User manual YAMAHA MC-600-MC-400-MC-200

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Manual abstract: user guide YAMAHA MC-600-MC-400-MC-200

Detailed instructions for use are in the User's Guide.

[. . . ] If you play the "Play These Notes" part using the performance assistant technology feature, the part will be corrected and played so that it matches the backing part. This score is provided with the intent that the pitch will be corrected by the performance assistant technology feature. [. . . ] This score is provided with the intent that the pitch will be corrected by the performance assistant technology feature. If you play the "Play These Notes" part using the performance assistant technology feature, the part will be corrected and played so that it matches the backing part. This means that it can play a maximum of up to 32 notes at once, regardless of what functions are used. Auto accompaniment uses a number of the available notes, so when auto accompaniment is used the total number of available notes for playing on the keyboard is correspondingly reduced. the same applies to the Split Voice and Song functions. If the maximum polyphony is exceeded, earlier played notes will be cut off and the most recent notes have priority (last note priority). These types sound when chords are played in the auto accompaniment range of the keyboard. These Harmony types will also work when playing songs that contain chord data. Types 6­26 are rhythm-based effects and add embellishments or delayed repeats in time with the auto accompaniment. These types sound whether the auto accompaniment is on or not; however, the actual speed of the effect depends on the Tempo setting. The individual note values in each type let you synchronize the effect precisely to the rhythm. The Trill effect Types (06­12) create two-note trills (alternating notes) when two notes are held. [. . . ] These types sound whether the auto accompaniment is on or not; however, the actual speed of the effect depends on the Tempo setting. The individual note values in each type let you synchronize the effect precisely to the rhythm. [. . . ]

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