recording again over the
same song, to add parts or notes.
6. You cannot change the
First-pass recording
time signature (or drum
pattern) chosen during
4/4
3/4
1. Press the RECORD button again. Its indicator will turn on.
the first recording pass.
However, if you are start-
ing to record from the end
of the song (you can move there by assigning the highest
possible value to the M, Measure, parameter), you can
choose a different time signature (or a drum pattern) for a
new section to be appended at the end of the current sec-
tion. This is useful to create a song with different time sig-
natures, or with a drum pattern starting to play at a section
following the first one (see diagram).
The Record page will appear again:
Second-pass recording
Record:Untitled
ꢂ
M:--- 4/4 120
2. If needed, set the Record options again (see page 29). You
can choose Overdub to add notes, Overwrite to replace
notes (up to the point where you stop recording), or one
of the Punch options to record over a passage.
3. Choose the part to be recorded. When you enter Record
mode again, the indicator of the recorded part will be
turned on, the other off. Press a PART button to make its
indicator start flashing, and record over that part(s).
7. Choose a measure to start recording from. You can start
recording from a measure other than the first one, by
changing the M (Measure) parameter before starting the
recorder.
4. If needed, select a different sound or sound combination.
Please remember that if you record in Layer or Split mode
over a single recorder’s part, only the Main sound will be
recorded.
Record:Untitled
ꢂ
M:001 4/4 120
When you record over an already recorded part, the sound
is the same as the previous recording. However, you can
select a different sound.
+/YES
Record:Untitled
the Tempo Record option (see page 29) has been activated,
any tempo change will be recorded.
ꢂ
M:099 4/4 120
8. Start recording.
9. When done, press the STOP or RECORD button to stop
recording.
Changing sounds to a recorded song
If you are not happy with the sounds used for recording, it is
easy to replace them with different sounds.
3. Make the PART 1 and/or PART 2 indicator flash, depend-
ing on the part(s) you want to change the sound to.
Note: When you choose different sounds, effects are also
changed. Each sound, sound combination or performance also
includes its own set of effects.
4. Choose a different sound (or sounds). If you are editing a
single part, and you select a Layer or Split sound combina-
tion, only the Main sound will be considered.
1. Press the RECORD button to access recording again.
5. Press RECORD to exit song recording.
2. Be sure you are at the beginning of the song (measure
shown as “---”):
Record:Untitled
ꢂ
M:--- 4/4 120
31
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Recording a song > Changing tempo to a recorded song
Changing tempo to a recorded song
If you are not happy with the tempo used for recording (may
you recorded with a slower tempo), it is easy to adjust it after
recording.
2. Be sure you are at the beginning of the song (measure
shown as “---”):
Record:Untitled
Note: After having started recording a song, you can no longer
pass recording” on page 31, step 6).
ꢂ
M:001 4/4 120
3. Be sure neither the PART 1 or PART 2 indicator is flashing.
1. Press the RECORD button to access recording again.
4. Use the TEMPO buttons to adjust the tempo.
5. Press PLAY/PAUSE to start the song. Just let a few beats
play.
6. Press STOP or RECORD to exit song recording.
Pedal Punch recording
With Pedal Punch recording, you can use a pedal to start and
stop recording.
3. Press the EXIT button to return to the Record page.
4. Make the PART 1 and/or PART 2 indicator flash, depend-
Note: The Pedal Punch function will not work on an empty
song. At least one track must already have been recorded.
ing on the part(s) you want to record.
5. Press PLAY/STOP to start the recorder. The song will be
Warning: The Pedal Punch function overwrites existing notes.
heard.
6. When it is time to start recording, press the pedal set to the
“Assigning functions to the pedals” on page 49).
“Pedal Punch” function, and start recording.
7. When finished, press the pedal again to end recording. The
“Step 3: Setting the record options” on page 29):
recorder stops.
Record Mode
1
ꢂ
Pedal Punch
Auto Punch recording
ꢀ ꢁ
buttons to move the cursor to the
With Auto Punch recording, you can set the start and stop re-
cording points, so that recording automatically begins and
ends at the defined measures.
2. Use the SCROLL
/
S (Start Measure) or E (End Measure) parameters, and use
the +/YES and -/NO buttons to choose the start and end
recording measures.
Note: The Auto Punch function will not work on an empty song.
At least one track must already be recorded.
3. Press the EXIT button to return to the Record page.
Warning: The Auto Punch function overwrites existing notes.
4. Make the PART 1 and/or PART 2 indicator flash, depend-
ing on the part(s) you want to record.
(see “Step 3: Setting the record options” on page 29):
5. Press PLAY/STOP to start the recorder. Recording will au-
tomatically begin at the “Start” position, and stop at the
“End” position.
Record Mode
1
ꢂ
Pnc S:001 E:001
6. When finished, press STOP to end recording.
Start Measure
End Measure
32
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Recording a song > Saving the song
Saving the song
After recording, the song is stored into a temporary, non-per-
manent memory. To preserve it from deletion when turning
the instrument off or choosing a different song, you must save
it into the User Song album. There are several ways to do it.
3. Press the +/YES button to save the song into the User Song
album, or the -/NO button to return to the Song Play
mode, without saving the song. As an alternative, you can
press EXIT to exit without saving, or to continue recording
the current song.
By choosing the Save Song command
4. The “Are you sure?” message appears. Press +/YES to con-
firm, -/NO to cancel and exit.
You can select the Save Song command at any moment. The
Save Song page also allows you to assign or modify the name
of the song, and save all the changes.
At the end, the Song Play display will appear again, and
you will be able to choose a different song for playing.
1. After having pressed the EDIT button while in Song Play
ꢁ
mode, use the SCROLL
edit page:
button to go to the Save Song
By choosing to record a new song
Save Song
7
You can press the SONG + RECORD button combination to
start recording a new song. If an unsaved song is still in mem-
ory, the Song Modified page will appear (see below).
ꢂ
Untitled Save?
Flashing character
2. Use the SCROLL buttons to select the character to be edit-
By choosing a different song
ed (it will start flashing). Use the +/YES and -/NO buttons
If you try to choose a different song, while the current one has
been recorded or modified and has not yet been saved, you are
prompted to save it.
ꢀ ꢁ
buttons together to
insert a new character, or the +/YES and -/NO buttons to-
gether to delete the character at the cursor’s position.
to change it. Press the SCROLL
/
1. Press the SONG button to select a different song. If the
current song has been recorded or edited, but not yet been
saved, the “Song Modified” message will appear.
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Song Modified
Save? (Yes/No)
Note: The first character is a blank space. When saving, it will be
automatically removed if added to the beginning or end of the
name.
2. Press the -/NO button to delete the song or abandon the
changes to a previously saved song. Or press EXIT to re-
turn to the current song without saving. Otherwise, press
the +/YES button to make the Save Song page appear:
You can give the song a long name (as explained below). If
it will not fit the display, it will scroll entirely when it is
selected. When saved, the “.MID” extension will be auto-
matically added to the file name.
Save Song
ꢂ
Untitled Save?
When you reach the end of the name, a flashing asterisk
(*) appears:
3. From here on, the save procedure is the same seen above.
Save Song
7
ꢂ
How I delete a Song from the UserSong album?
MyName* Save?
procedure described in “Erasing songs from the User Song al-
bum” on page 54.
Flashing asterisk
At this point, you can either use the +/YES and -/NO but-
ꢁ
tons to choose a new character, or press SCROLL
moves the cursor to the Save command:
to
Save Song
7
ꢂ
MyName Save?
33
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Editing a song > Setting Cycle Play
Editing a song
After having been recorded, a user-created song can be edited, and then saved again in the User Song album. Please note that songs con-
tained in albums other than UserSong cannot be edited. The only Edit function that can be accessed with these songs is the Cycle Play.
Setting Cycle Play
Cycle Play allows you to repeat a passage during play, to prac-
tice with it over and over.
Play” on page 26):
Note: If you enter editing later, you might see a different edit
Cycle Play
1
ꢀ
page instead of the first one. Use the SCROLL
reach it.
button to
ꢂ
On S:001 E:001
1. While in Song Play mode, press the EDIT button. The first
End Measure
Start Measure
page of the Song Edit mode will appear. This is the Cycle
2. Press the EXIT button to return to the Main page and start
practicing.
Erasing a track
ꢁ
You can erase a single or all song tracks, to start recording
them again, or just remove them from the song (for example,
the voice track you want to sing live).
3. Press the SCROLL
button to move the cursor to the
Exec command.
4. Press +/YES to start erasing. The “Are you sure?” message
appears. Press +/YES to confirm, -/NO to cancel and keep
the track.
ꢁ
1. After having pressed the EDIT button, use the SCROLL
button to go to the Erase Track edit page:
Erase Track
2
the changes (see “Saving the song after editing” on page 36),
ꢂ
All
Exec?
ꢁ
or the SCROLL button to go to the next edit page (see be-
low).
2. Use the +/YES and -/NO buttons to select one of the fol-
lowing tracks:
Option
Meaning
All
All tracks – this results in an empty song
Tr01 (P2), Tr02 (P1)
Respectively, Recorder Parts 2 (Track 1)
and 1 (Track 2)
Tr 10 (Dr)
Drum part (Track 10)
Tr03 ~ 09, 11 ~ 16
Tracks 3 ~ 9, 11 ~ 16 (Extra tracks)
34
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Editing a song > Cutting measures at the end of the song
Cutting measures at the end of the song
You can cut measures at the end of the song. For example, you
could have recorded a long section, and then you erased it. Af-
ter recording a shorter section, you ended up with a series of
empty measures at the end of the song. With this function, you
can cut them away.
2. Choose a measure where you want to start cutting. The
value ranges from 1, to the last measure of the song.
ꢁ
3. Press the SCROLL
button to move the cursor to the
Exec command.
4. Press +/YES to start cutting. The “Are you sure?” message
appears. Press +/YES to confirm, -/NO to cancel and keep
the measures.
1. After having pressed the EDIT button while in Song Play
ꢁ
mode, use the SCROLL
button to go to the Cut Mea-
sures edit page:
the changes (see “Saving the song after editing” on page 36),
Cut Measures 3
ꢁ
or the SCROLL button to go to the next edit page (see be-
ꢂ
From: 99 Exec?
low).
Quantizing the song
Quantize allows you to correct any timing error after record-
ing (see page 29 for more information). With this function, all
parts (including the Drum part) will be quantized.
quantization (i.e., correction with a ‘human’ feel). Triplets
are intermediate-values (12, 24).
1. After having pressed the EDIT button while in Song Play
Quantize values
ꢁ
mode, use the SCROLL
edit page:
button to go to the Quantize
1/4 = ꢃ 1/8a = ꢂ 1/12 = ꢂ3 1/16a = ꢁ 1/24 = ꢁ3 1/32 = ꢀ
b ~ f = swing
Quantize
4
ꢂ
Q:1/16
Exec?
ꢁ
3. Press the SCROLL
button to move the cursor to the
Exec command.
2. Choose one of the quantization options (from 1/32 to 1/8).
4. Press +/YES to start quantization. The “Are you sure?”
message appears. Press +/YES to confirm quantization, -/
NO to cancel and keep the original value.
A “b ~ f” character added after the value means swing-
the changes (see “Saving the song after editing” on page 36),
ꢁ
or the SCROLL button to go to the next edit page (see be-
low).
35
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Editing a song > Transposing the song
Transposing the song
ꢁ
You can transpose the entire song, to make it match a different
key.
3. Press the SCROLL
button to move the cursor to the
Exec command.
1. After having pressed the EDIT button while in Song Play
4. Press +/YES to start transposing. The “Are you sure?” mes-
sage appears. Press +/YES to confirm, -/NO to cancel and
keep the original value.
ꢁ
mode, use the SCROLL
edit page:
button to go to the Transpose
Transpose
5
the changes (see “Saving the song after editing” on page 36),
ꢂ
V:+00
Exec?
ꢁ
or the SCROLL button to go to the next edit page (see be-
low).
2. Choose a transposition value (in semitones).
Value
Meaning
-127
+00
127 semitones lower
No transposition
+127
127 semitones higher
Deleting the song
The Delete Song command allows you to delete the whole song
from memory, resulting in an empty song. This is the same as
page 33).
2. Press +/YES to execute the command, or -/NO to cancel,
and exit from the Song Edit mode.
If you press +/YES, the “Are you sure?” message appears.
Press +/YES to confirm, or -/NO to cancel.
1. After having pressed the EDIT button while in Song Play
ꢁ
mode, use the SCROLL
edit page:
button to go to the Delete Song
the changes (see “Saving the song after editing” on page 36),
ꢁ
or the SCROLL
below).
button to go to the next edit page (see
Delete Song
6
ꢂ
Exec?
Saving the song after editing
With the Save Song page you can assign or modify the name of
the edited song, and save all changes.
insert a new character, or the +/YES and -/NO buttons to-
gether to delete the character at the cursor’s position.
1. After having pressed the EDIT button while in Song Play
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mode, use the SCROLL
edit page:
button to go to the Save Song
A
a
B
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F
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K
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Save Song
7
Note: The first character is a blank space. When saving, it will be
automatically removed if added to the beginning or end of the
name.
ꢂ
Untitled Save?
Flashing character
You can give the song a long name (as explained below). If
it will not fit the display, it will scroll entirely when it is
selected. When saved, the “.MID” extension will be auto-
matically added to the file name.
2. Use the SCROLL buttons to select the character to be edit-
ed (it will start flashing). Use the +/YES and -/NO buttons
ꢀ ꢁ
buttons together to
to change it. Press the SCROLL
/
36
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Editing a song > Saving the song after editing
When you reach the end of the name, a flashing asterisk
(*) appears:
3. Press the +/YES button to save the song into the User Song
album, or the -/NO button to return to the Song Play
mode, without saving the song. As an alternative, you can
press EXIT to exit without saving, or to continue recording
the current song.
Save Song
7
ꢂ
MyName* Save?
4. The “Are you sure?” message appears. Press +/YES to con-
Flashing asterisk
firm, -/NO to cancel and exit.
At the end, the Song Play display will appear again, and
you will be able to choose a different song for playing.
At this point, you can either use the +/YES and -/NO but-
ꢁ
tons to choose a new character, or press SCROLL
moves the cursor to the Save command:
to
Save Song
7
ꢂ
MyName Save?
37
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Editing sounds and performances > Accessing the Sound edit mode
Editing sounds and performances
The Sound edit mode is where you can edit sounds or perfor-
mances. Edit parameters are exactly the same in both cases, but
performances also memorize the split point (if the sounds are
in Split mode).
to turn the Layer mode on, the Piano volume could be low-
ered, to mix it with the Strings sound. It is like having a differ-
ent sound when the Piano is playing alone, and when it is
playing in layer with a String sound.
Single sounds and sound
combinations can be pro-
grammed in different ways.
Left sounds are exactly the same as Main sounds. When you
are in Split mode, it is like having two different Main sounds
assigned to each of your hand.
For example, when you
press the PIANO button,
the Piano volume can be set
to the maximum. If you
press the PIANO and
STRINGS buttons together,
There are 40 Main sounds, 40 Left sounds, plus a variable
number of Layer combinations. There is space for any kind of
sound combination you wish to add to your sonic palette.
Accessing the Sound edit mode
To access the Sound edit mode, choose a sound, sound com-
bination or performance, then press EDIT.
mode, you can switch mode at any time during editing. If you
are in Performance mode, you cannot switch mode. However,
if you select a performance with two sounds in Split, the SPLIT
indicator will light.
During editing, the Layer/Left parameters can only be accessed
when you are in Layer or Split mode. If you are in Sound
Exit from the Sound edit mode
After having edited some parameter, press EXIT to exit the
Sound edit mode. If nothing was modified, you immediately
exit. If something was modified, the Sound Modified message
will appear:
Press +/YES to save, -/NO (or EXIT) to cancel. If you choose
to cancel, all changes will be deleted when choosing a different
sound. If you choose to save, the edited sound replaces the old-
er sound.
Sound Modified
Save? (Yes/No)
Saving a sound
If you make some changes during editing, when you press
EXIT to exit the Sound edit mode, you are prompted to save
your sound. See above.
38
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Editing sounds and performances > Saving a performance
Saving a performance
There are three ways to save a performance. Please find them
below.
6. Use the sound selection buttons (including the VARIA-
TION button) to select the location where you want to
save your performance.
After editing a sound
1
6
2
7
3
8
4
9
5
1. If you entered Sound edit mode with the PERFORMANCE
indicator turned off (Sound mode), after modifying some-
thing and pressing EXIT, the Sound Modified page (seen
above) will appear:
10
Sound Modified
Save? (Yes/No)
Here is the table of the Performance’s locations:
Performance #
While in this page, the PERFORMANCE indicator will
start flashing.
Button
Bank 1
Bank 2
Bank 3
PERFORMANCE button and LED indicator
1 (PIANO 1)
01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
2 (PIANO 2)
3 (E.PIANO 1)
4 (E.PIANO 2)
5 (HARPSI/CLAV)
6 (VIBES/GUITAR)
7 (ORGAN1)
8 (ORGAN2)
2. Press the PERFORMANCE button to save the current
sound or sound combination into a performance. After
you press the button, the Performance Name page appears:
9 (STRINGS/CHOIR)
10 (BASS)
7. The location number appears in the top right corner of the
display, while the name of the performance already stored
at that location appears in the lower left corner:
Performance Name
ꢂ
JazzCombo
To
Flashing character
Target location number
3. If you want, edit the performance name. A performance’s
Save To: Perf.01
name can be up to 10 characters long.
ꢂ
Split&Lay Save?
Use the SCROLL buttons to select the character to be
edited (it is flashing). Use the +/YES and -/NO buttons to
Name of the performance at the
target location
ꢀ ꢁ
buttons together to
change it. Press the SCROLL
/
insert a new character, or the +/YES and -/NO buttons
together to delete the character at the cursor’s position.
8. Press the +/YES button to save the performance into the
selected location, or the EXIT button to return to the Main
page without saving, with the last performance still select-
ed. If you press +/YES, the “Are you sure?” message ap-
pears.
ꢁ
4. When you reach the end of the name, pressing SCROLL
moves the cursor to the To command:
Performance Name
ꢂ
JazzCombo
To
Are you sure?
5. Press the +/YES button to go to the Save To Performance
page:
Press +/YES to confirm, -/NO to cancel.
Save To: Perf 01
ꢂ
JazzCombo Save?
39
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Editing sounds and performances > Setting the volume
ton, the Save To Performance page (seen above) will ap-
pear. You will be able to save the current sound or sound
combination into a performance. (See procedure above.)
After editing a performance
1. If you entered Sound edit mode with the PERFORMANCE
indicator turned on (Performance mode), after modifying
something and pressing EXIT, the Perf Modified page will
appear:
By pressing the Performance button
Perf.Modified
While in the Main page, keep the PERFORMANCE button
pressed. The Performance Name page (seen above) will ap-
pear. You will be able to save the current sound or sound com-
bination into a performance. (See procedure above.)
Save? (Yes/No)
2. While this page is shown, press the +/YES button to save
the changes into a performance. After you press the but-
Setting the volume
ꢁ
Use this page to set each sound’s volume.
3. If you are in Layer or Split mode, press the SCROLL
button to select the L (Layer/Left) parameter (only avail-
able in Layer or Split mode):
Note: If you return to editing later, you might see a different
edit page instead of the first one. Use the SCROLL
reach it.
ꢀ
button to
Volume
M:127
1
1. After having pressed the EDIT button, the Volume page
ꢂ
L:120
will appear:
4. While the Layer/Left (L) part is selected, use the +/YES and
Volume
1
-/NO buttons to select a different value.
ꢂ
M:127
L:120
2. While the Main (M) part is selected, use the +/YES and -/
the changes (see “Exit from the Sound edit mode” on
NO buttons to select a different value.
ꢁ
page 38), or the SCROLL
page (see below).
button to go to the next edit
Value
Meaning
0
Minimum – no sound
Maximum – very loud
127
Adjusting the panning
ꢁ
Panning is the position of each part in the stereo front (or
“panorama”).
2. If you are in Layer or Split mode, press SCROLL
again
to go to select the L (Layer/Left) parameter (only available
in Layer or Split mode):
ꢁ
1. After having pressed the EDIT button, use the SCROLL
button to go to the Pan edit page, with the M (Main) pa-
Pan
M:R07
2
rameter selected:
ꢂ
L:L07
Pan
2
3. While the Layer/Left (L) part is selected, use the +/YES and
ꢂ
M:R07
L:L07
-/NO buttons to select a different value.
While the Main (M) part is selected, use the +/YES and -/
NO buttons to select a different value.
the changes (see “Exit from the Sound edit mode” on
ꢁ
page 38), or the SCROLL
page (see below).
button to go to the next edit
Value
Meaning
L64
C00
R63
Hard Left
Center
Hard Right
40
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Editing sounds and performances > Adjusting the effects
Adjusting the effects
The C-720 is equipped with three types of effects:
The following diagram shows the effect’s routing:
ꢚꢊꢎꢌꢛꢋꢉꢄ
ꢀꢁꢂꢃꢄꢅꢆꢇꢃ
ꢄ
ꢄꢄꢄꢏꢐꢑꢄꢒꢄꢄ
ꢄꢄꢄꢏꢐꢑꢄꢓꢄ
Effect
Meaning
ꢚꢊꢎꢌꢛꢋꢉꢄ
ꢈꢁꢉꢊꢋꢌꢈꢊꢍꢎꢄꢅꢆꢇꢃ
ꢄ
IFX (Insert Effect)
The sound pass entirely through this effect.
This is used for effects being part of the
sound itself, like the phaser of the rotary
speaker. There is a separate IFX for each of
the sounds.
ꢔꢕꢆꢋꢇꢖꢄꢅꢊꢃ
ꢗꢊꢘꢊꢋꢙꢄꢅꢊꢃ
ꢄ
ꢄ
ꢔꢕꢆꢋꢇꢖꢄꢅꢊꢃ
ꢗꢊꢘꢊꢋꢙꢄꢅꢊꢃ
ꢄ
ꢄ
ꢔꢕꢆꢋꢇꢖꢄ
ꢗꢊꢘꢊꢋꢙꢄ
Rev (Reverb)
Ch (Chorus)
This effect adds ambience to the sounds. In
Layer or Split mode, there is a single reverb
for all selected sounds.
Use the following parameters to select the reverb, chorus and
insert effects, and adjust how much of the sound must be pro-
cessed.
This effect adds modulation to the sounds.
In Layer or Split mode, there is a single cho-
rus for all selected sounds.
Setting the reverb effect
Reverb adds ambience to the sound. Either you are in Single,
Layer or Split mode, a single reverb effect is available for both
sounds (see diagram). A different amount of reverb can be ap-
plied to each sound, thanks to the Reverb Send parameter (see
below).
Use the +/YES and -/NO buttons to turn reverb on or off.
This corresponds to the status of the REVERB indicator.
ꢁ
3. Press SCROLL
to go to the Reverb Send edit page, with
the M (Main) parameter selected:
Reverb Send
4
ꢁ
1. After having pressed the EDIT button, use the SCROLL
ꢂ
M:127
L:100
button to go to the Reverb Type edit page, with the reverb
type selected:
Use the +/YES and -/NO buttons to set the amount of
reverb applied to the Main sound (0 ~ 127).
Reverb Type
3
On
ꢂ
Hall 1
ꢁ
4. If you are in Layer or Split mode, press SCROLL
again
to select the L (Layer/Left) parameter:
Use the +/YES and -/NO buttons to select a different reverb.
list is on page 71).
Reverb Send
4
ꢂ
M:127
L:100
Use the +/YES and -/NO buttons to set the amount of
reverb applied to the Layer/Left sound (0 ~ 127).
Reverb
Hall 1
Hall 2
Hall 3
Wet Plate
Room 1
Dry Plate
Room 2
the changes (see “Exit from the Sound edit mode” on
Bright Room
ꢁ
page 38), or the SCROLL
page (see below).
button to go to the next edit
ꢁ
2. Press SCROLL
again to select the Reverb On/Off pa-
rameter:
Reverb Type
Hall 1
3
On
ꢂ
41
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Editing sounds and performances > Setting the chorus or modulation effect
Setting the chorus or modulation effect
The chorus or modulation effect adds depth to the sound. Ei-
ther you are in Single, Layer or Split mode, a single chorus ef-
fect is available for both sounds (see diagram above). A
different amount of chorus can be applied to each sound,
thanks to the Chorus Send parameter (see below).
Use the +/YES and -/NO buttons to turn the chorus on or
off. This corresponds to the status of the CHORUS indica-
tor.
ꢁ
3. Press SCROLL
to go to the Chorus Send edit page, with
the M (Main) parameter selected:
ꢁ
1. After having pressed the EDIT button, use the SCROLL
Chorus Send
6
button to go to the Chorus Type edit page, with the chorus
ꢂ
M:127
L:Off
type selected:
Chorus Type
5
Off
Use the +/YES and -/NO buttons to set the amount of
chorus applied to the Main sound (0 ~ 127).
ꢂ
Chorus
ꢁ
4. If you are in Layer or Split mode, press SCROLL
again
Use the +/YES and -/NO buttons to select a different cho-
effects (a more detailed list is on page 71).
to select the L (Layer/Left) parameter:
Chorus Send
6
ꢂ
M:127
L:Off
Chorus
Use the +/YES and -/NO buttons to set the amount of
chorus applied to the Layer/Left sound (0 ~ 127).
Chorus
Harm. Chorus
Flanger
Chorus Delay
Tremolo
Ensemble
the changes (see “Exit from the Sound edit mode” on
ꢁ
2. Press SCROLL
again to select the Chorus On/Off pa-
ꢁ
page 38), or the SCROLL
page (see below).
button to go to the next edit
rameter:
Chorus Type
Chorus
5
Off
ꢂ
Setting the insert effects
In addition to the reverb and chorus effects, common to both
sounds in Layer and Split mode, an insert effect (IFX) is avail-
able for each sound (see diagram above). The insert effect
strongly modifies the sound, and is to be considered as part of
the sound itself.
Use the +/YES and -/NO buttons to select a different
IFX effects (a more detailed list is on page 71).
IFX
ꢁ
1. After having pressed the EDIT button, use the SCROLL
LoGain
Echo1
Dly4th
Pan
HiGain
Echo2
HLGain
Echo3
MdGain
button to go to the IFX Type edit page, with the IFX as-
signed to the Main sound selected:
Dly3/4
Dly8th
Phaser
Limit.
IFX M/L Type 7
Trem.
Rotary
Excit.
ꢂ
EQ1
Phaser
AmpSim
Wah
Comp.
PhaTrm
WahAmp
AmpTrm
CmpAmp
OD-Wah
ꢁ
2. If you are in Layer or Split mode, press SCROLL
again
to select the IFX assigned to the Layer/Left sound:
IFX M/L Type 7
ꢂ
LoGain Phaser
Use the +/YES and -/NO buttons to select a different
effect.
42
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Editing sounds and performances > Setting the octave transposition
ꢁ
This is the diagram of the mix betweeen Wet and Dry set-
tings:
Press the SCROLL
button to go to the IFX Wet/Dry
edit page, with the M (Main) parameter selected:
100%
Dry
100%
Wet
100%
IFX Wet/Dry
8
ꢂ
M:W099 L:D020
Use the +/YES and -/NO buttons to set the amount of IFX
applied to the Main sound.
0%
Dry
Wet
Value
Meaning
ꢁ
3. If you are in Layer or Split mode, press SCROLL
again
–Wet
Wet, i.e., maximum effect applied. Negative
(inverted) phase.
to select the L (Layer/Left) parameter:
W-99 ~ W-51
D-50 ~ D-01
Mostly wet, with negative value.
IFX Wet/Dry
8
Mostly dry, i.e., minimum effect applied. Nega-
tive (inverted) phase.
ꢂ
M:W099 L:D020
Dry
Dry, i.e., with no effect at all.
Mostly dry, i.e., minimum effect applied.
Mostly wet.
Use the +/YES and -/NO buttons to set the amount of IFX
applied to the Layer/Left sound.
D001 ~ D050
W051 ~ W099
Wet
Wet, i.e., maximum effect applied.
the changes (see “Exit from the Sound edit mode” on
ꢁ
page 38), or the SCROLL
page (see below).
button to go to the next edit
Setting the octave transposition
ꢁ
Here you can set the individual octave transposition for the
Main and the Layer/Left sounds.
2. If you are in Layer or Split mode, press SCROLL
again
to select the L (Layer/Left) parameter:
ꢁ
1. After having pressed the EDIT button, use the SCROLL
Octave
M:+02
9
button to go to the Octave edit page, with the M (Main)
ꢂ
L:+00
parameter selected:
Use the +/YES and -/NO buttons to change the octave
transposition.
Octave
9
ꢂ
M:+02
L:+00
Use the +/YES and -/NO buttons to change the octave
transposition, within a range of 4 octaves.
the changes (see “Exit from the Sound edit mode” on
ꢁ
page 38), or the SCROLL
page (see below).
button to go to the next edit
Value
Meaning
-04 ~ -01
+00
Four to one octave lower
No transposition
+01 ~ +04
One to four octave higher
43
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Editing sounds and performances > Adjusting the fine tune
Adjusting the fine tune
ꢁ
You can fine tune the Main and the Layer sounds (in Layer
mode), so that there is some “beating” between them.
2. If you are in Layer or Split mode, press SCROLL
again
to select the L (Layer/Left) parameter:
ꢁ
1. After having pressed the EDIT button, use the SCROLL
Fine Tune
M:+00
10
L:+00
button to go to the Fine Tune edit page:
ꢂ
Fine Tune
10
L:+00
Use the +/YES and -/NO buttons to change the fine tune
of the Layer/Left sound.
ꢂ
M:+00
Use the +/YES and -/NO buttons to adjust fine tune for
the Main sound, within a range of 99 cents (1 cent = 1/
100 of a semitone).
the changes (see “Exit from the Sound edit mode” on
ꢁ
page 38), or the SCROLL
page (see below).
button to go to the next edit
Value
Meaning
-99 ~ -01
+00
Ninety-nine to one cent lower
No transposition
+01 ~ +99
One to 99 cents higher
Programming the pedals
ming to assign global controls, like drum pattern, recorder and
quarter tone control.
By default, the three pedals act (from right to left) as damper,
sostenuto and soft. You can freely reassign them according to
sounds by these pages, or globally (see page 49). Global pro-
gramming override these settings.
Note: When a function other than Sound is assigned to a pedal
in Global edit, therefore overriding sound programming, a (G)
abbreviation appears in the following pedal assignment pages.
ꢁ
1. After having pressed the EDIT button, use the SCROLL
Hint: Use sound programming to assign sound effects, like
damper, rotary speaker speed and glide; use global program-
button to show the Pedal assignment page for the pedal
you wish to reprogram:
3
2
1
Pedal 3 (G) 13
Pedal 2 (G) 12 Pedal 1 (G) 11
ꢂ
M:Soft
L:Off
ꢂ
ꢂ
M:Sost
L:Off
M:Damper L:Off
2. Use the SCROLL buttons to move the cursor to the M
(Main) or L (Layer/Left) parameter. Use the +/YES and -/
NO buttons to choose the required function.
allowing for long, held Piano notes. At the same time,
Pedal 3 triggers the Soft effect for both sounds.
•
A Grand Piano is the Main sound, and an Acoustic Bass is
the Left sound. The Damper effect is assigned to the Main
sound on Pedal 1 (it is Off for the Left sound), while the
Glide effect is assigned to the Left sound on Pedal 3 (it is
Off for the Main sound). When you want Piano notes to
be held, press the rightmost pedal (#1) as in a traditional
piano; when you want the Bass to glide, press the leftmost
pedal (#3). You can use both pedals at the same time.
You can assign different functions to the Main and Layer/
Left sounds, depending on the type of sound. This allows
for a great flexibility in pedal assignment. Some examples:
•
A Grand Piano is the Main sound, and a String Ensemble
is the Layer sound. Pedal 1 triggers the Damper effect for
the Piano sound only (it is Off for the Layer sound),
44
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Editing sounds and performances > Selecting a scale
Here are the effects that can be assigned to the pedals in
Sound edit mode:
the changes (see “Exit from the Sound edit mode” on
ꢁ
page 38), or the SCROLL
page (see below).
button to go to the next edit
Setting
Function
Off
The pedal does not affect the sound
Damper pedal
Damper
Sost. (Sostenuto)
Soft
Sostenuto pedal
Soft pedal
Glide
Glide function. When the pedal is
depressed, the sound “glides” slightly
toward the lower pitch. Try it on the
Ac.Guitar sound (left pedal).
Rotary
Rotary Speaker control, typical of electro-
mechanical organs. Try it on the Percussion
Organ 1 & 2 sounds (left pedal).
Selecting a scale
There are numerous classical compositions that were com-
posed using scales (or “temperaments”) that differ from the
“equal temperament” commonly used today. In order to re-
produce the original sound of such compositions, the C-720
provides other classical scales, in addition to the equal temper-
ament. In addition, scales to play ethnic and experimental mu-
sic are given.
Scale
Meaning
Kirnberger
This is the Kirnberger III scale invented by
Johann Phillip Kirnberger in the early 18th
century, and is used mainly for tuning harpsi-
chords.
Slendro
Pelog
Scale of the Indonesian Gamelan. The octave is
divided in 5 notes (C, D, F, G, A). The remaining
notes are tuned as in the Equal tuning.
You can assign the alternative temperament, or “sub scale”, to
both sounds, or just one of them. The other sound will contin-
ue playing using the equal temperament (or, in some cases, the
stretch one).
Scale of the Indonesian Gamelan. The octave is
divided in 7 notes (all white keys). The black
keys are tuned as in the Equal tuning.
Stretched
Simulates the “stretched” tuning of an acous-
tic piano. Basically an equal tuning, the lowest
notes are slightly lower, while the highest
notes are slightly higher than the standard.
This scale is automatically recalled when select-
ing the GrandPiano, BriteGrand and MelloPi-
ano sounds.
ꢁ
1. Press SCROLL
to go to the SubScale Type edit page:
SubScale Type 14
ꢂ
Kirnberger
2. Use the +/YES and -/NO buttons to select one of the avail-
able scales, chosen among the following ones:
ꢁ
3. Press SCROLL
to go to the SubScale Switch edit page,
with the M (Main) parameter selected:
Scale
Meaning
SubScale Sw. 15
Equal Temp.
Nearly all keyboard instruments today use
equal temperament. This temperament spaces
all semitones at equal distances, and allows
identical scales to be played in any key.
ꢂ
M:On
L:Off
4. Use the +/YES and -/NO button to turn the sub scale on or
off for the Main sound. If it is off, the sound will continue
playing using the equal temperament.
Pure Major
Pure Minor
Arabic
Major chords in the selected key are perfectly
tuned.
Minor chords in the selected key are perfected
tuned.
ꢁ
5. Press SCROLL
to select the L (Layer/Left) parameter:
An arabic scale, with the E and B notes tuned a
quarter tone lower.
SubScale Sw. 15
ꢂ
M:On
L:Off
Pythagorean
Pythagorean scale, based on the music theo-
ries of the great Greek philosopher and mate-
matician. It is most suitable for melodies.
6. Use the +/YES and -/NO button to turn the sub scale on or
off or the Layer/Left sound. If it is off, the sound will con-
tinue playing using the equal temperament.
Werckmeister
This is the Werckmeister III scale invented by
Andreas Werckmeister, the German organist
and music theoretician. This scale was created
in the later Baroque period to allow relatively
free transposition.
the changes (see “Exit from the Sound edit mode” on
ꢁ
page 38), or the SCROLL
page (see below).
button to go to the next edit
45
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Editing sounds and performances > Resetting the current sound and performance
Resetting the current sound and performance
Any custom programming of the current sound, sound com-
bination or performance, can be reset to the original values.
2. Press +/YES to start resetting. The “Are you sure?” message
appears. Press +/YES to confirm resetting, -/NO to cancel
and leave your custom data untouched.
mode (see “General Reset” on page 55).
If you choose to reset, the current performance, sound or
sound combination is reset to the factory values.
ꢁ
1. After having pressed the EDIT button, use the SCROLL
button to show the Reset Sound/Performance page:
Reset Snd/Prf 16
ꢂ
Exec?
46
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Global settings > Touch settings
Global settings
Global edit is where you can edit some general parameters, not
tied to the single sounds or songs.
Exit from the Global edit mode
After having edited some parameter, press EXIT to exit the
Global mode. If nothing was modified, you exit immediately.
If something was modified, the Save page will appear:
Accessing Global edit
Keep the EDIT button pressed for more than one second, to
access the Global edit mode.
Global Modified
Save? (Yes/No)
Press +/YES to save, -/NO to cancel.
Touch settings
The keyboard sensitivity, or touch, can be programmed.
This is the diagram of the touch curves:
1. After having kept the EDIT button pressed, use the
Strong
ꢁ
SCROLL
button to show the Touch Sensitivity page:
ꢅꢅ
(
)
Soft
Note
Touch Sens.
1
Medium
Hard
loudness
ꢂ
Medium 2
Soft
(ꢄꢄ)
Strong
Playing strength
Soft
2. Use the +/YES and -/NO button to change sensitivity. The
following table lists the available touch settings.
page and save the changes (see “Exit from the Global edit
Setting
Touch sensitivity
ꢁ
mode” on page 47), or the SCROLL
next edit page (see below).
button to go to the
Fixed
Fixed dynamic = 100.
Soft 1~3
Loud notes can be produced even by playing
lightly.
Medium 1~2
Hard 1~3
Normal piano touch.
Loud notes can be produced only by playing
very hard.
Turning the internal speakers on or off
Whether you prefer listening to the internal speakers or to an
external amplification system, you can turn the internal speak-
ers on or off.
1. After having kept the EDIT button pressed, use the
ꢁ
SCROLL
button to show the Speaker page:
Speaker
2
Note: The speakers are automatically turned on when the in-
strument is turned on again.
ꢂ
On
Hint: You can also turn the speaker off, by inserting a jack in
the headphone connectors.
2. Use the +/YES and -/NO button to turn the internal speak-
ers on or off.
3. Press the EXIT button to return to the Main or Song Play
ꢁ
page, or the SCROLL
(see below).
button to go to the next edit page
47
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Global settings > Master tuning
Master tuning
In order to adapt the C-720 pitch to that of another instru-
ment, you can adjust the pitch. Standard tuning is A4 = 440
Hz.
2. Use the +/YES and -/NO button to select a different tun-
ing.
Note: If you enter editing later, you might see a different edit
Setting
Tuning
ꢀ
page instead of the first one. Use the SCROLL
reach it.
button to
415 ~ -439.5
Lower tuning. The lowest value corresponds to
about -100 cents (one semitone) from the stan-
dard tuning.
1. After having kept the EDIT button pressed, the Master
Tune page will appear:
440
Standard tuning
440.5 ~ 465
Higher tuning. The highest value corresponds to
about +100 cents (one semitone) over the stan-
dard tuning.
Master Tune
3
ꢂ
440.0 Hz
page and save the changes (see “Exit from the Global edit
ꢁ
mode” on page 47), or the SCROLL
next edit page (see below).
button to go to the
Brilliance
Brilliance is the sound’s brightness. You can set an overall in-
crease or decrease of brilliance.
After having chosen a brilliance value different than Nor-
mal, the BRILLIANCE indicator will turn on.
LIANCE button (see page 17). However, contrary to the but-
ton, these changes can be memorized, and are preserved even
when turning the instrument off.
2. Use the +/YES and -/NO button to change the brilliance.
The following table lists the available settings.
Setting
Brilliance
Note: Brilliance changes can be recorded into a song. If you lat-
er change them again, values recorded in the song are left un-
changed.
Very Mellow, Mellow
Normal
The sound becomes darker.
Normal tone.
Bright, Very Bright
The sound becomes brighter.
1. After having kept the EDIT button pressed, use the
ꢁ
SCROLL
button to show the Brilliance page. As an al-
ternative, press the BRILLIANCE button to immediately
access the Brilliance page:
page and save the changes (see “Exit from the Global edit
ꢁ
mode” on page 47), or the SCROLL
next edit page (see below).
button to go to the
Brilliance
4
ꢂ
Normal
Default split point
You can set a default split point, that will be automatically re-
called each time you press the SPLIT button when playing
sounds.
1. After having kept the EDIT button pressed, use the
ꢁ
SCROLL
button to show the Split Point page:
Split Point
5
Note: The split point may be different from the default split
point, if you change it after turning the instrument on. Also, it
may vary when choosing a performance with two sounds in
Split mode. The last selected split point remains selected, until
you turn the instrument off.
ꢂ
F#3
2. Use the +/YES and -/NO button to change the split point.
When you change this value, if you are in Split mode the
current split point is also changed.
page and save the changes (see “Exit from the Global edit
ꢁ
mode” on page 47), or the SCROLL
next edit page (see below).
button to go to the
48
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Global settings > Assigning functions to the pedals
Assigning functions to the pedals
ming to assign global controls, like drum pattern, recorder and
quarter tone control.
By default, the three pedals act as (from right to left) damper,
sostenuto and soft. You can freely reassign them according to
sounds (see page 44), or globally by these pages. Global pro-
gramming override sound settings.
Note: When a function other than Sound is assigned to a pedal,
therefore overriding sound programming, a (G) abbreviation
appears in the pedal assignment pages in Sound Edit mode.
1. After having kept the EDIT button pressed, use the
Hint: Use sound programming to assign sound effects, like
damper, rotary speaker velocity and glide; use global program-
ꢁ
SCROLL
button to show the Pedal assignment page for
the pedal you wish to reprogram:
3
2
1
Pedal 3 Glob. 8
Pedal 2 Glob. 7 Pedal 1 Glob. 6
ꢂ
Sound
ꢂ
ꢂ
Sound
Sound
2. Use the +/YES and -/NO button to choose the assigned
Setting
Function
function.
Transpose Down
Play/Pause
Stop
Each time the pedal is pressed, the master
transpose is lowered by one semitone.
Setting
Function
The pedal duplicates the PLAY/PAUSE but-
ton’s function.
Sound
The pedal is programmed by the selected
page 44).
The pedal duplicates the STOP button’s
function.
Pedal Punch
function is detailed on page 32.
Fill In
for the drum pattern (see “Drum patterns”
on page 21).
Quarter Tone
The pedal activates the Quarter Tone func-
tion. When this function is turned on, you
custom scales. See “Quarter Tone (SubScale
realtime programming)” below.
page and save the changes (see “Exit from the Global edit
ꢁ
mode” on page 47), or the SCROLL
next edit page (see below).
button to go to the
Transpose Up
Each time the pedal is pressed, the master
transpose is raised by one semitone.
49
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Global settings > Quarter Tone (SubScale realtime programming)
Quarter Tone (SubScale realtime programming)
The Quarter Tone function allows you to program a custom
scale in realtime, for example those sudden scale change typi-
cal of Arabic music. Changes are not saved anywhere (they are
only used in realtime), so the scale is easily “wiped-out” when
selecting a different sound or performance, or when pressing
the Quarter Tone pedal again.
2. Keep the Quarter Tone pedal pressed. The keyboard will
not play at this time. Press the notes you want to lower a
quarter tone.
3. Release the Quarter Tone pedal.
4. Play with your new scale. Notes you pressed on step 2 are
now lowered of a quartertone.
Note: Quarter Tone can only be used if the SubScale has been
mode (see “SubScale Switch” on page 45).
5. To reset the original scale, press and release the Quarter
Tone pedal again, without playing any note. All pitches
mance will be recalled (see “Selecting a scale” on page 45).
You can assign the “Quarter Tone” function to any of the ped-
als.
As an alterative, you can reset the Quarter Tone settings by
choosing a different sound or performance.
1. Assign the Quarter Tone function to one of the pedals, as
seen above.
Fast Play
When you record a song with the onboard recorder, or read a
Standard MIDI File from an external sequencer, one or more
empty beats can exist at the beginning of the song. However,
when the Fast Play function is activated, all empty beats are
skipped, making the song playback immediately begin from
the first note. If setup data are contained inside these empty
beats, they are read faster.
1. After having kept the EDIT button pressed, use the
ꢁ
SCROLL
button to show the Fast Play page:
Fast Play
9
ꢂ
On
2. Use the +/YES and -/NO button to turn the Fast Play func-
tion on or off.
page and save the changes (see “Exit from the Global edit
ꢁ
mode” on page 47), or the SCROLL
next edit page (see below).
button to go to the
Mute Level
Muting is useful with piano lessons, when you may want to
play one or both song parts to play them on the keyboard. You
mute a part by pressing the corresponding PART button while
in Song Play mode.
2. Use the +/YES and -/NO button to choose the mute level.
Setting
Perceived level
0
Silence
Soft
In this page, you can choose either the mute completely silenc-
es a part, or just attenuates it.
1 ~ 30
31 ~ 60
61 ~ 90
Medium
Loud
1. After having kept the EDIT button pressed, use the
ꢁ
SCROLL
button to show the Mute Level page:
Mute Level
10
ꢂ
Volume: 0
page and save the changes (see “Exit from the Global edit
ꢁ
mode” on page 47), or the SCROLL
next edit page (see below).
button to go to the
50
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Global settings > Turning the keyboard on or off (Local Control)
Turning the keyboard on or off (Local Control)
Note: When the power is turned on, the Local will be automat-
ically set to On.
Local is the parameter that allows you to establish whether the
keyboard has to play the internal sounds and transmit MIDI
data at the same time (Local On), or whether it just has to
transmit MIDI data and not play the internal sound (Local
Off).
1. After having kept the EDIT button pressed, use the
ꢁ
SCROLL
button to show the Local Control page:
Local Control 11
Local Off should be chosen when you wish to use the C-720 as
a mute keyboard, to play another instrument via the MIDI
OUT port. It should also be chosen when C-720 is connected
to an external sequencer via its MIDI IN and MIDI OUT con-
nectors. This will avoid the notes to be played twice, by the
keyboard and by the sequencer, producing an annoying
“echo” effect.
ꢂ
On
2. Use the +/YES and -/NO button to turn the function on or
off.
3. Press the EXIT button to return to the Main or Song Play
ꢁ
page, or the SCROLL
(see below).
button to go to the next edit page
Normally, you will choose Local On (automatically selected
when turning the C-720 on), so that playing the keyboard will
produce sound.
MIDI Clock
MIDI Clock allows for synchronization of two MIDI devices,
for example the internal recorder of the C-720, and an external
sequencer.
2. Use the +/YES and -/NO button to choose the source of
the clock message.
Note: When the power is turned on, the MIDI Clock will be au-
Setting
MIDI Clock
tomatically set to Internal.
Internal
The MIDI Clock is generated by the C-720 itself.
The message is also sent to the MIDI OUT and
USB ports.
1. After having kept the EDIT button pressed, use the
ꢁ
SCROLL
button to show the MIDI Clock page:
External MIDI
External USB
The MIDI Clock is received from an external
MIDI device connected to the C-720’s MIDI IN
port.
MIDI Clock
12
ꢂ
External MIDI
The MIDI Clock is received from an external
device connected to the C-720’s USB port.
3. Press the EXIT button to return to the Main or Song Play
ꢁ
page, or the SCROLL
(see below).
button to go to the next edit page
MIDI IN Channels
When C-720 is controlled from an external MIDI device, it can
work as a 16-part multitimbral tone generator. You can select
a different sound on each of the 16 MIDI channels. These
channels are not accessible from the control panel, and are
separate from the Main, Layer/Left, Recorder Part 1 and Part
2, and Drum tracks. Therefore, you can continue playing with
the piano while MIDI data are received from an external MIDI
device.
1. After having kept the EDIT button pressed, use the
ꢁ
SCROLL
button to show the MIDI IN Channels page:
MIDI IN Ch. 13
ꢂ
Ch:1
Track 1
2. Use the +/YES and -/NO button to choose one of the 16
available channels (Ch) to be programmed.
ꢁ
3. Press the SCROLL
button to move the cursor to the as-
Note: MIDI data is received both from the MIDI IN port, and the
Over USB, see “What is MIDI Over USB?” on page 56.
signed track.
MIDI IN Ch. 13
ꢂ
Ch:1
Track1
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Global settings > MIDI OUT Channels
ꢀ
4. Use the +/YES and -/NO buttons to choose a different
track. Here is a list of the available tracks for each of the
MIDI IN channels:
5. Press the SCROLL
button to move the cursor to the
channel again.
MIDI IN Ch. 13
Ch:01
ꢂ
Tr01
Tracks
Meaning
Off
No data received on the selected channel. This is
useful when an external sequencer is sending
data to two (or more) different devices. Turn off
all channels you want to reserve to the other
device(s).
6. Use the +/YES and -/NO button to choose another chan-
nel to be programmed, and repeat the above procedure.
page and save the changes (see “Exit from the Global edit
ꢁ
mode” on page 47), or the SCROLL
next edit page (see below).
button to go to the
Track 1~16
Global
One of the 16 tracks of the C-720.
Global track. All notes and pedal controls
(damper, sostenuto, soft) received via the MIDI IN
are considered as if they came from the inte-
grated keyboard and pedals. The split point (if
any) is considered.
MIDI OUT Channels
The standard MIDI has 16 separate channels available for
transmission and reception of data. C-720 can transmit on six
channels at the same time. To transmit data from the C-720,
you need to choose which of the 16 MIDI channels you wish
to transmit data on, and which track they are assigned to.
4. Use the +/YES and -/NO buttons to choose a track trans-
mitting on the selected channel. Here is a list of the avail-
able tracks for each of the MIDI OUT channels:
Tracks
Meaning
Note: MIDI data is sent both to the MIDI OUT port, and the USB
USB, see “What is MIDI Over USB?” on page 56.
Off
No data sent on the selected channel. This is useful
when you want to play notes on the piano alone,
without sending them to another MIDI device con-
nected to the C-720’s MIDI OUT port.
1. After having kept the EDIT button pressed, use the
ꢁ
SCROLL
page:
button to show the MIDI OUT Channels
Main
Main sound
Layer
Left
Layer sound (when in Layer mode)
Left Sound (when in Split mode)
Recorder part 1 or 2
MIDI OUT Ch. 14
Part 1, 2
Drum
ꢂ
Ch:1
Main
Drum (when a drum pattern is selected)
2. Use the +/YES and -/NO button to choose one of the 16
available channels (Ch) to be programmed.
ꢀ
5. Press the SCROLL
button to move the cursor to the
ꢁ
3. Press the SCROLL
button to move the cursor to the as-
channel again.
signed track.
MIDI OUT Ch. 14
Ch:1
MIDI OUT Ch. 14
ꢂ
Main
ꢂ
Ch:1
Main
6. Use the +/YES and -/NO button to choose another chan-
nel to be programmed, and repeat the above procedure.
page and save the changes (see “Exit from the Global edit
ꢁ
mode” on page 47), or the SCROLL
next edit page (see below).
button to go to the
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Global settings > MIDI Filters
MIDI Filters
When you choose a sound, operate the damper pedal, adjust
the level balance in Layer mode, or make other adjustments on
the control panel, a MIDI message is sent to a connected exter-
nal MIDI (and/or USB) device. At the same time, C-720 can
receive a MIDI message from an external MIDI (and/or USB)
device connected to its MIDI IN (or USB port), to control the
sounds, damper pedal, volume adjustment, and other data.
2. Use the +/YES and -/NO buttons to choose one of the fil-
ters to be programmed. Here is a list of the available filters:
Filter
Meaning
CC
Control Changes messages, e.g., pedal, modulation,
volume, pan, etc.
PC
Program Change messages, i.e., the messages sent to
select a sound.
You can choose to deactivate (i.e., “filter”) these data selective-
ly, to avoid unwanted changes or mixing data generated by ex-
ternal devices and internal controls. Also, you could want to
avoid sending MIDI data to an external MIDI device, for ex-
ample Program Change message selecting unwanted sounds
on a different musical instrument.
PB
Pitch Bend
SysEx
System Exclusive, e.g., the messages used to program
effect parameters.
ꢁ
3. Press the SCROLL button to move the cursor to the sta-
1. After having kept the EDIT button pressed, use the
tus of the selected filter:
ꢁ
SCROLL
button to show the MIDI Filters page:
MIDI Filters 15
MIDI Filters 15
ꢂ
Flt:CC
Off
ꢂ
Flt:CC
Off
4. Use the +/YES and -/NO buttons to change the filter’s sta-
tus. On means that the corresponding data is filtered (not
sent or received), Off means that it is not filtered (it is sent
and received).
page and save the changes (see “Exit from the Global edit
ꢁ
mode” on page 47), or the SCROLL
next edit page (see below).
button to go to the
Data transfer via the USB port
The USB is a high-speed data port installed on most modern
computers. You can use it to transfer data from the internal
memory of the C-720, to a computer and vice-versa. Before
you do this, you must enable USB connection for data transfer.
1. First of all, connect the C-720 to a personal computer via a
standard USB cable. Make sure that the connector is ori-
ented correctly, and insert it all the way into the jack.
MIDI IN
Note: While data transfer is active, no MIDI over USB communi-
cation is allowed.
Windows ME, 2000, XP, and Mac OS 9.0.4 to OS X, are sup-
ported with no need for special drivers. To use the C-720 with
Windows 98SE you need the dedicated KORG Driver, a special
software that you can freely download from our website.
2. Then, turn USB Data Connect on on the C-720, to let the
computer see its internal memory as a USB disk.
After having kept the EDIT button pressed, use the
ꢁ
SCROLL
button to show the USB Connect page:
Warning: Since activating the USB port for data transfer au-
tomatically deactivates MIDI over USB, exit from any MIDI
software on your personal computer before turning the USB
Connect function on. Failing to do so could damage the C-
720’s internal memory data.
USB Connect 16
ꢂ
Enable?
3. Press the +/YES button to activate data connection. The
Warning: When you turn the USB connection off, the C-720
will be reinitialized and all unsaved data in the instrument’s
memory will be deleted. Save any unsaved sound, perfor-
mance, song, or global setting, before activating the USB
connection.
Disable command will appear in the display.
USB Connect 16
ꢂ
Disable?
Warning: Do not press the -/NO button while transferring
data, or you could damage the C-720’s memory content,
and cause malfunctioning on your personal computer
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Global settings > Erasing songs from the User Song album
At this point, the C-720 should appear on your com-
puter’s desktop or disk window as an external USB drive,
with the name KORG SSD (i.e., KORG Solid State Disk,
the technical name of the internal permanent memory).
This is the diagram of the data::
5. After data transfer is completed, remove the KORG SSD
icon from the computer desktop. Please refer to your com-
puter’s documentation for any care on ejecting/removing
USB storage devices. However, here is what you should
commonly do:
Windows
Mac OS X
4. Move files to or from the C-720 and the personal comput-
er as you would with any other USB drive. When moving
files, consider the following:
•
On a Windows PC: Right-click the KORG SSD icon dis-
played in the right side of your computer’s taskbar. In the
menu that appears, left-click “Stop USB disk driver (drive
name).” Make sure that a message indicating that the
“USB disk may be disconnected safely” is displayed. At
this point, the C-720 should have been automatically dis-
connected from your personal computer, and the Enable
command should appear again in the C-720’s display,
meaning connection has been deactivated.
Warning: Do not turn the C-720 off before disconnecting it
from the personal computer. Doing so, could damage the C-
720’s memory content, and cause malfunctioning on your
personal computer.
Data inside the C-720’s memory are organized in four
folders (also called ‘sub-directories’). Each folder contains
a different type of data created by yourself. The different
data is explained in the following table.
•
On a Mac: Drag the KORG SSD icon over the Eject icon
on the Dock (Mac OS 9: drag it to the trashcan on the
desktop), and wait until the icon disappears. When it is no
longer shown, go to the C-720 and press the -/NO button
to deactivate data connection. The C-720 will be reinitial-
ized, and the Enable command will appear in the display
again, meaning connection has been deactivated.
Folder
Content
Global
Global settings, Metronome settings
Performances
Perform
Preset
Modified sounds and sound combinations
UserSong
Your personal songs, i.e., songs you created with
the internal recorder, or created with an external
sequencer. You can copy from the computer to this
folder songs in Standard MIDI File format (files
with the “.MID” extension). To select the correct
sounds on the C-720, imported songs must comply
with the General MIDI (GM) standard. Not all GM
sounds can be played, since C-720 includes only a
subset of the GM standard.
6. When the Enable command appears in the display again,
the USB connection has been safely turned off.
USB Connect 16
ꢂ
Enable?
7. Press the EXIT button to return to the Main or Song Play
ꢁ
page, or the SCROLL
(see below).
button to go to the next edit page
Erasing songs from the User Song album
You can erase a song from the User Song album. On the con-
trary, songs of the other albums cannot be erased.
2. Use the +/YES and -/NO buttons to choose the song of the
User Song album you wish to delete. If the name is longer
than the display, it will scroll up to the end, then return to
the beginning.
Note: You can erase a song from the User Song album also via
an external computer, by means of the USB data connection
(see above).
ꢁ
3. Press the SCROLL
button to move the cursor to the
1. After having kept the EDIT button pressed, use the
Exec command.
ꢁ
SCROLL
button to show the Erase Song page:
4. Press +/YES to start deletion. The “Are you sure?” message
appears. Press +/YES to confirm deletion, -/NO to cancel
and keep the song.
Erase Song
17
ꢂ
Prelude Exec?
5. Press the EXIT button to return to the Main or Song Play
ꢁ
page, or the SCROLL
(see below).
button to go to the next edit page
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Global settings > General Reset
General Reset
You can reset all memory data to the original factory settings.
This includes sounds, sound combinations, performances,
global data.
2. Press +/YES to start the reset procedure (or -/NO or EXIT
to cancel and exit). The “Are you sure?” message appears.
Press +/YES again to confirm reset, -/NO to cancel and
leave your custom data untouched.
Warning: The general reset will delete all your user data, like
custom performances, Layer sound balancing and global data!
Backup this data to a personal computer before doing a gener-
al reset. User Songs will not be deleted.
If you choose to reset, the instrument is reset, and all data
are restored to the original values. Please do not turn the
instrument off during reset.
1. After having kept the EDIT button pressed, use the
ꢁ
SCROLL
button to show the General Reset page:
General Reset 18
Exec? (Yes/No)
System version number
You can see the operating system’s version number while in
together. The version number will appear in the display. Press
EXIT to close the message.
ꢀ
Global mode. Press both the SCROLL
and +/YES buttons
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MIDI > What is MIDI?
MIDI
What is MIDI?
MIDI, is the abbreviation of Musical Instrument Digital Interface. It is an international standard that was created to connect and
transfer data between electronic musical instruments, computers and other devices.
What is MIDI Over USB?
You can let the C-720 communicate MIDI data with a com-
puter using the USB port instead of the MIDI ports. This way,
you can connect your C-720 to a personal computer without
the need of a dedicated MIDI interface.
er, for full and easy use of all MIDI features, we suggest you to
install the “KORG USB MIDI Driver”, a special software that
instructions come with the software itself. See “Installing the
Korg USB MIDI Driver” on page 59.
Most C-720 MIDI features can be used on a Windows XP or
Mac OS X computer with no need of special software. Howev-
What can you do with MIDI?
Thanks to MIDI, you can use the C-720 to control other in-
struments, use other instruments to control the C-720, and
use a sequencer to create complex musical pieces.
When you use the C-720 keyboard or pedal, or select a sound,
the notes, pedal activation and change in sound are transmit-
ted to another instrument, or are recorded by an external se-
quencer.
MIDI connections
Always connect the MIDI OUT connector of the instrument to
the MIDI IN connector of another instrument. Never connect
two connectors of the same instrument to each other.
the computer. Connect the C-720 MIDI IN connector to the
MIDI OUT connector of the computer.
Connect the MIDI OUT connector of the transmitting (mas-
ter) device to the MIDI IN connector of the receiving (slave)
device.
MIDI
OUT
MIDI
IN
MIDI keyboard
MIDI OUT
C-520 bottom
MIDI IN
MIDI sound module
MIDI OUT
To connect the C-720 to a computer using the MIDI ports, you
need a MIDI interface for the computer, sequencing or musi-
cal notation software, and two standard MIDI cables. Connect
the C-720 MIDI OUT connector to the MIDI IN connector of
MIDI IN
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MIDI > Standard MIDI settings
Standard MIDI settings
When turning the instrument on, the default MIDI factory
settings of the C-720 are programmed as follows:
Parameter
Reception channel(s) (see “MIDI IN
All 16 tracks (1-16)
Parameter
off (Local Control)” on page 51)
Channels” on page 52)
01 = Main sound
02 = Layer sound
03 = Left sound
04 = Recorder Part 1
05 = Recorder Part 2
10 = Drum
Using the C-720 as a multitimbral tone generator
When C-720 is controlled from an external MIDI device, it can
work as a 16-part multitimbral tone generator. You can select
a different sound on each of the 16 MIDI channels.
(see “Installing the Korg USB MIDI Driver” on page 59).
other device). See “Program Change” on page 57 for in-
structions on how to select a sound using the MIDI Pro-
gram Change message. Program Change reception must
be activated on the C-720 (it is by default).
Note: Sounds on the C-720 are set as in the General MIDI (GM)
standard. However, not all sounds of the standard are avail-
able.
1. Use a MIDI cable to connect the C-720’s MIDI IN to the
MIDI OUT of a sequencer etc. As an alternative, connect
Read the other devices user’s manual for details on send-
ing Program Change messages.
Program Change
The sounds of the C-720 can be selected via MIDI, by sending
assign the sound. The “Sounds” table on page 68 lists the Pro-
gram Change numbers corresponding to each C-720 sound.
Receiving Program Change messages
When a Program Change message is received from an external
device on a MIDI channel, the corresponding internal sound
Change numbers are shown in the table on page 68.
Transmitting Program Change messages
You can send a MIDI Program Change message to a MIDI de-
vice connected to the C-720 MIDI OUT (or USB port), to
change its sound. When selecting one of the internal sounds of
the C-720 by using the sound selection buttons, a MIDI Pro-
gram Change number will be transmitted on the sound’s
ble on page 68.
Program Change enable/disable
The C-720 usually receives Program Change data. If you don’t
want to receive (or transmit) them, use the Filter function.
Please remember that to enable full remote program switch-
ing, both the PC and CC filters must be turned off, to allow
See “MIDI Filters” on page 53.
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MIDI > Control Change
Control Change
When you operate the damper pedal, adjust the balance in
Layer mode, or make other adjustments on the control panel,
a Control Change message is sent to a connected external
MIDI device. At the same time, C-720 can receive a Control
Change message from an external MIDI device connected to
its MIDI IN, to control the damper pedal, volume adjustment,
and other data.
Control Change enable/disable
The C-720 usually receives Control Change data. If you don’t
“MIDI Filters” on page 53.
58
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Installing the Korg USB MIDI Driver > Connecting the C-720 to a personal computer
Installing the Korg USB MIDI Driver
The USB port can be used to transfer MIDI data between the
C-720 and a personal computer (this is called the MIDI Over
USB function). This is useful when your computer is not fitted
with a MIDI interface.
computer, and at the same time control another MIDI instru-
ment connected to the MIDI ports of the piano.
Connecting the C-720 this ways makes it, at the same time, a
MIDI input device, a controller, and a sound generator.
USB can be used in parallel with the MIDI ports. For example,
you can connect your C-720 to a sequencer running on your
Connecting the C-720 to a personal computer
Please install the KORG USB-MIDI Driver, before connecting
the C-720 to a personal computer. Be sure your personal com-
puter meets the requirement shown on “KORG USB-MIDI
Driver system requirements” below.
KORG USB-MIDI Driver system requirements
Windows
Macintosh
Computer: A computer with an USB port, that satisfies the re-
Computer: An Apple Macintosh with an USB port that satis-
quirements of Microsoft Windows XP.
fies the requirements of Mac OS X.
Operating system: Microsoft Windows XP Home Edition /
Professional / x64 Edition (a driver for the x64 Edition is in
beta release.)
Operating system: Mac OS X version 10.3 or later.
Please note before use
Copyright to all software included in this product is the prop-
erty of Korg Inc.
The license agreement for this software is provided separately.
You must read this license agreement before you install this
software. Your installation of this software will be taken to in-
dicate your acceptance of this agreement.
59
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Installing the Korg USB MIDI Driver > Windows: Installing the KORG USB-MIDI Driver
Windows: Installing the KORG USB-MIDI Driver
Please connect the C-720 to the computer via an USB cable
only after having installed the KORG USB-MIDI Driver Tools.
Start > all programs > KORG > KORG USB-MIDI Driver
Tools > Installation manual
Warning: C-720 cannot use the KORG MIDI Data Filer at the
same time.
5. Select the following command from the task bar to open
the installation program:
Note: You must install a separate driver for each USB port you
will use.
Start > all programs > KORG > KORG USB-MIDI Driver
Tools > Install KORG USB-MIDI Device
1. Insert the included CD-ROM into your CD-ROM drive.
6. Please follow the installation instructions appearing on-
Normally, the “Digital Piano Application Installer” will
start up automatically.
screen to install the KORG USB-MIDI Driver.
Driver’s ports
If your computer is set so that the installer does not run
automatically, double-click “KorgSetup.exe” on the CD-
ROM.
After installation, the following ports will be shown in you
MIDI application (e.g., sequencer) among the other MIDI de-
vices:
2. Please follow the installation instructions appearing on-
screen.
C720 KEYBOARD: This allows for reception of MIDI messag-
es from the C-720 (keyboard and controller’s data) to the
MIDI application running on the computer.
3. Restart the computer, and turn on the C-720. Connect the
C-720 to the computer via an USB cable.
4. Select the following command from the task bar to open
C720 SOUND: This allows for transmission of MIDI messages
from the MIDI application running on the computer, to the
internal tone generator of the C-720.
the installation instructions:
Mac OS X: Installing KORG USB-MIDI Driver
1. Insert the included CD-ROM into your CD-ROM drive.
C720 KEYBOARD: This allows for reception of MIDI messag-
es from the C-720 (keyboard and controller’s data) to the
MIDI application running on the Mac.
2. Please double click on the “KORG USB-MIDI Driver.pkg”
in the “KORG USB-MIDI Driver” folder inside the CD-
ROM, to run the installer. Install it according to the in-
structions appearing on-screen.
C720 SOUND: This allows for transmission of MIDI messages
from the MIDI application running on the Mac, to the internal
tone generator of the C-720.
Driver’s ports
After installation, the following ports will be shown in you
MIDI application (e.g., sequencer) among the other MIDI de-
vices:
60
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Assembling the stand > Cautions for assembly
Assembling the stand
Cautions for assembly
•
•
When placing the piano on the stand, be careful not to
pinch your hands.
•
Do not apply weight to the front edge of the piano before
tightening the screws, otherwise the piano may fall down.
Be sure that the correct parts are assembled in the correct
orientation and position, and follow the steps in order.
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Assembling the stand > Assembling procedure
Assembling procedure
1. Open the packing carton and take out the contents. Check
that all of the following items are available.
List of parts
A
A
B
C
D
E
F
G
a
Pedal “beam”
× 1
× 1
× 1
× 1
× 1
× 1
× 1
× 14
× 5
× 4
× 10
× 2
Front bar
Left side panel
Right side panel
Speaker box
B
C-720
D
Rear panel
Screws M4x10 TC
Screws M4x20 TC
Screws M6x20 TBL
Screws 4x15 TFR
Protective cardboard sheets
C
b
c
d
e
NB: You will need a cross-point (Phillips #2) screwdriver
for assembly.
E
2. With the finished surface (woodgrain) facing forward to-
ward the pedals, attach the pedal beam (A) to the front bar
(B), by inserting the four bolts on the front of the pedal
beam (A) into the corresponding holes in the front bar (B).
Fasten the two pieces using two screws (a).
F
B
a
a
A
G
14 x a
2 x e
5 x b
4 x c
10 x d
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Assembling the stand > Assembling procedure
3. Lay the left side panel (C) on one of the protective card-
board sheets (e), and fasten to it the pedal beam and front
bar assembly.
bolts of the pedal beam into the corresponding holes of the
right side panel (D).
D
B
A
C
Warning: Be careful not to scratch the wooden surface of
the side panels.
4. Fix the left leg to the pedal beam and front bar assembly
with three screws (a).
6. Fasten the right side panel with three screws (a).
a
a
a
a
a
a
5. With the stand assembly still in the same position, attach
the right side panel (D) by inserting the remaining four
7. Turn the stand assembly up, making the two feet firmly lay
on the floor.
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Assembling the stand > Assembling procedure
8. In two people, lay the speaker box (E) over the front bar
(B), making it fill the space between the left and right side
panels. Turn it up, until it touches the metal fittings on the
side panels.
10.Then fasten the speaker box (E) to the right side panel (D)
with the remaining three screws (a).
E
a
a
B
a
Warning: Be careful not to let the speaker box fall down,
or you will damage it.
11.Finally, fasten the speaker box (E) to the front bar (B) with
the five screws (b).
9. While one of the people keeps it in position, fasten the
speaker box (E) to the left side panel (C) using three screws
(a).
b
b
b
b
b
12.Fold the two protective cardboard sheets (e), so that they
are transformed into safety hoods for the side panels.
a
a
I
e
e
II
a
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Assembling the stand > Assembling procedure
13.Apply the hoods (e) to the rounded sides of the side pan-
You can perform this step more easily if you use your body
to apply pressure to the side panel of the stand while slid-
ing the instrument onto the stand.
els.
F
e
Make sure that there are no uneven gaps between the top
surface of the instrument and the top of the side panels.
If you notice any unsightly gap, make adjustments by
loosening the screws (a) that fasten the side panels to the
pedal beam, front bar and speaker box.
If there is a very noticeable gap between the instrument
and the side panels of the stand, or if the gap is uneven, it
may be that the instrument was not placed correctly on
the stand. If so, lift up the entire instrument and place it
correctly on the stand.
14.Attach the instrument. Warning: The side panels are easily
scratched; please use caution.
Lift the instrument with both hands, being careful to
keep them not closer than 70mm from both ends of the
piano to avoid pinching. Position the screw heads pro-
truding from the inside of the left and right side panels, so
that they are aligned with the grooves at the left and right
ends of the instrument. and gently lower the instrument
onto the stand. If the instrument is aligned correctly, the
screws on the inside of the side panels will fit firmly into
the grooves.
15.Finally, remove the cardboard hoods and save them in a
safe place for future use. After removing the hoods, the
bolts on top of the metal columns of the stand will fit the
corresponding holes under the piano.
remove
Warning: Carefully lower the left and right ends of the
instrument evenly, keeping the instrument at level, and
being careful not to pinch your hand or drop the instru-
ment. Lifting only one side is very dangerous and may
also damage the metal fixtures of the instrument itself.
You must raise or lower both left and right ends of the
instrument simultaneously, keeping the instrument at
level.
Warning: Be very careful not to pinch your fingers
between the piano and the stand.
65
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Assembling the stand > Assembling procedure
16.Fasten the C-720 to the stand, by inserting two screws (c)
18.Connect the cable of the left and right speakers, to the cor-
responding connectors under the piano. Unfasten the ped-
al cable you will find in the front bar (B), and connect it to
the corresponding connector under the piano.
into the metal fittings of the right side panel.
Left Speaker
Right Speaker
Pedals
c
c
17.Insert the remaining two screws (c) into the metal fittings
of the left side panel.
19.With the finished surface (woodgrain) facing forward, at-
tach the rear panel (G) on the back of the instrument, us-
ing the ten screws for wood (d).
d
d
G
d
d
c
d
d
d
d
d
d
c
66
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Assembling the stand > Check after assembly
Note: Unless the adjuster is in firm contact with the floor,
the pedal will wobble, possibly causing malfunctions.
20.Loosen the pedal adjuster, and adjust it so that it is in firm
contact with the floor.
Check after assembly
[•] Are any parts left over?
[•] Make sure that all screws are tight.
If any parts are left over, check the diagrams to see where
they should be used.
Caution
Caution when transporting the instrument
Disassembly
Remove the piano from its stand, and transport them sepa-
rately. After transportation, refer to these instructions and re-
assemble the piano and stand.
If you need to packup the piano, reverse the assembly order by
which the piano was attached to the stand and the stand was
assembled. After disassembly, save the screws and other parts
so that no parts are lost.
Screw loosening
After assembly, the various screws and bolts of the stand may
loosen as time goes by, causing the stand to wobble. If this oc-
curs, re-tighten the screws.
67
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Appendix > Sounds
Appendix
Sounds
Var. Name
PIANO 1
CC 0 CC32
PC*
Osc. Description
1
GrandPiano**
121
0
0
4
Samples recorded from a gorgeous-sounding concert grand piano. It also includes
four dynamic levels, sustain samples, and key-off samples, plus other EPx effects. Per-
fect for classical compositions as well as any other style that requires an accurate
acoustic piano sound.
2
3
4
BriteGrand**
Rock Piano
Piano&Str.
121
121
121
0
1
2
1
1
0
4
2
4
As the above, but slightly more open-sounding.
Bright, spacious and clean piano. Excellent for pop or rock music.
A mix of warm piano and full, lush strings.
PIANO 2
1
2
3
4
Honky-Tonk
121
121
121
121
0
1
3
0
3
0
0
2
2
4
4
2
Classic, detuned saloon-piano.
MelloGrand**
Piano&Pad
Warm, slightly dark-sounding piano. Mostly good for classical music.
A mix of warm piano and warm, synthetic pads.
Elec.Grand
An electronic piano sound, typical of the late 70s. Extremely dynamic, with varying
timbre according to keyboard dynamics. Good for pop and funky music.
5
M1 Piano
121
1
2
2
The classic, ringing sound of the Korg M1 sampled piano, so often heard in pop music
during the late 80s.
E. PIANO 1
1
Tine EP 1
121
0
4
4
The most classic electric piano using hammer-struck metallic tines. It is extremely
dynamic, producing a soft tone when played lightly, or an aggressive tone when
played hard.
2
3
SuitTineEP
121
121
1
2
4
4
2
2
As the above, but warmer and with the addition of a phaser effect.
DynoTineEP
This electric piano has a very wide dynamic range, and is particularly suited to funky
music.
4
Tine EP 2
121
121
4
0
4
5
2
2
As Tine EP1, but with a tremolo effect.
E. PIANO 2
1
Dig. EP 1
An electronic piano sound created by means of the FM synthesis, extremely popular
during the mid 80s. Wide dynamic range. It is particularly suited to pop music of the
age.
2
3
4
Dig. EP 2
121
121
121
1
3
5
5
4
4
2
1
1
As the above, but slightly brighter.
Reed EP
An electric piano sound, often heard in pop music.
As the above, but with a tremolo effect.
TremReedEP
HARPSI/CLAV
1
Harpsi 8
121
0
6
3
This is the classic instrument for baroque music. Harpsichord uses plucked strings, so
there is no touch response.
2
3
Harpsi 16
Clav
121
121
1
0
6
7
4
2
As the above, but with the addition of a register one octave lower.
The clavinet sound. This is often heard in funk and soul music. The leftmost pedal is
used to trigger glide down.
4
Synth Clav
121
1
7
3
A synth-generated clavinet sound. The leftmost pedal is used to trigger glide down.
VIBES/GUITAR
1
2
3
Vibes 1
121
121
121
0
1
0
11
11
24
2
2
2
A sampled orchestral vibraphone with a great dynamic range.
As the above, but with no tremolo.
Vibes 2
Nylon Gtr.
A gorgeous, full-sounding nylon-strings guitar. The leftmost pedal is used to trigger
glide down.
68
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Appendix > Sounds
Var. Name
ORGAN 1
CC 0 CC32
PC*
Osc. Description
1
Jazz Organ
121
0
16
4
An aggressive tonewheel electric organ, often heard in jazz and rock music. The
rotary effect is sampled right at the source. The leftmost pedal is used to switch
between fast (pedal up) and slow (pedal down) rotary speaker, with several degrees in
the middle (half pedal).
2
3
Perc.Org.1
Perc.Org.2
121
121
0
1
17
17
3
3
As the above, but with the rotary speaker applied as a generated effect, and a more
transparent sound. The leftmost pedal is used to switch between rotary speaker fast
and slow (press for switch).
A variation of the above. The leftmost pedal is used to switch between rotary speaker
fast and slow (press for switch).
ORGAN 2
1
2
3
Church Org
121
121
121
0
0
1
19
20
19
4
3
2
A grandious, Tutti pipe organ, with a lot of sampled reverb. Great for sacred music
from the Baroque to the late Romantic age.
Pipe Flute
A recitativo-like pipe organ, with a particularly emotional blend of Flute and Vox
Humana.
Pipe Tutti
A slightly softer Tutti, especially suited for Baroque music.
STRINGS/CHOIR
1
Strings
121
0
48
3
A large strings ensemble sampled in stereo, with a realistic
natural reverb. Very dynamic and expressive.
2
3
4
1
2
Slow Str.
String Pad
Choir
121
121
121
121
121
0
0
0
0
0
49
50
52
53
54
2
2
2
2
2
Emotive, cinematic strings with a slower attack. Great for movie soundtracks.
Sampled strings with a synthetic quality. They are particularly suited for layers.
A large mixed choir, with natural reverb.
ScatVoices
Vocal Pad
A synthetic choir, with a lot of breath.
Lush, warm pad with a vocal heritage. Great for layers.
BASS
1
Ac. Bass
121
0
32
2
Upright acoustic bass, with a round, full-bodied sound. The ideal Left Hand in Jazz
and Latin music.
2
3
4
El. Bass
121
121
121
0
0
1
33
35
32
2
1
3
A fingered electric bass, with a full, round sound.
A mellow, singing fretless bass.
Fretless B
Bass&Ride
The same acoustic bass as above, but with the addition of a ride cymbal for single-
handed Jazz accompaniments.
DRUM KITS (Selected only by Drum Patterns or via MIDI)
1
2
3
Standard Kit
120
120
120
0
0
0
0
1/2
***
Jazz Kit
32
40
1/2
***
Brush Kit
1/2
***
Legend:
Var.: Variation. CC0: Bank Select MSB. CC32: Bank Select LSB. PC: Program Change Number. Numbering is from 0-54; if the transmitting
device uses numbers from 1-55, you will need to increment the number by one. Osc: Number of oscillators used by the sound.
Notes:
* Program Change numbers comply with the General MIDI standard. However, only listed numbers have effect on the C-720, while other
numbers are ignored.
** The GrandPiano, BriteGrand and MelloGrand sounds lose the EPx features when in Layer. This will help save polyphony.
*** 1 oscillator in case of mono drum samples, 2 oscillators in case of stereo drum samples.
69
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Appendix > Performances
Performances
#
Btn Name
Sounds / Timbres
Mode
Remarks
Bank 1
1
1
Split&Layr
Grand&Ride
Grand&Ebas
PnoStrings
EGrand Pad
Piano Pad
Piano&Str., Ac. Bass
Split
2
2
GrandPiano, Bass&Ride
GrandPiano, El. Bass
GrandPiano, String Pad
Elec.Grand, String Pad
Piano&Pad, String Pad
GrandPiano, Vocal Pad
Piano&Str., Nylon Gtr.
BriteGrand, Perc.Org.2
Perc.Org.2, Jazz Organ
Split
3
3
Split
4
4
Layer
Layer
Layer
Layer
Layer
Layer
Layer
5
5
6
6
7
7
Pno Choirs
Pno Guitar
Piano BX3
DualManual
8
8
9
9
10
10
Bank 2
11
12
13
14
15
16
17
18
19
20
1
Digital EP
PaddedTine
R&B EPno
EP Choir
GrandPiano, Dig. EP 1
Tine EP 1, Vocal Pad
Layer
Layer
2
3
DynoTineEP, TremReedEP Layer
4
Tine EP 1, Vocal Pad
Tine EP 2, Fretless B
ScatVoices, Bass&Ride
Vibes 1, Bass&Ride
Nylon Gtr., Ac. Bass
Perc.Org.1, Ac. Bass
Jazz Organ, Ac. Bass
Layer
Split
Split
Split
Split
Split
Split
5
EP&NoFret
Scat&Bass
Vibes&Bass
Bass&Guitr
Org&Bass 1
Org&Bass 2
6
7
8
9
10
Bank 3
21
22
23
24
25
26
27
28
29
1
Baroque
Harpsi 8, Strings
Harpsi 8, Choir
Harpsi 8, Pipe Tutti
Church Org, Choir
Nylon Gtr., Slow Str.
GrandPiano
Layer
Layer
Layer
Layer
Layer
Single
Single
Single
2
3
4
5
6
7
8
9
Harpsi-Ch
Harpsi-Org
Church Mix
Guitar Pad
GrandPiano
BriteGrand
MelloGrand
2 Pianists
Stereo sound. No EPx for increased polyphony
BriteGrand
MelloGrand
GrandPiano, GrandPiano Split
The same piano sound is assigned to the two halves of the keyboard,
simulating two separate pianos on the same keyboard. Useful when
both the teacher and student are playing on the piano at the same
time.
30
10
PnoEXpDEMO**
GrandPiano
Single
GrandPiano demo with enhanced PnoExp effects
Legend:
Btn: Button. Bank: Select it with the VARIATION button.
Notes:
* These performances, with sounds set in Layer mode, do not use EPx effects.
** Performance 30 (PnoExpDEMO) is designed to demonstrate our “Piano eXperience” technology, by exaggerating the amount of key-off/
hammer return portion of the Grand Piano sound; it is not intended to be a play-able timbre. Normally, these additional Piano eXperience
sounds are not perceived as separate elements, but together with the other sample layers, they are a vital part of the realism and the
authentic piano tone.
70
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Appendix > Effects
Effects
Reverb
Description / Beschreibung
Chorus
Description
Hall 1
Reverb (Smooth Hall)
Reverb (Smooth Hall)
Reverb (Smooth Hall)
Reverb (Wet Plate)
Reverb (Dry Plate)
Reverb (Room)
Chorus
Chorus
Hall 2
Harm.Chor.
Chorus Dly
Ensemble
Flanger
Harmonic Chorus
Chorus Delay
Ensemble
Flanger
Hall 3
Wet Plate
Dry Plate
Room 1
Room 2
BrightRoom
Tremolo
Tremolo
Reverb (Room)
Reverb (Bright Room)
IFX
Description
IFX
Description
EQ
Single FX
Pan
LoGain
HiGain
HLGain
MdGain
Delay
Low Boost
Hi Boost
Auto Pan
Tremolo
Trem.
Hi-Lo Boost
Mid Boost
Phaser
Rotary
Phaser
Rotary Speaker
Amp Simulator
Compressor
Stereo Limiter
Exciter
AmpSim
Comp.
Echo 1
Echo 2
Echo 3
Dly4th
Dly3/4
Dly8th
Short Delay
Medium Delay
Limit.
Long Delay
Excit.
Midi BPM Sync (quarters)
Midi BPM Sync (quarters/triplets)
Midi BPM Sync (eights)
Wah
Wah
Double FX
PhaTrm
AmpTrm
CmpAmp
OD-Wah
WahAmp
Phaser / Tremolo
Amp Simulator / Tremolo
Compressor / Amp Simulator
Overdrive / Wah
Wah / Amp Simulator
71
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Appendix > Songs
Songs
Album: SongBook
#
Title
Composer
#
Title
Composer
1
Prelude 1 (The Well-Tempered
Clavier, Book 1)
J.S.Bach
17
La fille aux cheveux de lin
C.Debussy
2
Invention No.1
J.S.Bach
18
19
20
21
22
23
24
25
26
27
28
29
Arabesque No.1
C.Debussy
C.Debussy
C.Debussy
C.Debussy
F.Chopin
3
Jesu, Joy of Man’s Desiring
Sonata K.545
J.S.Bach
Prelude (Suite Bergamasque)
Golliwog's Cake walk
Claire de lune (Suite Bergamasque)
Waltz No.6 Db-major Op.64-1
Waltz No.7 E-minor Op.64-2
Nocturne Op.9-2
4
W.A.Mozart
W.A.Mozart
L.v.Beethoven
L.v.Beethoven
T.Badarzewska
F.Burgmuller
F.Burgmuller
F.Burgmuller
F.Mendelssohn
R.Schumann
5
Turkish March (Sonata K.331)
For Elise
6
7
Piano Sonate Op.13-2
A Maiden’s Prayer
F.Chopin
8
F.Chopin
9
Arabesque Op.100-2
La styrienne Op.100-14
La chevaleresque Op.100-25
Springs Song Op.62-6
Traumerei Op.15-7
Mazurka Op.7-1
F.Chopin
10
11
12
13
Fantasie-Impromptu Op.66
Etude Op.10-3
F.Chopin
F.Chopin
Etude Op.10-5
F.Chopin
Promenade (Tableaux d’une
exposition)
M.P.Moussorgsky
14
15
16
Heidenroslein
G.Lange
30
31
32
Gymnopedie No.1
Je Te Veux
E.Satie
E.Satie
E.Elgar
Spinning Song
A.Ellmenreich
T.Oesten
Dolly’s Dreaming and Awakening
Salut d’Amour
Album: Classics
#
Title
Composer
#
Title
Composer
1
2
3
Frohlicher Landmann
La Violette Op.99-1
R.Schumann
R.Streabbog
J.S.Bach
12
13
14
Moments Musicaux Op.94-3
Jagerlied Op.19-3
F.P.Schubert
F.Mendelssohn
R.Schumann
Menuett G dur BWV.Anh.114
Von fremden Landern und Menschen
(Kinderszenen)
4
Gavotte
J.S.Bach
15
16
17
18
19
20
21
22
Etudes de Mecanisme, Op.849-No.1
Wiener Marsch
Carl Czerny
Carl Czerny
P.I.Tchaikovsky
W.A.Mozart
Greig
5
3 Sonatinen 1 C-dur Op.20-1
6 Sonatinen 1 C-dur Op.55-1
Sonatine C-dur Op.36-1
Piano Sonate Op.49-2-1
Piano Sonate Op.27-2-1
Menuett G-dur Op.10
Andante
Fr.Kuhlau
6
Fr.Kuhlau
The New Doll Op.39-9
Sonata K331, 1st Mov. Theme
Anitras Tanz Op.46 No.3
Blumenlied (“Flower Song”)
Tango (Espana)
7
M.Clementi
L.v.Beethoven
L.v.Beethoven
L.v.Beethoven
J.Haydn
8
9
G.Lange
10
11
I.Albeniz
F.Liszt
Libestraume Nr.3
Album: Beyer A – Ferdinand Beyer: Preparatory School, Op.101 / La scuola preparatoria, Op.101
#
Title
Note
#
Title
Note
1
2
Thema, Var. 1 ~ 12
Thema, Var. 1 ~ 8
Part 1: Teacher
Part 2: Student
3
…
53
Study 3 ~ 53
Student only
Album: Beyer B – Ferdinand Beyer: Preparatory School, Op.101 / La scuola preparatoria, Op.101
#
Title
Note
54
Study 54 ~ 106
…
106
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Album: Burgmüller – F.J.F. Burgmüller: 25 Easy and Progressive Studies, Op.100 / 25 Studi Facili e Progressivi, Op.100
#
Title
Composer
#
Title
Composer
1
La candeur
F.Burgmüller
14
15
16
17
18
19
20
21
22
23
24
25
La Styrienne
Ballade
F.Burgmüller
2
L’Arabesque
La pastorale
La petite reunion
Innocence
3
Douce plainte
La babillarde
Inquietude
4
5
6
Progres
Ave Maria
7
Le courant limpide
La gracieuse
La chasse
La tarentelle
L’harmonie des anges
Barcarolle
8
9
10
11
12
13
Tendre fleur
La bergeronnette
L’adieu
Le retour
L’hirondelle
La chevaleresque
Consolation
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Appendix > Error messages
Error messages
Write Protect
Record Mode
Not Allowed
While saving a song, you are trying to write over a write-pro-
tected file. The song has been previously copied from a PC,
and it had the write-protect attribute turned on while on the
computer’s disk. Change name to the song before repeating
the save operation.
You are trying to access recording on a protected song (i.e., all
the songs contained in albums different than UserSong). This
is not possible.
Song Modified
Save?
Out of Memoy
The song is too long, and the memory has been filled out.
When the maximum memory capability has been reached, re-
cording is automatically stopped. Press EXIT to close this mes-
sage.
A new or modified song exists in memory, and has not yet
been saved. Press +/YES to save it, or -NO to cancel and aban-
don all changes. In this latter case, the song in memory will be
lost.
Maximum song length reached
Sound Modified
Save?
A song can’t exceed 999 measures in length. When you reach
that limit, the recorder is automatically stopped. Please note
that recording can end earlier, if there is not enough memory
for all 999 measures to be recorded.
The current sound or sound combination has been modified.
Press +/YES to save it, or -NO to cancel and abandon all
changes.
Loading Song
Error
Perf. Modified
Save?
The song could not be loaded, for problems in file integrity,
excessive file size, or other errors.
The current performance has been modified. Press +/YES to
save it, or -NO to cancel and abandon all changes.
USB Working
Wait please
Globals Modified
Save?
Disconnecting the C-720 from the computer cannot be done
yet, since the computer is still working on the files. This may
happen when you press Enable, and then immediately after
Disable. Wait a little for the USB operation to complete.
Global settings have been modified. Press +/YES to save it, or
-NO to cancel and abandon all changes.
Save Global
Failure
Memory Full
There was an error during save. Global settings have not been
saved.
The internal storage memory (the one preserved when turning
the instrument off, and seen when connecting the C-720 via
USB) is full, so you cannot save the song. To free some space,
songs from the User Song album” on page 54).
Save Preset
Failure
There was an error during save. The sound or sound combina-
tion has not been saved (a preset is the common technical
name for sounds and sound combinations).
Invalid Name
Your song’s name is still blank (i.e., no characters were insert-
ed, or all characters were deleted). Assign a name to the song,
and try saving again.
Save Midi
Failure
There was an error during save. Midi settings have not been
saved.
Song Exists
Execute
General Reset
Wait Please
The song already exists in the internal storage memory. If you
press +/YES the older version is deleted and replaced by the
new one. If you press -/NO or EXIT saving is canceled, and the
older version is preserved.
You are resetting the internal data.
General Reset / nn%
This message shown the percentage of data being reset. Warn-
ing: Do not turn the instrument off while this message is in the
display.
74
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Appendix > Troubleshooting
Troubleshooting
Polyphony
If during use any of the following problems should occur,
carefully examine the instrument to see if you can find out
what the problem is, and try resolving it by following the sug-
gestions below. If the instrument will still not function prop-
erly refer to your dealer or to an Authorized Korg Service
Center.
The C-720 contains sampled sounds, which have been record-
ed, analyzed and processed from the actual sounds of the orig-
inal musical instruments. These sounds usually consist of one
or more different samples reproduced by pressing a key. Each
sample is played back by a single oscillator. Sounds using just
one oscillator have a full polyphony of max. 62 voices, while
sounds using two oscillators have a limited polyphony of max.
31 notes. Sounds using more oscillators have a more limited
polyphony. When the number of notes exceeds the limit of the
sound, some notes will be stopped, so that the new ones can be
heard.
Problem
Possible remedy
The instrument
Check that the AC adapter is correctly 10
will not turn on. connected to the piano and the out-
let.
Furthermore, when playing in Layer mode with more than two
notes, the max. polyphony depends on how many oscillators
are used in total.
No sound.
(1) Make sure that the volume is not
set on 0. If it is, bring it up to an ade-
quate level.
10
11
(2) Make sure there is not a jack
Please refer to the table on page 68 for more information
about the number of oscillators used by each sound.
plugged into one of the PHONES con-
nectors. This would turn the internal
speakers off. if so, unplug the jack.
(3) Make sure that the MIDI Local
function is not set on OFF. If it is, set it
to ON (or turn the instrument off and
then on again).
51
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Technical specifications > Polyphony
Technical specifications
Specifications
C-720
Keyboard
88 key, Graded Hammer Action (RH3)
Eight velocity curves, plus fixed
Touch selection
Key cover
Wooden, soft-landing sliding key cover
Transpose, Fine tuning, 10 Temperaments + Quarter Tone
Piano eXperience stereo sampling
Tuning
Sound generation
Polyphony
62 notes (max). The use of 2- (or more) oscillator sounds and the Layer mode reduces the maximum number of
simultaneous notes.
Modes
Sounds
Single, Layer, Split, Performance (30)
40 types; (7 Acoustic Pianos, Honky-Tonk, Electric Grand, 8 Electric Pianos, 2 Harpsichords, 2 Clavs, 2 Vibra-
phones, Acoustic Guitar, 3 Jazz Organs, 3 Church Organs, 3 Strings, 3 Choirs, 4 Basses.)
Effects
8 Reverb types, 6 Chorus types
24 Insert types including Tremolo, Delay, Rotary Speaker, Equalizer, etc.
Brilliance (5 settings)
Demo
205 songs — 20 demo songs; 185 classical songs with separate R.H. and L.H. parts
Tempo, Time Signature, Accent (Standard, Bell), Volume controls, Drum patterns
Metronome
Recorder
2 parts, 45,000 notes per song
Controls: Record, Play/Pause, Stop, Part 1 On/Off, Part 2 On/Off.
Functions: Cycle, Erase Track, Quantize, Transpose, Delete Song,
Rename Song.
Pedals
Damper (supports half-pedaling), Soft (supports half-pedaling), Sostenuto
All freely assignable
Connections
Controls
Audio output (OUTPUT L/MONO, R), Audio input (INPUT L/MONO, R), 2 × Headphones, MIDI (IN, OUT), Pedals,
USB (supports Ms Windows XP, Apple Mac OS X 10.2 or later)
Power switch, Master Volume, Performance, Variation, Split, Sound selectors, Scroll, Value (Yes/No), Edit, Exit,
Reverb, Chorus, Transpose, Brilliance, Demo, Metronome, Tempo, Recorder
Display
2 line × 16 character backlit LCD
Amplification
Speakers
Bi-amplfied — 2 × 35 Watt (woofers), 2 × 12 Watt (tweeters)
2 × 16cm woofers in closed boxes, 2 × dome tweeters
Power supply
Consumption
Dimensions (W x D x H)
Weight
120 ~ 240 V, 50/60 Hz
65 Watt
55.94" × 18.50" × 35.43" inch (1421 × 470 × 900 mm), including stand; with music stand folded down
182.98 lbs. (83 kg), including stand
Color and grain
Music stand
Realwood Wenge
With score holder
Included accessories
AC power cable; Song Book, CD-ROM with KORG USB-MIDI Driver for Windows XP and Mac OS X
Sounds processed with INFINITY™.
Korg reserves the right to change the specifications without notice.
76
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MIDI Implementation Chart > Polyphony
KORG C-720
Version 1.0 - Jul. 16, 2006
MIDI Implementation Chart
Function
Transmitted
Recognized
Remarks
Basic Channel
Default
Changed
Default
Messages
Altered
1–16
1–16
1–16
1–16
3
Memorized
Mode
X
X
****************
0–127
Note
Number:
0–127
0–127
0 – 120 in the case of piano sounds
True Voice
Note On
****************
Velocity
O
X
9n, V=1–127
V=64
O
X
9n, V=1–127
Note Off
Aftertouch
Poly (Key)
Mono (Channel)
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
X
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
Recorded though the Global channel
*1
*1
Pitch Bend
*1
Control
Change
0, 32
Bank Select (MSB, LSB)
Modulations
*2
1, 2
*1, 2
*1, 2
*2
6
Data Entry MSB
38
Data Entry LSB
7
Volume
*2
11
Expression
*1, 2
*2
10, 91, 93
64, 66, 67
65, 5
Panpot, Reverb Send, Chorus Send
Damper, Sostenuto, Soft
Portamento On/Off, Portamento Time
Resonance, EG time (Release, Attack)
Brightness
*2
*1, 2
*1, 2, 3
*2, 3
*1, 2, 3
*1, 2
*1, 2, 4
*2
71, 72, 73
74
75, 76, 77, 78
98, 99
100, 101
120, 121
Decay Time, Vibrato Rate, Depth, Delay
NRPN (LSB, MSB)
RPN (LSB, MSB)
All sounds off, Reset all controllers
Program
Change
O
Transmitted/recognized numbers:
0-7, 11, 16, 17, 19, 20, 24, 32, 33, 35, 48-50, 52-54
*2
True #
****************
0–127
System Exclusive
O
X
X
X
O
O
X
X
O
X
O
*5
System
Common
Song Position
Song Select
Tune
X
X
X
System
Real Time
Clock
O
Commands
Local On/Off
All Notes Off
Active Sense
Reset
O
Aux
Messages
O
O (123–127)
O
X
Notes
*1: Only recorder data are transmitted.
*2: Sent and received when MIDI Filter is set to Off in Global mode.
*3: Received, but not recorded by the onboard Recorder.
*4: LSB, MSB = 01,00: Fine Tune.
*5: Includes Inquiry and GM Mode On.
Mode 1:OMNI ON, POLY
Mode 3:OMNI OFF, POLY
Mode 2:OMNI ON, MONO
Mode 4:OMNI OFF, MONO
O: Yes
X: No
77
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Address
KORG ITALY Spa
Via Cagiata, 85
I-60027 Osimo (An)
Italy
Web servers
© KORG Italy 2006. All rights reserved
PART NUMBER: MAN0010006
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