51
Use the
[ACMP/SONG VOLUME]
control to adjust the overall volume of the
Auto Accompaniment. (This does not affect
the volume of parts played from the key-
board.) This control lets you adjust the level
balance of the accompaniment and the
voices played from the keyboard.
Use the
[MASTER VOLUME]
to con-
trol the entire volume of the CVP-94/92.
Adjusting the Overall Auto Accompaniment Volume
Playing with the Auto Accompaniment
○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
START
/
STOP
TAP
SYNCHRO
START
/
STOP
AUTO ACCOMPANIMENT
INTRO
MAIN A
MAIN B
ENDING
FADE
IN
/
OUT
AUTO FILL
ACMP ON
VIRTUAL
ARRANGER
VOLUME
MASTER
VOLUME
ACMP/SONG
VOLUME
MAX
MIN
MAX
MIN
Individual Part Volume Control
The CVP-94/92 has five accompaniment parts: Bass, Chord, Pad,
Phrase, and Rhythm.
BASS
The Bass part uses voices appropriate to each style, including
acoustic bass and synth bass.
CHORD
The Chord part provides appropriate rhythmic chordal accom-
paniment for each style. You’ll find guitar, piano, and other
chordal instruments here.
PAD
The Pad part plays long chords where necessary, using sus-
tained instruments such as strings, organ, and choir.
PHRASE
The Phrase part is used for embellishments such as punchy
brass stabs, arpeggiated chords, and other extras that make the
accompaniment more interesting.
RHYTHM
This is the main rhythm part. The Rhythm part usually plays
one of the drum kits.
• By adjusting the volume balance of the
various parts and setting some parts’
volume to 0, you can create different
types of accompaniment and make
changes to the basic style accompani-
ment.
• Some styles may not use all five ac-
companiment parts.
Each volume setting of the five accompaniment parts can be adjusted
individually by using the mixer function. Press the
[MIXER]
button
(the lamp lights) and the MIXER display appears.
The [MAIN A], [MAIN B], [ENDING]
and [FADE IN/OUT] operation can be
done by using the left pedal (see page
119), conveniently allowing you to
change sections without taking your
hands from the keyboard.
