Contents

KORG Pa4X ORIENTAL User Manual PDF

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Summary of Content for KORG Pa4X ORIENTAL User Manual PDF

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KORG Italy 2020. All rights reserved PART NUMBER: MAN0010102

Address KORG ITALY SpA Via Cagiata, 85 60027 Osimo (AN) Italy

Web www.korg.com

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Important safety instructions

Read these instructions.

Keep these instructions.

Heed all warnings.

Follow all instructions.

Do not use this apparatus near water.

Clean only with dry cloth.

Do not block any ventilation openings. Install in accordance with the manufacturers in- structions.

Do not install near any heat sources such as radiators, heat registers, stoves, or other ap- paratus (including amplifiers) that produce heat.

Do not defeat the safety purpose of the po- larized or grounding-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 safe- ty. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

Only use attachments/accessories specified by the manufacturer.

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.

Unplug this apparatus during lightning storms or when unused for long periods of time.

Refer all servicing to qualified service per- sonnel. Servicing is required when the appa- ratus 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 ex- posed to rain or moisture, does not operate normally, or has been dropped.

WARNING This apparatus shall be connect- ed to a mains socket outlet with a protective earthing connection.

Turning off the standby switch does not com- pletely 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 read- ily accessible.

Mains powered apparatus shall not be ex- posed to dripping or splashing and that no objects filled with liquids, such as vases, shall be placed on the apparatus.

Install this product near the wall socket and keep the power plug easily accessible.

Do not install this equipment in a confined space such as a box for the conveyance or similar unit.

No naked flame sources, such as lighted can- dles, should be placed on the apparatus.

CAUTION Pa4X is for use only with KORG ST-SV1-BK stand. Use with other stands is ca- pable of resulting in instability causing pos- sible injury.

ATTENTION Le Pa4X est conu pour tre utilis avec le support KORG ST-SV1-BK. Lutilisation avec dautres supports peut causer une dstabilisation du Pa4X et provo- quer des blessures.

WARNING Do not ingest bat- tery, chemical burn hazard. This product contains a coin/button cell battery.

If the coin/button cell battery is swallowed it can cause severe internal burns in just 2 hours and can lead to death.

Keep new and used batteries away from chil- dren. If the battery compartment does not close securely, stop using the product and keep it away from children.

If you think the battery may have been swal- lowed or placed inside any part of the body seek immediate medical attention.

WARNING Date/time Lithium button cell battery inside. Danger of explosion if the battery is incorrectly replaced. Replace only with the same or equivalent type. The inter- nal date/time Lithium button cell battery is user replaceable.

Do not expose batteries to excessive heat, such as direct sunshine, fire or the like.

Dispose of used batteries according to the battery manufacturers instructions.

The lightning flash with arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of uninsu- lated dangerous voltage within the prod- ucts enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and main- tenance (servicing) instructions in the lit- erature accompanying the product.

Other notices

Automatic power-off

To avoid wasting power, Pa4X will by default au- tomatically enter standby mode after two hours of non-active use (playing, pressing buttons or using the touch-screen). Please save your data (Keyboard Sets, Styles, Songs, and so on) before taking a prolonged pause.

Data handling

Data in memory may sometimes be lost due to incorrect user action. Be sure to save important data to the internal memory or to an external USB device. KORG will not be responsible for damages caused by data loss.

Display handling

Be very careful not to force the display when tilt- ing it. Fully lower the display before carrying the instrument. Also, be very careful not to apply too much pressure on the display while carrying the instrument, or it might break.

Cleaning

If the exterior becomes dirty, wipe it with a clean, dry cloth. Do not use liquid cleaners such as benzene or thinner, or cleaning compounds or flammable polishes.

Use a soft cotton cloth to clean the display. Some materials, such as paper towels, could cause scratches and damage it. Computer wipes are also suggested, provided they are specifi- cally designed for LCD screens.

Do not spray any liquid on the LCD screen direct- ly. Always apply the solution to your cloth first, then clean the screen.

Example screens

Some pages of the manuals show snapshots of the screen along with an explanation of func- tions and operations. All sound, style, song or parameter names, as well as shown values, are merely examples and may not always match the actual display you are working on.

Trademarks

Acrobat and PDF are registered trademarks of Adobe Systems Incorporated. Mac and iOS are registered trademarks of Apple, Inc. Android is a

trademark of Google Inc. MS-DOS and Windows are registered trademarks of Microsoft Corporation. TC-Helicon is a registered trademark of TC- Helicon Vocal Technologies Ltd. MaxxAudio, MaxxEQ, MaxxBass, MaxxTreble, MaxxStereo, MaxxVolume are trademarks of Waves Audio Ltd. All other trademarks or registered trade- marks are the property of their respective hold- ers.

Open source notice

Portions of this products software are copy- right 2007 The FreeType Project (www. freetype.org). All rights reserved.

Disclaimer

The information contained in this manual have been carefully revised and checked through. Due to our constant efforts to improve our prod- ucts, the specifications might differ to those in the manual. KORG is not responsible for any differences found between the specifications and the contents of the instruction manual all specifications being subject to change without prior notice.

Liability

KORG products are manufactured under strict specifications and voltages required by each country. These products are warranted by the KORG distributor only in each country. Any KORG product not sold with a warranty card or carrying a serial number disqualifies the prod- uct sold from the manufacturers/distributors warranty and liability. This requirement is for your own protection and safety.

Service and users assistance

For service, please contact your nearest Authorized KORG Service Center. For more in- formation on KORG products, and to find soft- ware and accessories for your keyboard, please contact your local Authorized KORG distributor. For up-to-date information, please point your web browser to our web site.

Keep your keyboard up-to-date

Your instrument can be constantly updated as new versions of the operating system are re- leased by KORG. You can download the operat- ing system from our web site. Please, read the instructions supplied with the operating system.

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Contents

Part I 1 Lets start!

3 Introduction 3 Welcome to Pa4X!

7 Before starting to play

9 Overview of the instrument

16 Setting up the pedals and audio connections 16 Connecting the pedals

17 Connecting the EC5 multiswitch

17 Connecting the headphones

17 Connecting the audio outputs

19 Powering up 19 Turning the instrument on

20 Calibrating the touch screen

21 Tilting the display

22 Adjusting the display brightness

23 Listening to the Demo Songs

24 Interface basics 24 The main page

25 The user interface in detail

33 Navigating through the pages

36 Selecting the musical resources

Part II 37 Playing and singing

39 Playing the Sounds 40 Choosing your preferred set of Sounds

41 Choosing the Keyboard Sets

47 Playing and controlling the Sounds

49 Tempo and Metronome 49 Tempo

51 Metronome

53 Playing the Styles 53 Choosing the Styles

59 Playing a manual accompaniment (Bass & Lower Backing)

60 Playing the automatic accompaniment

67 Adjusting the accompaniment volume

69 Manually playing the Bass line

70 Playing the Pads 70 Choosing the Pad sets

71 Playing the Pads

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72 Playing the Songs 72 Choosing the Songs

77 Playing a Song

79 Mixing two Songs

81 Playing along with the Song

85 Adjusting the volume levels

86 Playing all the Songs in a folder

88 Playing a Jukebox list

91 Lyrics, chords, markers and score 91 Choosing one of the Players

92 Reading the lyrics and chords contained in a Song

94 Reading the lyrics and chords loaded as a text file

96 Reading the lyrics and chords loaded as a CDG file

97 Moving through a Song with the markers

100 Reading the music score

104 Searching for files and other items 104 Using the Search function

Part III 109 SongBook

111 Using the SongBook 111 Choosing the SongBook Entries

121 Using the Set Lists

125 Editing the SongBook 125 Creating and editing the SongBook Entries

135 Creating and editing the Set Lists

139 Deleting all the SongBook Entries and Set Lists

140 Selecting and deselecting SongBook Entries

143 Using the SongBook with a personal computer

Part IV 145 Customizing and editing the Sound sets

147 Customizing the Keyboard Sets 147 Playing different Sounds with the left and right hand

152 Playing two or three Sounds at the same time

153 Choosing different Sounds

155 Mixing the Keyboard Sounds

158 Transposing the Upper Sounds to a different octave

159 Using the Ensemble to add harmony

162 Advanced editing of the Sound sets 162 The editing procedure

165 Mixing the Sounds

167 Adding effects

178 Equalizing the Sounds

181 Octave transpose and fine tuning

182 Programming the sound routing and polyphony

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185 Quick editing of Drum Kits

188 Quick editing of Sounds

190 Programming the key and velocity range

191 Editing the Digital Drawbars

197 Writing the Sound sets 197 Writing the Keyboard Sets to the library

199 Writing Keyboard Sets into a Style

200 Writing Keyboard Sets into a SongBook Entry

203 Writing Style Settings, Song Settings and MIDI Song Sounds

Part V 205 Customizing, recording and editing the Styles and Pads

207 Customizing the Styles 207 Setting the Chord Recognition

211 Automatically holding chords and Lower notes (Memory)

213 Recognizing the root note (Bass Inversion)

214 Setting how velocity controls the accompaniment

215 Mixing the grouped Accompaniment Sounds

217 Editing the Style Settings 217 Mixing the individual Accompaniment Sounds

221 Changing the Sounds of the accompaniment parts

224 Setting the Style controls

229 Choosing and mixing the Pads

232 Writing the Style Settings 232 Writing the Style Settings

234 The Chord Sequencer 234 Recording Chord Sequences

236 Playing back a Chord Sequence

237 Managing the Chord Sequences

240 Recording the Styles and Pads 240 How are Styles and Pads made?

246 Programming the Style Settings, then recording the musical sequences

247 Accessing the Style/Pad Record mode

250 Listening to the recorded Style

251 Setting the recording parameters

256 Assigning Sounds to the Style Element and Pads

259 Choosing the original key/chord and the note transposition table

262 Recording a Style or Pad in Realtime Record mode

266 Recording a Style or Pad in Step Record mode

271 Recording a Guitar track

284 Editing the Styles and Pads 284 Editing the track parameters

290 Editing the Chord Table

291 Checking the available Chord Variations

292 Editing the track type, trigger, tension

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294 Editing the Style/Pad sequences

305 Editing the MIDI events

309 Copying the Style track settings

310 Importing and exporting the Styles and Pads 310 Importing a Standard MIDI File to a Chord Variation

313 Importing a Standard MIDI File to a Style

316 Importing a MIDI Groove to a Style or Pad

317 Exporting a Chord Variation

319 Converting a MIDI Song to a Style 319 The Style Creator Bot

321 Writing the new/edited Style or Pad 321 Writing the Styles

323 Writing the Pads

Part VI 325 Customizing, recording and editing the Songs

327 Customizing the Songs 327 How to play a Song Song Play vs. Sequencer mode

328 Special tracks (Melody, Drum & Bass), Fast Play

330 Mixing the Song Sounds

334 Changing the Sounds of the MIDI Song tracks

335 Savinging the Song Play Settings 335 Saving the default Players settings

336 Listening the MIDI Songs in Sequencer mode 336 Loading and listening a MIDI Song

339 Recording MIDI Songs 339 Multitrack Song Recording

346 Step Recording a Song

351 Quick Recording a Song

359 Quick Step Recording a Song

364 Editing the MIDI Songs 364 Editing the Song tracks

375 Editing the MIDI events

379 Saving MIDI Songs 379 Saving the MIDI Song

381 Recording MP3 Songs 381 Recording and saving an MP3 Song

385 Creating text files (lyrics) 385 Creating text files on a personal computer

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Part VII 391 Customizing and editing the Sounds

393 Listening and customizing the Sounds 393 Accessing the Sound mode

394 Listening to individual Sounds

395 Customizing the Sound

398 Editing the Sounds 400 Setting the Sounds basic parameters

406 Setting the oscillators basic parameters

413 Programming the Damper pedal

417 Equalizing the Sound

418 Setting the Drum Kits basic parameters

422 Equalizing the Drum Kit

424 Mixing the Drum Kit layers

425 Mixing and retriggering the drum samples

427 Modulating pitch

432 Programming the pitch envelope (Pitch EG)

436 Programming the filters

439 Modulating the filters

444 Programming the filter envelope (Filter EG)

448 Programming amplitude and pan

450 Modulating amplitude

453 Programming the amplitude envelope (Amp EG)

457 Programming the LFO

462 Adding effects to the Sound

464 Sound Edit utilities

466 AMS (Alternate Modulation Sources)

469 Writing the Sounds 469 Writing the edited Sound

471 Making new sounds with Sampling 472 Loading samples and multisamples

476 Recording samples or audio grooves

478 Editing the samples

483 Editing the loop

486 Getting information on the User Sample memory

488 Writing, exporting or deleting the samples

495 Creating multisamples

499 Writing, exporting or deleting the multisamples

502 Creating new Sounds from multisamples

503 Creating new Drum Kits from percussive samples

504 Assigning the new Sound or Drum Kit to a part/track

505 Creating Audio Groove Slices with Time Slicing

511 Writing the Audio Groove Slices

512 Using the Audio Groove Slices in a Style or Pad

514 Using the Audio Groove Slices in other Sounds

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Part VIII 515 Audio and Video connections

517 Connecting an external display

519 Setting the audio outputs and the final effects 519 Connecting the audio outputs

520 Choosing the audio outputs for the microphone and line audio inputs

521 Sending Sounds and Drum Kits to the audio outputs

523 Choosing the audio outputs for the metronome click

524 Programming the MAXX mastering effects

530 Connecting the audio inputs 530 Connecting a line audio device

532 Connecting a microphone

536 Shaping the sound of the lead voice

545 Talking with your audience

547 Using the voice effects and harmonization 547 Choosing a Voice Preset

550 Harmonizing your voice

552 Doubling your voice

553 Using the effects

554 Editing the Voice effects 554 Choosing, enabling and balancing the effects

555 Mixing the lead voice and the effects

556 Editing the harmony voices

563 Editing the Double voice

564 Editing the Filter effect

566 Editing the Hard Tune effect

567 Editing the Mod effect

569 Editing the Delay effect

571 Editing the Reverb effect

573 Writing a Voice Preset

Part IX 575 Effects for the Sounds

577 The effects 577 Editing the effects

584 Adapting the reverb to the room size

585 Effects list

587 Effect parameters 587 REV (Reverbs)

598 DEL (Delay)

633 MOD (Modulation)

682 DYN (Dynamics)

694 AMP (Amplifier)

734 FILT (EQ and Filters)

762 FREQ (Frequency)

775 MISC (Miscellaneous)

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Part X 821 KAOSS Effects

823 Using the KAOSS effects 823 The KAOSS page

825 Choosing the KAOSS Presets

827 KAOSS Preset list

830 Using the KAOSS effects

Part XI 833 Controllers

835 Hand controllers 835 Programming the joystick

837 Programming the keyboards velocity and aftertouch

839 Programming the ribbon controller

841 Programming the assignable sliders

844 Programming the assignable switches

847 Foot controllers 847 Programming the damper pedal

848 Programming the assignable pedal/footswitch

856 Calibrating the pedals and setting their polarity

857 Programming the EC5 multiswitch

Part XII 861 Global settings and preferences

863 Customizing the user interface 863 Display and control panel preferences

865 Program Change and activity indicators

867 Automatic selection and locking 867 Automatically choosing Styles and Keyboard Sets

869 Locking parameters to prevent changes

873 System preferences 873 Setting the date and time for file saving

874 Automatic power off

875 Master Transpose and Tuning 875 Master Tuning

876 Master Transpose

885 Scale 885 Main Scale

887 Sub-Scale

891 Quarter Tone Sub-Scale (Scale Presets)

896 Retuning the Style while playing

Part XIII 899 MIDI

901 Connecting MIDI devices 901 Introduction to MIDI

906 Connecting to another device: an overview

907 Connecting Pa4X to a personal computer or tablet

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909 Installing the KORG USB-MIDI Driver

911 Connecting Pa4X to an external controller

914 Quick settings using MIDI Presets

921 Synchronizing Tempo with other instruments

923 MIDI data routing, processing and transposing

929 Programming the MIDI channels

933 Control Change messages

936 Controlling the Arranger and Players via MIDI

Part XIV 939 File management

941 Managing files in the internal memory 941 Copying, renaming and deleting

950 The Local data

951 The Direct data

955 Renaming the User/Favorite/Direct banks

956 Empty User/Favorite and Direct banks

957 Managing files on disk 957 Overview on file management

962 Loading musical resources and settings

969 Saving musical resources and settings

973 Copying files and folders

976 Deleting files and folders

977 Exporting playlists

980 Managing media

980 Formatting storage devices 982 Backing up and restoring musical resources

986 Connecting one of the internal drives to a personal computer

988 Storage device organization

991 Changing the media display preferences

992 Protecting storage devices and files

994 Protected musical resources

997 Care of storage devices

Part XV 999 Appendix

1001 Musical Resources 1002 Styles

1012 Keyboard Set Library

1020 Sounds

1050 DNC Sounds and controls

1056 Drum Kits

1058 Multisamples

1073 Drum Samples

1106 Pads

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1111 Recognized chords

1113 Installing the options 1113 Assembling the amplification system (PaAS)

1119 Assembling the music stand

1121 Assembling the stand (ST-SV1 BK)

1126 Replacing the clock backup battery

1129 Installing a microSD card

1133 Installing an additional internal drive

1138 Shortcuts

1141 Troubleshooting

1143 Specs

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Part I: LEtS Start!

2| Lets start!

Introduction |3

01 Introduction

Welcome to Pa4X!

Many thanks and congratulations on purchasing the KORG Pa4X Professional Arranger! Were sure itll give you countless hours of great tones that will feel as good as they sound.

Slim, powerful and easy to use

With the elegant aluminum cabinet, Pa4X provides a professional and stylish look, that will be much appreciated on stage or at home. The main panels logical layout ensures easy access to sliders, buttons, knobs and all controls.

Using your Pa4X is easy, thanks to the touch screen and the clean, clearly laid-out, modern user interface, based on icons reproducing real objects in the real world. The tilting display will make access easy under any circum- stances.

The real solo and band experience

Pa4X has been designed to assist you equally well during live performance and songwriting. The detailed natural sounds and finely crafted styles have been created by some of the finest musicians in the music industry. You will feel you are playing in a real band no matter what your musical tastes are.

The naturally responsive 76- and 61-note semi-weighted keyboards are de- signed for musicians of all levels, from beginners to demanding keyboard players, and gives you a completely authentic feel and full control of expres- sion.

More than just recorded sounds

The huge, realistic collection of classic and contemporary keyboard, band and orchestral sounds, includes two new multi-layer stereo grand pianos (with damper and body resonance) and new electric pianos; a new pipe or- gan, accordion and bandoneon; new wind instruments, basses and stunning acoustic and electric guitars; plus new digital drawbars with leakage and key on/off noises.

4| Lets start!

Sounds have been recorded with the most up-to-date technologies, and KORGs own proprietary EDS-X (Enhanced Definition Synthesis-eXpanded) sound engine allows for fine detail to be accurately reproduced. The inte- grated sampler and sound editor allow to fill the vast user memory with newly created or imported sounds.

All these authentic sounds become alive with KORGs DNC (Defined Nuance Control) system, allowing the performer to accurately and expressively in- troduce the most subtle nuances and sound articulation. For example, the joystick, ribbon controller and assignable switches can introduce the growl of a saxophone, breath elements found in trumpet, clarinet and harmonica, and add authenticity to the pizzicato and bowed sounds of a string section. You will even hear keys opening when saxophone notes are going up, and closing when going down!

Listen the natural way

Each Pa4X sound goes through separate EQs and studio-quality effect pro- cessors, which further refine your sound before coming through high-qual- ity stereo audio outputs. Effects run from the standard reverbs and delays through to the more unusual effects (like a Vocoder), realistic amp simula- tors and carefully recreated vintage effects.

The final effects are the result of KORGs long term cooperation with Waves Audio, the world reference in studio mastering effects. The included Waves MAXX AUDIO suite of effects delivers sound that is louder, clearer, fuller, and more polished.

For super high-fidelity, you can add the optional PaAS Amplification System, which has been specifically designed to connect directly to the keyboard. Useful for both home use and onstage monitoring, the PaAS requires no ad- ditional support, no cables, no power supply to deliver crisp, clean full range sound. The sound is clear and detailed even at the lowest volume level, for the pleasure of the late-night rehearsing musician.

As good in tour or at home

Pa4X is a compact, lightweight arranger workstation that you can comfort- ably take with you on stage. But add the optional modern, stylish dedicated stand, and you will be able to have it anywhere in your home a stylish piece of modern furniture.

The built in programmable metronome can be used as a guide while practic- ing at home. But send the click through the separate outputs to the stage monitors or an headphone amplifier, and it will be used as a guidance by the other bands members.

Introduction |5

A band always ready to play with you

Ultra-realistic sounds in the Pa4X are always ready to play along with you, in the style best fitting your music. The high number of included Styles will satisfy any music genre, but can also be expanded by adding new Styles. You may also create your Styles, customize the existing ones, or easily convert MIDI Songs to Styles.

There are eight accompaniment parts which will follow your chords. The Auto Fill function will automatically choose a Fill for you. You can play in the simplest way or with the rich harmonization of a competent jazz player. We have programmed them to sound natural, and give you the feeling of a real band, ready to play with you at any time.

The convenient Chord Sequencer function records your chord progressions on-the-fly allowing the users to immediately play along with their own chord sequence, which is useful not only for practice, but for freeing up a hand while performing live. Chord Sequences can also be saved in Styles and SongBook Entries for easy recall.

Play and write songs

Play Songs in MID and MP3 formats with KORGs patented XDS Crossfade Dual Sequencer/Player. With both Songs and Styles, you can show lyrics for your singer and chords for your fellow guitarist. Any MIDI Song track can be converted into a readable score. Markers allow for jumping back to a passage you wish to repeat, for example in a piece you are studying or rehearsing.

Use the video output to display lyrics or score on an external monitor, mak- ing it perfect for karaoke or band leading.

You can record a MIDI Song using a full-featured Sequencer, or by using the Styles to record your live performance. Even easier, just record what you sing and play (including MP3 Songs) as an MP3 file, and listen to it anywhere you like.

Your music book

What is a huge collection of Styles and Songs, without an effective form of organization? Pa4X has the one best known to musicians: the SongBook, a music database allowing for fast song retrieving based on name, artist, genre or tempo. Styles and Songs are easily recalled by the SongBook.

Particularly useful for live use, the SongBook can assign songs from any cus- tom Set List to dedicated buttons on the control panel. Your entire show will be under your fingers, with immediate access to any Style, Song and Sounds needed for your performance.

6| Lets start!

The SongBook can even be edited from a personal computer through our free editor. It can also be synchronized with most modern tablets to become your handy external digital music sheet reader (third-party software need- ed).

Sing naturally

Connect a condenser or dynamic microphone, and let the Adaptive Mic Setting automatically adjust parameters such as the Adaptive Gate, EQ, Compression and the De-Esser to make the vocals sound smooth and studio- produced.

For years, KORG has teamed with TCHelicon, the world leaders in vocal harmonies, to create and constantly improve the included Voice Processor. TCHelicons Voice Processor ensures that your vocals have the highest pos- sible sound quality, and adds up to four realistic voices to your voice.

To ensure professional vocal performance, 3 knobs and 3 buttons controlling the most important vocal functions have been added to the top panel within easy reach.

Creative control with the KAOSS effects

KAOSS effects give you creative control on your performance. From subtle morphing between Variations and Drum Kit types, fine mixing between ac- companiment Sounds, live reshaping of ongoing rhythms, to the most radi- cal note-crunching effects of DJ heritage, to tape delay and arpeggios, you can add liquid mixing to any Style or MIDI Song with the aid of easy-to-use computer-assisted composition features. Break the boundaries of preset music!

Open to the world, ready to the future

The use of standard file formats, like MID or MP3 for songs, or WAV and AIFF for samples, opens up a world of possibilities when exchanging files. The USB ports allow for connecting Pa4X to any external storage device, personal computer, smartphone, tablet or external controller without the need for a dedicated MIDI interface. However, you can connect Pa4X to any existing MIDI musical instrument, thanks to its complete set of programmable MIDI ports.

Even more!

There is more, much more, but to know more, you need to explore Pa4X in depth. Pa4X is the most evocative, powerful, easy-to-use complete Arranger ever produced. Enjoy your musical life with the new Pa4X!

Introduction |7

Before starting to play

Whats in the box

After you get your Pa4X, please check that all the following items are in- cluded in the package. If any of the following items is missing, please contact your KORG dealer immediately.

Pa4X

Music stand

AC power cable

Quick Guide

What you can download

Point your web browser to our web site (www.korg.com), to download video manuals, a MIDI driver, up-to-date software and manuals.

What you can add

After having purchased Pa4X, you might want to add these other fine options:

The elegant KORG ST-SV1-BK keyboard stand, recommended for safety and comfort, perfectly matching your arranger design.

Caution: The Pa4X Professional Arranger is intended for use only with the KORG ST-SV1-BK stand. Use with another stand may result in instability and cause injury.

The PaAS Amplification System, adding a three-way amplification system, a pair of integrated speakers and a bass-reflex box.

One of the sturdy pedals and footswitches from the KORG catalogue.

For Pa4X-61: The HDIK-3 kit, to install an (optional) additional drive.

Contacts

Your KORG dealers not only deliver this instrument, but also carry hardware and software accessories, as well as useful information on how to use these products. Ask them for any help you should eventually need.

Our international web site is www.korg.com. A list of all KORG Distributors can be found in our dedicated web page (www.korg.com/us/corporate/dis- tributors/).

8| Lets start!

Making a safety copy of your data

In case you like to customize your musical resources, we suggest you use the Media > Utility > Full Resources Backup command to make frequent backup copies into compact and easy-to-store archives.

Also, you can use the Media > Save All command to save individual files that you can separately reload one by one.

Restoring a safety copy

To restore a backup, use the Media > Utility > Resources Restore command.

If you saved your data with the Media > Save All command, use the Media > Load operations to reload them.

Restoring the original factory data

In case you want to restore the original factory data, use the Media > Utility > Factory Restore command.

Warning: This operation will overwrite all the Factory, Local, Favorite and User data!

Loading the Operating System

Your Pa4X can be constantly updated as new versions of the operating sys- tem are released by KORG. You can download the most up-to-date operating system from our web site. Please, read the instructions supplied with the operating system on the site.

You can see which version of the operating systems is installed in your Pa4X by going to the Media > Utility page.

Warning: Do not install an OS other than the official OS supplied by KORG for the Pa4X. Trying to install an OS created for different models or downloaded from unof- ficial web sites may cause data loss and permanent damage to the instrument. KORG is not responsible for any damage caused by improper installation of the OS.

Introduction |9

Overview of the instrument

The following pages show the functional areas of the front and real panels.

Front panel

The front panel is where you can find the instruments controls, the (op- tional) loudspeakers and the music stand.

KeyboardHeadphones

Guide for the music stand and PaAS amplification system

PaAS amplification system

You can install the (optional) PaAS amplification system (see page 1113 for assembly instructions). When installed, control the output volume of the speakers via the MASTER VOLUME knob.

The speakers are automatically deactivated when connecting the head- phones. You can also manually deactivate them by deselecting the Speakers checkbox in the Global > Audio & Video > MP3/Speakers page.

10| Lets start!

Music stand

A music stand is included with your Pa4X (see page 1119 for assembly in- structions).

Headphones connector

Connect a pair of headphones to this output. You can use headphones with an impedance of 16-200 Ohms (50 Ohms suggested).

Keyboard

Use the keyboard to play notes and chords. Depending on the status of the SPLIT indicator, the keyboard may be joint or split between different sounds.

Introduction |11

Control panel

The control panel is the part of the front panel where you can find the instru- ments controls.

DisplaySliders area

Styles area Players area Sounds/Set List area

Navigation area Microphone

area

Metronome and Tempo area

Display

Use this touchscreen display to interact with the instrument. The display can be tilted for optimal visualization. There are controls around the display, to help you select the various elements. (See page 21).

12| Lets start!

Navigation area

Use these controls to go through the menus, pages and parameters, and search for the various musical resources (see page 24).

Sounds (and Set Lists) area

Sounds are what you can play on the keyboard (see page 3). Here you can choose Sound sets saved as Keyboard Sets in a dedicated library. Or you can choose Set Lists from the SongBook, that are collections of Sound sets with an associated Style or Song.

Styles (and Pads) area

Styles supply the automatic accompaniment with a virtual band. You can play Sounds (selected via the Keyboard Sets) and Pads along with the auto- matic accompaniment. (See page 53).

Introduction |13

Players area

Songs can be played back by the two onboard Players. You can play Sounds (selected via the Keyboard Sets) and Pads along with the Songs. (See page 72).

Metronome and Tempo area

Use these controls to practice with the metronome and control the Tempo of the metronome, the Styles and the Songs (see page 49).

Microphone controls

Here you will control the microphone input and the voice effects and harmo- nization (see page 530).

USB connector

Use this connector to connect an USB memory device, like an USB pendrive (HOST-F), or other musical instruments to be used as controllers. You can also use it to attach a small USB lamp and illuminate the control panel or the music stand.

14| Lets start!

Rear panel

The rear panel is where you can find the various connections (see page 16).

Guide for the music stand and PaAS amplification system

Connectors Power connector

Audio inputs

Audio outputs

EC5 multiswitch connector

Pedals USB ports

Video out

Battery and microSD slot

MIDI ports

Audio inputs

Use these connectors to connect a microphone or another musical instru- ment. The handy STEREO minijack can be used to directly connect the audio output of a media player, a smartphone or a tablet.

Audio outputs

Use these connectors to send the audio signal (sound) to a mixer, a PA sys- tem, a set of powered monitors, or your hi-fi system.

EC5 connector

You can connect an (optional) Korg EC5 multiswitch pedalboard, to control many functions in realtime.

MIDI ports

Use these ports to connect Pa4X to external controllers (master keyboard, MIDI guitar, wind controller, MIDI accordion, MIDI pedalboard), to a series of expanders, or to a computer with a MIDI interface.

Introduction |15

Pedal connectors

Use the DAMPER connector to connect a damper pedal, and the ASSIGNABLE connector to connect either a continuous pedal or footswitch.

USB ports

Use these connectors to connect your Pa4X to a personal computer or a tablet (DEVICE) or to connect an USB memory device, like an USB pendrive, or another musical instrument to be used as a controller (HOST-R).

Video out

Connect Pa4X to a TV or video monitor, to read lyrics and chords on a bigger display.

Battery and microSD slot

This opening contains the clock battery and the microSD card slot.

Power connector

Use this socket to plug in the supplied IEC power cable.

16| Lets start!

02 Setting up the pedals and audio connections

Connecting the pedals

Connecting the damper pedal

Use the PEDAL > DAMPER connector to connect a damper pedal, like the (optional) KORG PS1, PS3 or DS1H. The DS1H pedal supports all the nuances of half-pedaling on some acoustic piano sounds. You can experiment how it works by gradually pressing it down, and gradually releasing it, while playing the Concert Grand Sound.

If you need to change the pedals polarity and calibrate it, go to the Global > Controllers > Foot page.

Connecting a pedal or footswitch

Use the PEDAL > ASSIGNABLE connector to connect a footswitch pedal like the (optional) KORG PS1, PS3 or DS1H, or a continuous pedal like the (op- tional) KORG XVP-10 Volume pedal, EXP-2 Expression pedal, or a VOX V860 Volume pedal.

By default, this connector will work as an Expression pedal. If you want to change the assigned function, or you need to change the pedals polarity and calibrate it, go to the Global > Controllers > Foot page.

What if the pedals do not behave correctly?

If needed, you might want to recalibrate the pedals. Or you might need to reverse the pedals polarity. See how to do in Calibrating the pedals and set- ting their polarity on page 856.

Setting up the pedals and audio connections |17

Connecting the EC5 multiswitch

Use the EC5 connector to connect the (optional) KORG EC5 multiswitch. With this programmable controller you can control various functions.

By default, the first switch acts as an automatic accompaniments Start/Stop command, while each of the remaining four switches select one of the four Style Variations. If you want to change the assigned functions, go to the Global > Controllers > EC5 page.

Connecting the headphones

Connect a pair of headphones to the PHONES connector. You can use head- phones with an impedance of 16-200 Ohms (50 Ohms suggested). When con- necting the headphones, the PaAS speakers are automatically deactivated.

Adjust the output level with the MASTER VOLUME knob.

Connecting the audio outputs

Use the AUDIO OUTPUT connectors to send the audio output to a mixer, a set of powered monitors, or an audio amplification system. These are bal- anced/unbalanced (TRS) 6.35 mm, or 1/4, jack connectors. (Please note that balanced connectors and cables are also called stereo, while the unbal- anced are called mono).

Pa4Xs AUDIO OUT (2 x 6.35 mm / 1/4 balanced jacks)

Mixers/Amplifications LINE IN (2 x 6.35 mm / 1/4 balanced jacks)

Pa4Xs AUDIO OUT (2 x 6.35 mm / 1/4 unbalanced jacks)

Mixers/Amplifications LINE IN (2 x 6.35 mm / 1/4 unbalanced jacks)

18| Lets start!

When using a home audio amplifier, connect the other end of the cable to the CD, LINE IN or TAPE/AUX input of your audio system. Dont use the PHONO inputs of your audio system!

Pa4Xs AUDIO OUT (2 x 6.35 mm / 1/4 unbalanced jacks)

Home amplification systemss LINE/AUX IN (2 x RCA connectors)

Use the LEFT and RIGHT connectors as the main stereo outputs. Connect either of them to output a mono signal. Adjust the output level with the MASTER VOLUME knob.

Use the 1 and 2 connectors as the separate sub-outputs. These can be used for a stereo sub-mix, or to output just a single Sound to be mixed alone, or to be processed or amplified externally. The Sounds are sent to these outputs with no effects. Adjust their volume with the mixers or external speakers level controls.

If installed, the (optional) PaAS amplification system will work in parallel with the main audio outputs.

Powering up |19

03 Powering up

turning the instrument on

Connecting the power cable

Plug the supplied power cable into the POWER socket on the back of the instrument, and the cable plug into a wall power socket.

When the cable is connected, the instrument is in standby.

Warning: When the instrument is in standby, it is still connected to the power line. Accessing the inside of the instrument can be dangerous. To completely disconnect the instrument from the power, unplug the power plug from the power socket on the wall.

Turning the power on or off

Turn the instrument on

Press the POWER ( ) button to turn the instrument on (that is, exit from standby). After you turn the instrument on, wait for the welcome screen to disappear, then the main page of the Style Play mode will be shown in the display.

Turn the instrument off (standby)

Keep the POWER ( ) button pressed for about one second, then release it when the screen appears dimmed. The shutdown procedure will begin and last for a few seconds. Please do not disconnect the power cable during this procedure.

20| Lets start!

Calibrating the touch screen

It may happen (for example, after loading a new operating system) that the Color TouchView display has to be recalibrated, to make pointing more ac- curate.

Warning: Do not use sharp objects, or you will damage your screen!

1 Keep the GLOBAL button pressed, until the Touch Panel Calibration page appears.

2 First touch exactly inside the set of arrows in the upper left corner of the display.

3 The arrows will subsequently move to the other corners of the display. Touch exactly inside them.

4 Finally, touch Save to confirm the new calibration.

In case you want to exit and cancel the calibration, press the EXIT button before completing the procedure.

Powering up |21

tilting the display

For optimal visibility under any seating position, the displays tilt angle can be adjusted.

Lifting the display

1 Press the UNLOCK button to unlatch the display.

2 Keep the UNLOCK button pressed, and adjust the tilt angle.

3 Release the UNLOCK button to fix the display to the current position.

Closing the display

1 Keep the UNLOCK button pressed, and accompany the display down.

2 Release the UNLOCK button, and gently press the center of the top border of the display to lock it in the initial position.

22| Lets start!

adjusting the display brightness

Brightness can be adjusted to match the ambients light.

Keep the MENU button pressed, and use the VALUE controls to adjust the display brightness.

Powering up |23

Listening to the Demo Songs

You can listen to some songs we prepared, to let you understand what this instrument can do.

Access the Demo mode

Press the DEMO buttons together.

Listen to all the Demo Songs

After accessing the Demo mode, do not press any button. All the Demo Songs will be played back.

Choose a single Demo Song

Touch one of the options on the display (Songs, Sounds, Styles), then choose one of the Demo Songs.

Exit from the Demo mode

Press any of the MODE buttons.

24| Lets start!

04 Interface basics

the main page

The Main page of the Style Play mode appears when turning the instrument on. You can return to this page by pressing the EXIT button while in Style Play mode, or the STYLE PLAY button when in a different mode.

Title bar Page menu

Selected Style

Selected Songs

Selected Keyboard Set

Right-hand/ Upper Sounds

Left-hand/ Lower Sound

Keyboard Set pane Tabs recalling other panes

Interface basics |25

the user interface in detail

Display and user interface elements

Color TouchView graphical user interface

Pa4X features our exclusive easy-to-use TouchView graphic interface, based on a touch panel LCD screen. By touching items on the LCD screen, you can select pages, tabs, and parameters, and set parameter values via onscreen menus and buttons.

Operative modes

The pages of Pa4X are grouped in various operating modes. Each mode is accessed by pressing the corresponding button in the MODE section on the control panel.

Each operating mode is marked with a different color code, that helps you understand where you are at first sight.

Two special modes (Global and Media) overlap the current operating mode, that remains active in the background.

The Record mode can be accessed from the Style Play, Sequencer and Sound modes, and allows for creating new Styles, Pads, Songs or Samples.

Edit menus and sections

Pages are grouped into sections, to be selected by touching the correspond- ing buttons in the edit menu that opens up when you press the MENU button.

26| Lets start!

Pages and tabs

Parameters are grouped into separate pages, to be selected by touching the corresponding tabs in the lower area of the display.

Overlapping windows

Several windows, like the Style Select or Sound Select, the Global, the Media, or the Lyrics, overlap the current window. After you select an item in the win- dow, or press the EXIT button, the window closes, and the underlying page is shown again. (The following example is the Keyboard Set Select window).

Dialogs

Similar to selecting windows, dialogs overlap the underlaying page. Touch one of the button on the display to give Pa4X an answer, and the dialog will close.

Messages

During an operation, you may see a message letting you know what it is hap- pening and how long it will last. The message will close automatically at the end.

Interface basics |27

Page menus

Touch the down-pointing arrow icon in the upper right corner of each page, and a menu with commands relevant to the current page will appear.

Touch one of the available commands to select it. (Or, touch anywhere else on the screen to make it disappear, with no command selected).

Pop-up menus

When a down-pointing arrow appears next to a parameter name, touch the arrow to open the pop-up menu and choose an option from there (by touch- ing the option, or scrolling the list with the VALUE controls). As an alterna- tive, touch the parameter name and use the VALUE controls to scroll the list of options.

If you want to make the menu disappear without selecting anything, touch anywhere else on the display.

Lists and scrollbars

Files on storage media, as well as other kinds of data, are shown as lists. Use the scrollbar to scroll the list content. Also, you can use the VALUE controls to scroll.

28| Lets start!

When the Name label is selected on top of a list, keep the SHIFT button pressed while touching one of the arrows on the scrollbar, to jump to the next or previous alphabetic section.

Scrollbar

List

Selected item

Selected label

Interface basics |29

Parameters

Checkboxes

This kind of parameters are on/off switches. Touch them to change their status.

On Off

Editable names

When the Text Edit ( ) button appears next to a name, touch it to open the Text Edit window and edit the name.

The virtual keyboard works exactly as a personal computers keyboard. Some of the symbols are context-sensitive, and only appear when they can actually be used.

Numeric fields

When a numeric value can be edited, touch it a second time to open the Numeric Keypad.

The virtual numeric keypad works exactly as the numeric keypad of a per- sonal computer.

30| Lets start!

As an alternative, touch a numeric field and keep it held. Then move your fingers up (or right) to increase the value, or move it down (or left) to de- crease it.

This also includes the Tempo numeric field in various pages.

Icons

Various icons help identifying the type of a file, a folder, a Song. For example:

Icon Meaning

Folder

File of Style bank

MID file

Selected, highlighted items

Any operation on parameters, data or list entries, is executed on highlighted items. First touch the parameter or item to select it, then execute the opera- tion. Most parameters can be edited with the VALUE controls.

Non-available, dimmed parameters

When a parameter or command is not currently available, it is shown dimmed on the display. This means it cannot be selected, but may become available when a different option is selected.

Interface basics |31

Virtual controllers

Virtual sliders

To change a virtual sliders position, touch it and keep it held, then slide up or down to change its position. As an alternative, touch it, then use the VALUE controls to change its position.

Depending on the status of the SLIDER MODE indicator, the position of the virtual sliders might match that of the SLIDERS.

Virtual knobs

To change a virtual knobs position, touch it and keep it held, then slide your finger up (or right) to rotate it clockwise, or slide it down (or left) to rotate the knob counter-clockwise. As an alternative, touch it, then use the VALUE controls to change its position.

Virtual drawbars

To change a virtual drawbars position, touch it and keep it held, then slide it up or down to change its position. As an alternative, touch it, then use the VALUE controls to change its position.

32| Lets start!

Shortcuts

Some commands or pages can be recalled by keeping the SHIFT but- ton pressed, and pressing other buttons or elements in the display. See Shortcuts on page 1138 for a list of the available shortcuts.

Interface basics |33

Navigating through the pages

Going to a page

Through this manual, page addresses are shown as in the following example:

Style Play > Mixer/Tuning > EQ Gain

Mode Edit section Page

Here is how the above works:

1 Press the STYLE PLAY button to go to the Style Play mode. When the in- strument turns on, it is already in this mode (this the Main page of the Style Play mode).

2 Press the MENU button on the control panel to see the edit menu of the Style Play mode.

34| Lets start!

3 Touch the Mixer/Tuning button in the edit menu to choose the Mixer/Tuning section.

The selected edit section is always shown in the title bar:

Mode Edit section

4 If the page is not yet shown in the display, touch the EQ Gain tab to choose the EQ Gain page.

5 Edit the parameters.

Interface basics |35

6 Try a different page in the same edit section. Touch the Volume/Pan tab to go to the Volume/Pan page, and edit the parameters.

7 Press the EXIT button to return to the main page of the Style Play mode.

If you were in Song Play mode, pressing EXIT would have returned to the main page of the Song Play mode.

36| Lets start!

Selecting the musical resources

Opening a Select window

When you press one of the STYLE, SOUND SELECT, or one of the KEYBOARD SET LIBRARY buttons, the corresponding Select window appears. For ex- ample, this is the Sound Select window:

Pages Previous/Next Pages

Type

Groups Groups

Sounds

The Select window can also be opened by touching the name of the corre- sponding element in the display.

You can always exit from this window by pressing the EXIT button.

In Pa4X, Select windows stay always open until you press the EXIT button. If you prefer they automatically close after a few seconds, or after you select something, turn the Display Hold parameter off (see Display Hold on page 46).

|37

Part II: PLaYING aND SINGING

38| Playing and singing

Playing the Sounds |39

05 Playing the Sounds

Sounds and Keyboard Sets

Sounds are the basic element of what you hear from your instrument. Pa4X contains Sounds from any instrumental family (pianos, strings, synthesizers). A set of Sounds playing together on the keyboard can be memorized as a Keyboard Set.

To automatically recall Sounds and settings, you usually select a Keyboard Set. A Keyboard Set is a single memory location that can remember the Keyboard Sounds and all their transposition, effects, etc

Keyboard Set Upper 1 Sound Upper 2 Sound Upper 3 SoundLower Sound

Upper

UpperLower

Keyboard Sets are individually contained in the Keyboard Set Library (KEYBOARD SET LIBRARY buttons). They are also associated to a Style or SongBook Entry; a group of four Keyboard Sets is recalled each time you select a Style or SongBook Entry (KEYBOARD SET buttons under the display).

Keyboard Set

Style SongBook Entry Keyboard Set Library

4x 4x 1x

When choosing a Style, the Keyboard Set automatically recalled depends on the status of the STYLE TO KBD SET button (see page 57). When choosing a SongBook Entry, Keyboard Set #1 is always recalled.

40| Playing and singing

Choosing your preferred set of Sounds

Choosing the My Setting Keyboard Set

Press the MY SETTING button to choose your preferred Sounds.

This is a special Keyboard Set, that is automatically selected when the instru- ment is turned on.

The My Setting Keyboard Set

My Setting is a special Keyboard Set, where you can save your preferred settings for things like Keyboard Sounds, Effects, Assignable Switches, a Style to be selected on startup. This Keyboard Set is automatically chosen when the instrument is turned on, and will automatically configure the in- strument for you.

Writing the My Setting Keyboard Set

Keep the MY SETTING button pressed for about one second, until the Write dialog appears, then touch the OK button to confirm saving to memory.

Playing the Sounds |41

Choosing the Keyboard Sets

Choosing a Keyboard Set from the library

Keyboard Sets are contained in a dedicated library, that you can access from the control panel or from the display.

Open the Keyboard Set Select window from the control panel

1 Be sure the SET LIST indicator is turned off.

2 Press one of the buttons of the KEYBOARD SET LIBRARY section. You will notice that each of them has an instrument family name printed over it.

Open the Keyboard Set Select window from the display

While in the Main page, touch the name of the selected Keyboard Set.

42| Playing and singing

As soon as you press the button or touch the display, the Keyboard Set Select window appears.

Select a Keyboard Set

1 To choose one of the available types of Keyboard Sets, touch the buttons at the top of the window.

type of Kbd Set Meaning

Factory Keyboard Sets included at the factory, that cannot be modified.

Local Some models could include Local-type Keyboard Sets, that are Factory data customized for a particular country.

User Locations where you can load new Keyboard Sets from an external de- vice, or save new or edited Keyboard Sets.

Direct User Keyboard Sets accessed directly from a storage device, without first having to load them.

The type of Keyboard Set will appear under its name.

Label Meaning

Keyboard Sets container

Kbd Set Library Keyboard Set from the Library (Factory/Local/User/Direct)

Style Kbd14 Keyboard Set from the selected Style

SBook [song name] Kbd14 Keyboard Set from the selected SongBook Entry

Bank type

Fty Factory

Usr Internal User

Dir Direct User

Playing the Sounds |43

2 In case you want to choose a different group of Keyboard Sets, either press a different button in the KEYBOARD SET LIBRARY section, or touch one of the tabs on the sides of the Keyboard Set Library Select window.

3 To choose one of the available pages in the selected Keyboard Set group, ei- ther touch one of the P1P6 tabs at the bottom of the window, or repeatedly press the button of the selected group of Keyboard Sets in the KEYBOARD SET LIBRARY section of the control panel.

44| Playing and singing

4 Touch the name of the Keyboard Set you want to choose.

5 If you want to close the Keyboard Set Library Select window (and it does not close by itself), press the EXIT button.

In the end, you will see the name of the selected Keyboard Set in the dedi- cated area of the Main page. The Sounds assigned to the keyboard (shown in the right half of the display) will change.

Playing the Sounds |45

Choosing a Keyboard Set from a Style or a SongBook Entry

There are four matched Keyboard Sets in each Style or SongBook Entry, fine-tuned for the containing Style or SongBook Entry. You can choose them from the control panel or from the display.

Choose a Keyboard Set from the control panel

Press one of the buttons in the KEYBOARD SET section under the display.

Select a Keyboard Set from the display

1 While in the Main page, be sure the Kbd Set pane is selected. If it isnt, touch the Kbd Set tab to select it.

2 Touch one of the Keyboard Set names in the display to select it.

You will see the name of the selected Keyboard Set highlighted in the dedi- cated area of the Main page. The Sounds assigned to the keyboard (shown in the right half of the display) will change.

Digital Drawbars

You will notice that some Keyboard Sets in the Organ group of the library contain the DWB abbreviation in their name. These Keyboard Sets con- tain Digital Drawbars Sounds, that are simulations of electro-mechanical organs of the past.

When you choose one of them, the SLIDER MODE indicator goes to DRAWBARS. Use the sliders to control the drawbars and the correspond- ing footage of the organ sound.

46| Playing and singing

Display Hold

You may prefer to leave a Select window open after you have chosen a Sound, Keyboard Set or Style, to continue trying other elements in that window. Or, you may prefer it automatically closes after you have com- pleted your choice. This is determined by the Display Hold parameter.

Turn the Display Hold parameter on or off

1 Go to the Global > General Controls > Interface page.

2 Turn the Display Hold parameter on or off:

Select the Display Hold On checkbox to turn it on. Sound, Keyboard Set, Style, Pad or Voice Preset Select windows will remain open on the display, until you press the EXIT button.

Deselect the Display Hold On checkbox to turn it off. Sound, Keyboard Set, Style, Pad or Voice Preset Select windows will automatically close after you choose an element.

3 Press the EXIT button to return to the previous page.

Factory, User, Favorite, Direct

Across the pages, you will find words like Factory, User, Favorite, Direct. These terms refer to the type of protection from writing, or how much you can customize them.

Factory (and Local) (Keyboard Sets, Sounds, Styles, Pads, Voice Presets) are elements that you cannot normally overwrite or modify. They are meant to warrant that musical resources (like SongBook Entries) will always find linked musical resources (like Styles).

User (Keyboard Sets, Sounds, Styles, Pads, Voice Presets) are ele- ments that you can write, modify or overwrite. User Keyboard Set and Pad banks (the side tabs) can be renamed to create your own catego- ries.

Favorite (Styles) are User elements, where you can put a selection of preferred items. You are free to rename these banks (the side tabs) to create your own categories.

Direct (Keyboard Sets, Styles, Pads, SongBook Entries, Voice Presets) are User/Favorite elements that you can directly access from a storage device.

Playing the Sounds |47

Playing and controlling the Sounds

Playing the keyboard

The instruments keyboard is like a piano keyboard. Just play it!

With some Sounds, you can press the keys while they are down, and the sound might vary (for example, you might hear more vibrato).

Using the pedals

Pedals do different things depending on how they are programmed. The Damper pedal is just that a damper pedal, sustaining notes until you re- lease the pedal. The Assignable pedal (or footswitch) may change depending on how it is programmed in the Global > Controllers > Foot page.

Using the assignable sliders

Depending on the chosen Keyboard Set, the sliders can control different things, like volume levels of the different Sounds, the organ drawbars or some assignable functions. How they work is shown by the SLIDER MODE buttons indicator.

Using the assignable switches

Depending on the chosen Keyboard Set and the assigned DNC functions, these controllers can do different things. The switches can either book a function, that will be triggered while playing, or enable (or disable) it by pressing the button to toggle it.

Indicator status Meaning

Off No DNC function assigned.

Red steady Booking DNC function available.

Red blinking Booking DNC function waiting to be executed. Then, it will return steady.

Green steady Toggle DNC function available.

Green blinking Toggle activated. Press it again to disable it.

48| Playing and singing

Using the joystick

Moving the joystick left of right usually changes the Sounds pitch. Moving it forward usually trigger modulation, but this depends on the selected Sounds. With the electro-mechanical organs, pushing the joystick forward changes the rotary speakers speed. What it does when pulled back depends on the selected Sounds. Just experiment!

Using the ribbon controller

Sweeping left of right on the ribbon controller usually changes the brilliance of the Sounds and/or the pitch, but how it works depends on the selected Sounds.

Tempo and Metronome |49

06 tempo and Metronome

tempo

Setting the Tempo value

While an optimal Tempo value is saved with each Style or Song, you can freely adjust it at your will. This will also set the Tempo for the Metronome.

Adjust the Tempo value from the control panel

Use the TEMPO controls to adjust the Tempo value (or the speed of the MP3 Song).

As an alternative, for bigger Tempo changes, keep the SHIFT button pressed and use the VALUE controls.

Adjust the Tempo value from the display

1 If it is not highlighted, touch the Tempo value in the display.

2 Use the VALUE controls to adjust the Tempo value.

As an alternative, touch the Tempo field again to open the numeric keypad, and enter the Tempo value as a number.

Reset the Tempo value

Press both TEMPO buttons at the same time.

The Tempo value memorized in the Style or the MIDI Song will be recalled. With MP3 Songs, the original speed of the Song will be restored.

50| Playing and singing

Visual Tempo count while the Style is not playing

While the accompaniment is not playing, the current Tempo is still beaten by the indicator of the START/STOP button.

Tapping the Tempo value

In Style Play mode, you can tap (beat) the Tempo value.

While the accompaniment is not playing, beat the Tempo on the TAP TEMPO button. Beat as many times as indicated by the Meter numerator (for ex- ample, three times in 3/4).

At the end, the accompaniment will start playing with the tapped Tempo.

Locking the Tempo value

You can prevent the Tempo value from automatically changing when choos- ing a different Style or MIDI Song. MP3 Songs are not affected by this lock, and will always play at the recorded Tempo.

You are free to continue setting the Tempo manually, including beating the Styles Tempo with the Tap Tempo function. Please note that there is a sepa- rate Tempo for the Style Play and Song Play modes.

Prevent the Tempo value from changing

Press the TEMPO > LOCK ( ) button to light up its indicator. The Tempo value will not change when choosing a different Style or Song. You can still manually change the Tempo value (as seen above).

Let the Style or Song change the Tempo value

Press the TEMPO > LOCK ( ) button again to turn its indicator off. When choosing a different Style or Song, the memorized Tempo value will be re- called.

Tempo Change events found in the Style pattern or the MIDI Song may still change the Tempo.

Tempo and Metronome |51

Metronome

Turning the metronome on and off

Turn the metronome on

Press the METRO ( ) button to turn its indicator on. The Metronome win- dow will open, and the metronome will start playing, beating the current Tempo.

Turn the metronome off

Press the METRO ( ) button to turn its indicator off. The metronome will stop.

Setting the meter, accent and volume

You can mark the beginning of the measure, by setting the meter and accent.

Open the Metronome window

Press the METRO ( ) button.

Set the meter (time signature)

Choose the meter (time signature) by using the Meter parameter.

52| Playing and singing

Turn the accent on or off

Choose the accent by using the Accent parameter.

accent Meaning

Off No accent.

On The first beat of each measure is accented.

Bell A bell sound is heard at the first beat of each measure.

Adjust the metronome volume

Adjust the metronome volume by using the Volume parameter.

Exit the Metronome window

Press the METRO button to exit the window and stop the metronome.

Press the EXIT button to exit the window without stopping the metronome. Then, press the METRO button to stop the metronome.

Playing the Styles |53

07 Playing the Styles

Choosing the Styles

Choosing a Style

You can choose a Style from the control panel or from the display.

Go to the Style Play mode

When turning the instrument on, you are already in Style Play mode. If you are not, press the STYLE PLAY button in the control panel.

If you are not in the Main page of the Style Play mode, press the EXIT button to return there.

Open the Style Select window from the control panel

Press one of the buttons in the STYLE section.

54| Playing and singing

Open the Style Select window from the display

Touch the name of the Style in the display.

Choose a Style

1 Browse through the Styles in the Style Select window.

To choose one of the available types of Styles, touch the buttons at the top of the window.

type of Styles Meaning

Factory Styles included at the factory, that cannot be modified.

Local Some models could include Local-type Styles, that are Factory data customized for a particular country.

User Locations where you can load new Styles from an external device, or save new or edited Styles. The name of these banks can be edited in order to create custom banks.

Favorite Locations where you can load your favorite Styles from an external de- vice, or save new or edited Styles. The name of these banks can be edited in order to create custom banks.

Direct Styles accessed directly from a storage device, without first having to load them.

Playing the Styles |55

The type of Style will appear under its name.

Label Meaning

Fty Factory

Usr Internal User/Favorite

Dir Direct User/Favorite

To choose a different group of Styles, touch one of the tabs on the sides of the window.

To choose one of the available pages in the selected Style group, touch one of the P1P6 tabs at the bottom of the window.

As an alternative, press again the same STYLE button.

2 Touch the name of the Style you want to choose.

3 If you want to close the Style Select window (and it does not close by itself), press the EXIT button. (When a window does not close by itself, it means the Display Hold is turned on. See Display Hold on page 46).

In the end, you will see the name of the selected Style in the dedicated area of the main screen.

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What is a Style?

Styles are collections of musical patterns in a particular music genre or musical style offering an eight-parts automatic accompaniment, sim- ilar to an eight-member band playing with you. Chords you play on the keyboard will be recognized and will adapt the patterns to suit the music. Different sections can be selected to let you create a complete song in realtime.

Accompaniment parts

Accompaniment parts are like the members of a band. With Pa4X you get five pitched instrument players (for example: guitar, piano, strings, synthe- sizers), a bass player, a percussion player, and a drum player.

Chords and patterns

Accompaniment patterns are repeating musical sequences (like a bass groove, a guitar riff or a piano chord progression) that are dynamically adapted to match the recognized chords. They may vary depending on the type of chord (like C Major, C minor, or 7th).

Sections

Songs are made of different sections (Intro, Verse 1, Bridge, Chorus 1 and so on). There are different patterns for each song section, and they are col- lected under the Style Element buttons (INTRO, VARIATION, FILL, BREAK, ENDING). While the name of the Intro, Fill, Break and Ending are the same as the name of the corresponding song section, Variations can be used either for Verse, Bridge, Chorus or Special sections. The arrangement be- comes denser the higher the element numbers go.

Intro Verse Fill Chorus Break / Verse Fill Chorus Ending Intro 1 Fill 1 Fill 3 Ending 3Break

Variation 1 Variation 2 Variation 3 Variation 4

Auto Fill

Pa4X can automatically match each Variation with a Fill. When the AUTO FILL indicator is on, when going from a Variation to a different one a Fill is automatically selected, without having to press one of the FILL buttons.

Playing the Styles |57

Making the accompaniment sparser

You can easily turn off any of the accompaniment groups by using the Play/Mute buttons in the Main > Volume pane. For example, you may want to mute the ACCOMP (Accompaniment) group to play with the backing of the drums and bass alone.

Letting Styles choose the Keyboard Sounds

Choosing a Style might automatically choose Keyboard Sounds. This de- pends on the STYLE TO KBD SET indicator (KBD SET = Keyboard Set).

StYLE tO KBD SEt indicator

Meaning

Off Styles do not select a Keyboard Set.

On When choosing a Style, Keyboard Set 1 is automatically selected.

Blinking Choosing a Variation automatically recalls the corresponding Keyboard Set (1 4) inside the Style. For example, choose Variation 2, and Keyboard Set 2 will be automatically recalled; choose Variation 3, and Keyboard Set 3 will be automatically recalled.

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Programming the Style to Keyboard Set function

You can program how the STYLE TO KBD SET button works.

1 Go to the Global > Mode Preferences > Style 1 page.

As an alternative, keep the SHIFT button pressed and press the STYLE PLAY button to open the Style 1 page.

2 Use the Style to Kbd Set Mode menu to choose how the button works.

Style to Kbd Set Mode

Meaning

Next Measure When you choose a Style, the new Keyboard Set will not be automati- cally selected until the first beat of the next measure is reached.

Immediate When you choose a Style, the new Keyboard Set will be immediately selected.

3 Press the EXIT button to return to the previous page.

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Playing a manual accompaniment (Bass & Lower Backing)

You can play a simple manual accompaniment, where the chord you play with your left hand is split between the Bass (chord root) and Lower (the remaining notes) Sounds.

Playing the manual accompaniment

1 Be sure the Bass & Lower Backing function is active. When it is, the Backing icon appears in the Lower Sounds area.

If the icon does not appear, see below how to activate it.

2 Be sure the SPLIT indicator is turned on, and the automatic accompaniment is not running.

3 Play a chord sequence with your left hand.

Notice how the chord root is played by the Bass Sound, while the remaining chord notes are played by the Lower Sound (even if it is muted).

Turning the Bass & Lower Backing function on or off

1 Go to the Global > Mode Preferences > Style 2 page.

2 Select or deselect the Bass & Lower Backing checkbox to activate or deac- tivate the function.

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Playing the automatic accompaniment

Starting and stopping the accompaniment

You can manually start and stop the accompaniment.

Start the accompaniment

1 Press the START/STOP button.

2 Play some chords with your left hand, while playing a melody with your right hand.

On the START/STOP button, a red indicator will mark the first beat, while a green indicator will mark the other beats of the measure.

While the accompaniment is playing, please note the various indicators in the display.

Recognized chord

Beat indicator

Tempo valuePattern length in measures (L) or remaining measures (M)

Stop the accompaniment

Press again the START/STOP button.

Automatic start and stop

You can let the accompaniment automatically start or stop by just playing on the keyboard, without having to press the START/STOP button. This leaves your hands free for playing.

Make the accompaniment start automatically (Synchro Start)

1 Press the SYNCHRO > START button to light up its indicator.

2 Play a chord, and see how the accompaniment will start automatically.

3 Stop the accompaniment by pressing the START/STOP button.

Playing the Styles |61

Make the accompaniment start and stop automatically (Synchro Start and

Stop)

1 Be sure the SYNCHRO > START indicator is turned on.

2 Press the SYNCHRO > STOP button, to light up both the START and STOP indicators.

3 Play a chord to start the accompaniment, and keep the keys pressed.

4 Lift your hands from the keyboard, and see how the accompaniment will automatically stop.

Make the accompaniment stop automatically (Synchro Stop)

1 Press the SYNCHRO > START button again to turn it off, and leave only the SYNCHRO > STOP indicator lightened.

2 Press the START/STOP button to start the accompaniment, then play a chord and keep the keys pressed.

3 Lift your hands from the keyboard, and see how the accompaniment will automatically stop.

Deactivate the Synchro Start/Stop functions

Press the SYNCHRO > START and/or SYNCHRO > STOP buttons to turn both indicators off.

Choosing an Intro An Intro is the introduction of the song. To choose the right Intro for your song, please note that Intro 1 plays a short sequence with a prerecorded chord sequence and melody, while Intro 2 plays on the chord recognized on the keyboard. Intro 3 is usually a one-bar Count In.

Style Element Suggested use

Intro 1 Intro with prerecorded chord sequence and melody.

Intro 2 Intro with chord recognized on the keyboard.

Intro 3/Count In One-measure Count In.

1 Press one of the VARIATION buttons on the control panel to choose the Variation you want to use for the first verse. The buttons indicator will be on, meaning the Variation is waiting to start.

2 Press one of the INTRO buttons on the control panel to book one of the Intro sections. The buttons indicator will be on, meaning the Intro is waiting

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to start. The buttons indicator on the selected VARIATION button will be flashing, meaning it is booked after the Intro.

3 Start the accompaniment.

Choosing a Variation to play a Verse or Chorus Variations can be used for verses, choruses, bridges or specials. To choose the right Variation for your verse, please note that Variations are of growing density and loudness. This means that Variation 1 will be the sparsest and the quietest of the arrangements, while Variation 4 will be the dens- est and loudest of them. Usually, you will use Variation 1 for the first verse, Variation 4 for the last chorus.

Style Element Suggested use

Variation 1 Verse, Bridge, Chorus or Special (lowest density)

Variation 2 Verse, Bridge, Chorus or Special (medium-low density)

Variation 3 Verse, Bridge, Chorus or Special (medium-high density)

Variation 4 Verse, Bridge, Chorus or Special (highest density)

Wait for the Intro to end playing, and then the selected Variation will start playing. The selected VARIATION indicator will stay lit.

As an alternative, you can start the Variation before the end of the Intro. While the Intro is playing, press one of the VARIATION buttons. The Variation will start at the next measure.

Choosing a Fill Fills are phrases that can be used for smoothly bridging between different sections of a song. Their density is similar to that of the same numbered Variations.

Style Element Suggested use

Fill 1 Fill (lowest density)

Fill 2 Fill (medium-low density)

Fill 3 Fill (medium-high density)

Fill 4 Fill (highest density)

Playing the Styles |63

Automatically selecting a Fill

If you like, you can let Pa4X automatically select a Fill when you choose a Variation.

Turn the Auto Fill function on

Press the AUTO FILL button to light up its indicator.

Automatically play a Fill, then a Variation

Press one of the VARIATION buttons. A Fill will be automatically selected.

Turn the Auto Fill function off

When you no longer need this function, press the AUTO FILL button again to turn the indicator off.

Programming the Auto Fill

You can program how the Auto Fill works.

1 Go to the Global > Mode Preferences > Style 1 page.

As an alternative, keep the SHIFT button pressed and press the STYLE PLAY button to open the Style 1 page.

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2 Use the Auto Fill menu to choose the Auto Fill mode.

auto Fill Mode Meaning

Current Variation The Fill with the same number of the previous Variation will be auto- matically selected. For example, if you are going from Variation 2 to Variation 3, Fill 2 will be automatically selected.

Target Variation The Fill with the same number of the target Variation will be auto- matically selected. For example, if you are going from Variation 2 to Variation 3, Fill 3 will be automatically selected.

Smart Auto Fill tries to make the transition smoother. For example, if you are going from Variation 1 to Variation 4, Fill 3 will be automatically selected.

3 Press the EXIT button to return to the previous page.

Manually choosing a Fill

You can directly choose a Fill.

1 When you want to choose a Fill, press one of the FILL buttons to choose the Fill you want to play. The buttons indicator will be on while the Fill is playing.

2 If you want, choose a different Variation before the end of the Fill.

Choosing a Break A break introduces a short pause in your song, creating a suspension and a sense of surprise.

Style Element Suggested use

Break One-measure break

When the Variation is nearing its end, press the BREAK button to play a short musical break.

Playing the Styles |65

Choosing an Ending To choose the right Ending for your song, please note that Ending 1 plays a sequence with a prerecorded chord sequence and melody, while Ending 2 plays on the chord recognized on the keyboard.

Style Element Suggested use

Ending 1 Ending with prerecorded chord sequence and melody. If selected near the end of the measure, it will only start at its end.

Ending 2 Ending with the chord recognized on the keyboard. If selected near the end of the measure, it will only start at its end.

Ending 3 Two-measure Ending, starting immediately, without waiting for the mea- sure to end.

When it is time to end the song, press one of the ENDING buttons on the control panel to book one of the Ending sections.

After the Ending, the Style will automatically stop.

Looping sections

If you feel that an Intro, a Fill, a Break or Ending should last longer than the recorded pattern, you can put it in a cycling loop.

Set a Style Element to loop

Press twice the button of the Intro, Fill, Break or Ending to put in loop.

The indicator on the button will start flashing, and the pattern will start re- peating.

Exit from the loop

Do one of the following:

Press the same Style Element button again, or

Select a different Style Element.

Keep a Style Element looping while its button is pressed

Keep an Intro, Fill, Break or Ending button pressed to loop it. Release it when you want the Style Element to exit from the loop.

If the Auto Fill function is turned on, keep a Variation button pressed to loop the corresponding Fill. Release it when you want the Fill to exit from the loop, and the Variation to start playing.

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Fade In/Out

You can start and/or stop your playing with a smooth fade-in or fade-out.

Fade in

While the accompaniment is not playing, press the FADE IN/OUT button to light up its indicator and start the accompaniment with a smooth fade-in.

The accompaniment will start. When the maximum volume is reached, the indicator will turn off.

Fade out

When the song is approaching its end, press the FADE IN/OUT button to stop the accompaniment with a smooth fade-out.

Setting the Fade time

Go to Global > General Controls > Basic to set the Fade In and Fade Out time.

Playing the Styles |67

adjusting the accompaniment volume

Balancing the accompaniment against the keyboard

While playing, you may want to balance the Keyboard Sounds against the Accompaniment Sounds, to make the soloist stand out of the background or go back in the mix.

Balance the Accompaniment against the Keyboard Sounds

While the accompaniment is playing, use the BALANCE knob to balance be- tween the Accompaniment (Style) and the Keyboard (Keyboard Set) Sounds.

Adjusting the volume level of the Accompaniment Sounds only

If you wish, you can change how the BALANCE knob works, and transform it into a volume control for the Accompaniment Sounds only.

Program the BALANCE knob

1 Go to the Global > Controllers > Hand page.

2 In the Balance Control section, touch the Accompaniment/Song Volume option to choose it. Now, the BALANCE knob will work as the Style (and Song) volume only.

To go back to the default way of working, choose the Accompaniment/Song Keyboard Balance option.

3 Press the EXIT button to close the Global page and return to the main screen.

Adjust the volume level of the Accompaniment Sounds

While the accompaniment is playing, use the BALANCE knob to adjust the level of the Accompaniment Sounds.

The volume of the Keyboard Sounds will not change.

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Making the accompaniment sparser

You can easily turn off any of the accompaniment groups by using the Play/ Mute buttons in the Main > Volume pane. For example, you may want to mute the ACCOMP (Accompaniment) group to play with the backing of the drums and bass alone.

If you only want to listen to Drums and Percussions, press the CHORD SCAN buttons on the control panel to turn their indicators off. Press them again to reactivate all the accompaniment sounds.

Playing the Styles |69

Manually playing the Bass line

You can play the Bass Sound with your left hand, freeing it from the auto- matic accompaniment.

Turn the Manual Bass function on

Press the MANUAL BASS button to turn its indicator on.

The automatic accompaniment will stop playing (except for the Drum and Percussion Sounds), and you can manually play the Bass line on the Lower part of the keyboard.

When in Manual Bass mode, the volume level of the Bass Sound will be auto- matically increased.

Turn the Manual Bass function off

Press the MANUAL BASS button to turn its indicator off.

When turning the Manual Bass mode off, the volume level of the Bass Sound will be automatically set back to the original value.

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08 Playing the Pads

Choosing the Pad sets

Choose the Pads by selecting a Style

Choose a Style. The four Pads it contains will be selected.

Choose the Pads by selecting a SongBook Entry

Choose a SongBook Entry. The four Pads it contains will be selected.

What is a Pad?

Pads are single-track hits or sequences, that you can instantly play with the dedicated PADS buttons. They can either play single sounds or short, cycling sequences that play in time with the Style or the MIDI Song. In Style Play mode, sequences are transposed according to the recognized chords.

Playing the Pads |71

Playing the Pads

Starting and stopping the Pads

You can play up to four Pads at the same time, by using the dedicated PADS buttons on the control panel.

Play the Pads

Press one or more PADS buttons to trigger the Pads.

Play some chords, and transpose any Pad of the Sequence type.

Stop a single Pad

Press a PADS button to stop the corresponding Pad.

Stop all Pads at the same time

Press the PADS > STOP button to stop all the Pads.

Stop all the Pads and the Style at the same time

Press the START/STOP button, or one of the ENDING buttons.

Stop all the Pads and start a Song

Press the PLAY/STOP button to start a Song. All the Pads will stop playing.

Pads of the One Shot type automatically stop at the end of the sequence. Pads of the Loop type continue cycling until you dont press the PADS > STOP button.

Changing Tempo

In Style Play mode, Pads are synchronized to the Styles Tempo. Change the Styles Tempo, and the Pads Tempo will change accordingly.

In Song Play mode, Pads are synchronized to the latest MIDI Songs Tempo. Since Pads cannot be synchronized with MP3 Songs, the Tempo of the latest MIDI Song will be considered when playing MP3 Songs.

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09 Playing the Songs

Choosing the Songs

Choosing a Song

Switch to the Song Play mode

Press the SONG PLAY button.

Title bar Page menu

Selected Song (Player 1)

Selected Style

Selected Keyboard Set

Right-hand/ Upper Sounds

Left-hand/ Lower Sound

Keyboard Set pane

Tabs recalling other panes

Selected Song (Player 2)

Open the Song Select window from the control panel

Press the SELECT button in the PLAYER 1 or PLAYER 2 section.

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Open the Song Select window from the display

Touch the name of the Song on the display. You can choose either Player 1 (P1) or Player 2 (P2) to play the Song.

Browse through the Songs

While in the Song Select window, browse through the files to find the Song you are looking for.

Device

Current path

Choose a storage device by using the Device menu.

If the Song is contained in an external USB device, connect the device to one of the USB HOST port.

Device type

DISK Internal drive

HD Internal HD (optional in Pa4X-61)

SD Optional internal microSD

USB-F Optional device connected to the front (F) USB HOST port

USB-R Optional device connected to the rear (R) USB HOST port

The actual name (label) of the device will appear between square brackets.

Scroll the list by using the scrollbar. As an alternative, use the VALUE con- trols (if the focus is on the Device selector, touch any item in the list before using the dial).

Open the selected folder/directory by touching the Open button.

Go to the upper folder/directory by touching the Close button.

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Jump to the folder/directory, containing the Song currently assigned to the Player, by touching the Locate button.

Jump to a different alphabetical section

1 If it is not selected, touch the Name label on top of the list.

2 Keep the SHIFT button pressed and touch one of the arrows of the scrollbar to jump to the previous or next alphabetical section.

Change the list sorting

Reorder the items according to a different criterion (Type, Name, Size, Date) by touching the corresponding label on top of the list.

By touching the label again, the order of the files will switch between as- cending and descending.

Select the Song

1 Touch the name of the Song you want to choose to highlight it.

2 Touch the Select button. If a Song is already playing, it will stop, and the new Song will be ready to play. You will return to the Main page of the Song Play mode.

When a Song has been selected, it will appear in the Song area.

MIDI Song selected:

Current measure

Current position in the Song

Current beat in the measure

Total length (in measures)

Tempo

Meter (Time Signature)

MP3 Song selected:

Elapsed time

Current position in the Song

Total time

Tempo variation

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What is a MIDI Song

MIDI Songs jargon name is Standard MIDI File, often abbreviated as SMF. The filename extension is .mid. The Standard MIDI File is the industry stan- dard format for songs, and is used by Pa4X as the native file format when playing or recording MIDI Songs.

The MIDI Karaoke File (.kar) is an extension of the SMF format, and is also supported. It always contains lyrics.

MID file on disk

KAR file on disk

MIDI Song

What is an MP3 Song

MP3 Songs real name is even funnier: MPEG Layer-3, usually abbreviated as MP3. The filename extension is .mp3. This is a compressed audio file, used to store recorded songs in the smallest amount of space, without losing too much audio quality. At the highest quality, MP3 files are usually impossible to distinguish from non-compressed audio files. Pa4X can play and record MP3 files.

MP3 file on disk

MP3 Song

Choosing a Song by ID number

Each Song in a folder on a device has a progressive ID number assigned (up to 9,999). When the ID numbers are shown in the Song Select window, you can enter this number to select the corresponding Song.

To help you find a Song by ID number, you can export a song list using the Export Song List command in the Song Select window, and print it.

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Showing the ID number

1 Open the Song Select window.

2 Touch the page menu icon to open the menu, then touch the Show Song Number item to show (or hide) the ID numbers.

The Songs ID number will appear before each Songs name in the Song Select window.

Choosing a Song by number

1 Open the numeric keypad.

While in the Song Select window, press the SELECT button.

While in any page of the Song Play (or Style Play) mode, press the SELECT button twice.

2 Enter the ID number (included in the 0001~9999 range) corresponding to the Song to be selected, then touch the OK button to confirm. The Song will be selected.

If no Song corresponds to the number entered, a message will warn that the Song is not available.

Viewing the Songs filename extension

While you can recognize the type of files from the self-explanatory icons next to their names, you may prefer to also see the filename extension.

Make the filename extension appear

1 Open the Song Select window.

2 Touch the page menu icon, then touch the Show Song Extension menu item to make the checkmark appear next to it.

The filename extension will appear at the end of each file.

Make the filename extension disappear

Deselect the Show Song Extension menu item.

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Playing a Song

Starting, stopping and controlling the Player

Pa4X features two sets of Player controls, one for PLAYER 1 and the other for PLAYER 2. Use the one or the other depending on the Player the Song is assigned to.

Set the right mix

Move the X-FADER fully toward the Player you want to listen to.

Move it fully to the left for Player 1, to the right for Player 2.

Start the Player

Press the PLAY/STOP ( ) button.

While the Song is playing, the indicators in the display will show the current position.

Fast Forward the Song

Press the FAST FORWARD ( ) button once to jump to the next measure (MIDI Song) or to the next second (MP3 Song).

Keep the FAST FORWARD ( ) button pressed to scroll the Song continu- ously. Release it when you have reached the desired location.

Rewind the Song

Press the REWIND ( ) button once to jump to the previous measure (MIDI Song) or to the previous second (MP3 Song).

Keep the REWIND ( ) button pressed to scroll the Song continuously. Release it when you have reached the desired location.

Pause and resume playback

Press the PLAY/STOP ( ) button to stop the Song at the current position. The buttons indicator will turn off.

Press the PLAY/STOP ( ) button again to resume playback. The indica- tor will turn on again.

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Stop the Player and return to the beginning of the Song

Press the HOME ( ) button to stop the Player and move to the beginning of the Song. The buttons indicator will turn off.

Fade In/Out

You can start and/or stop a Song with a smooth fade-in or fade-out.

Fade in

While the Song is not playing, press the FADE IN/OUT button to light up its indicator and start with a smooth fade-in.

The Song will start. When the maximum volume is reached, the indicator will turn off.

Fade out

When the Song is approaching its end, press the FADE IN/OUT button to end it with a smooth fade-out.

Setting the Fade time

Go to Global > General Controls > Basic to set the Fade In and Fade Out time.

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Mixing two Songs

Assign a Song to each of the Players

Either use the SELECT buttons in the PLAYER 1 or PLAYER 2 sections, or touch the name of the Song in the display.

The full procedure is described above.

Start both Players at the same time

Keep the SHIFT button pressed, and press any of the two PLAY/STOP ( ) buttons to start both Players at the same time.

Mix the two Players

During playback, move the X-FADER slider to mix the two Songs.

Move the X-FADER slider fully to the left to only listen to Player 1, fully to the right to only listen to Player 2. Move it to the center to balance the two Players.

Separately control each Player

During playback, control each Player by using the dedicated PLAYER con- trols on the control panel.

Stop the Players

Press the relevant PLAY/STOP ( ) button to stop the corresponding Player.

Fade between songs

Instead of starting both Songs together, you can start them one after the other, and fade between them.

1 Assign a first Song to Player 1, a second Song to Player 2.

2 Move the X-FADER slider fully to the left, to only listen to Player 1.

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3 Start Player 1.

4 When the Song is nearing the end, start Player 2.

5 Gently move the X-FADER slider toward the right, to fade out the first Song and fade in the second Song.

6 While Player 2 is playing, assign a third Song to Player 1, and repeat the above procedure (by reversing the X-FADER direction) to fade out Player 2 and fade in Player 1.

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Playing along with the Song

Playing the keyboard

Play along with the Song

While the Song is playing, play the keyboard.

Choose different Sounds from the Keyboard Set Library

Choose a different Keyboard Set from the KEYBOARD SET LIBRARY sec- tion of the control panel, or by touching the KBD area in the Main page.

Choose different Sounds from the Style or SongBook Entry

The latest Style or SongBook Entry you selected contain up to four Keyboard Set. Choose a different Keyboard Set from the KEYBOARD SET section un- der the display, or from the Kbd Set pane of the Main page.

Transpose the Songs to play in an easier key

You may want to play the keyboard in an easier key, and transpose a Song in the same key, without transposing the keyboard.

Activate transposition on the Players only

1 Go to the Global > Tuning > Transpose Control page.

2 Activate Transpose on the Player, and deactivate it on the Style and Keyboard tracks.

Transpose the Songs

Use the TRANSPOSE buttons on the control panel.

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Muting the melody

Mute the melody if you are going to play or sing live. This will avoid overlap- ping between your playing or singing and the internal Sounds.

1 Go to the Song Play > Volume pane.

2 Use the TRACK SELECT button to see the Sound you want to mute.

3 Touch the Play ( ) icon in the mixer channel corresponding to the Sound you want to mute. The Mute ( ) icon will appear.

Saving the Play/Mute status

To make the Play/Mute status of the Song Sounds permanent for all the sub- sequent MIDI Songs, write it to memory.

Go to the Global > Mode Preferences > Song & Sequencer page, and touch the Save Track & FX button.

Muting a Songs Sound with an assignable switch or footswitch

You can mute the melody track of a Song by assigning the Melody Mute func- tion to an assignable switch, footswitch or EC5 switch. This function mutes a track defined as the melody track. If the Song has the melody part assigned to the same track number, you can mute or unmute it by using the assigned switch or footswitch.

To choose a Song Melody track, go to Global > Mode Preferences > Song & Sequencer page.

To program the assignable switch, go to the Style Play or Song Play > Pads/ Switches > Switches page.

To program the footswitch, go to the Global > Controllers > Foot page.

To program an EC5 switch, go to the Global > Controllers > EC5 page.

Please note that programming an assignable switch will tie the page scroll command to a particular Keyboard Set or SongBook Entry. On the contrary, programming the footswitch or EC5 switch will offer a global option, that will not change when choosing a different Keyboard Set or SongBook Entry.

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Muting the lead voice from an MP3 Song

You can remove the lead voice, to sing it live.

Assigning the Vocal Remover function to the Assigignable Switch #3

1 First of all, press the MY SETTING button to choose the My Setting Keyboard Set, containing the preferred settings.

2 Keep the SHIFT button pressed, and press the ASSIGNABLE SWITCH #3. The Switch page will appear, with the Switch #3 already selected.

3 Touch the down-pointing arrow next to the switch, and open the pop-up menu. from where to choose the Vocal Remover option.

4 Select the option, and the switch will be programmed to remove the lead voice from MP3 Songs.

5 Be sure the lock next to the parameter remains closed.

6 Keep the MY SETTING button pressed for about one second, and touch OK to confirm saving the switchs assignment.

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Using the switch to mute the lead voice

1 While an MP3 Song is playing, press the ASSIGNABLE SWITCH #3 to remove the lead voice.

2 Press the same switch again to let the lead voice be heard again.

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adjusting the volume levels

Balancing the Songs against the keyboard

While playing, you may want to balance the Keyboard Sounds against the Songs, to make the soloist stand out of the background or go back in the mix.

Balance the Songs against the keyboard

While the Songs are playing, use the BALANCE knob to balance between the Songs and the Keyboard (Keyboard Set) Sounds.

Controlling the volume of the MP3 Songs

You can adjust the volume of the MP3 Songs during playback.

1 Be sure the selected SLIDER MODE is VOLUME.

2 Use the first slider to adjust the volume of the MP3 Song.

Setting the general volume of the MP3 Songs

You can balance the volume of MP3 Songs against that of MIDI Songs and Styles.

1 Go to the Global > Audio & Video > MP3/Speakers page.

2 Use the MP3 Player > Volume parameter to set the maximum volume of the MP3 Player.

MP3 Volume Meaning

0 100 Max volume in percentage

Choosing the audio outputs for the MP3 Songs

You can send the MP3 Songs to a separate audio output (or output pair), for separate mixing.

1 Go to the Global > MP3/Speakers page.

2 Use the MP3 Player > Audio Out pop-up menu to choose an audio output (or output pair) for the MP3 Songs.

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Playing all the Songs in a folder

When playing all the Songs in a folder, use the PLAYER 1 controls.

Open the Song Select window from the control panel

Press the SELECT button.

Open the Song Select window from the display

Touch the name of the Song in the display.

Select the folder containing the Songs to play

1 Browse through the files, until you find the folder containing the Songs to play, and open it.

2 Touch the Play All button to pre-select all the Songs in the folder.

A Jukebox file will be automatically generated and assigned to Player 1. The order in which the Songs will be played back will depend on how they appear in the Song Select window.

Play the list of Songs

3 Start and stop the Songs by pressing the PLAY/STOP ( ) button.

4 Use the standard PLAYER 1 controls to play, pause, stop, fast forward and rewind the Songs.

Move through the Songs

Jump to the next Song in the list by keeping the SHIFT button pressed and pressing the FAST FORWARD ( ) button.

Jump to the previous Song by keeping the SHIFT button pressed and press- ing the REWIND ( ) button.

Playing the Songs |87

Press the HOME ( ) button to go back to the beginning of the current Song.

Save the list as a Jukebox file

If you want to save the list, go to the Song Play > Jukebox Editor edit page and save it as a JBX file. (See below for more information).

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Playing a Jukebox list

Creating and editing a Jukebox list

Create a Jukebox list

1 Go to the Song Play > Jukebox Editor page.

2 If a list of Songs already exists (because you selected an existing Jukebox file, or used the Song Select > Play All function), touch the Del All button to delete all from the list.

3 Touch the Add or Insert button to open the Song Select window.

Add will append a Song at the end of the list.

Insert will insert a Song between the selected item and the previous one.

4 While in the Song Select window, browse the MID, KAR and MP3 files in the folder, and select the Songs to be added.

If you like, you can choose another Jukebox (JBX) file, and add all its Songs to the Jukebox list you are editing.

5 Confirm by touching the OK button.

6 Continue adding Songs to the list.

Please note that you can only add Songs from the same folder, and that a Jukebox list can only include up to 127 Songs.

Edit the Jukebox list

Use the Move > Down ( ) and Move > Up ( ) buttons on the display to move the selected Song to a different position in the list.

Touch the Delete button to delete the selected Song from the list.

Touch the Del All button to delete all Songs from the list.

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Save the Jukebox list

1 Touch the Save button to open the Save Jukebox File dialog.

Please note that you can only save the JBX file in the same folder containing the Song files included in the list. The Jukebox file and Songs will have to be in the same folder.

2 While in the Save Jukebox File dialog, touch the Text Edit ( ) button if you want to assign the Jukebox file a new name.

If you are saving a new list, the NEWNAME.JBX name is automatically as- signed, and you can edit it.

Otherwise, the existing name is proposed. If the existing name is not edited, the old Jukebox file will be overwritten.

3 When done, touch the OK button to confirm.

Playing a Jukebox list

Instead of single Songs, you can assign a Jukebox file to Player 1.

Open the Song Select window from the control panel

Press the SELECT button in the PLAYER 1 section.

Open the Song Select window from the display

Touch the name of the Song in the display.

Select the Jukebox file

Browse through the files, until you find the Jukebox (.jbx) file, and open it.

You can quickly locate Jukebox files by their icon ( ).

The selected Jukebox list contains pointers to Songs residing in the same folder as the Jukebox file. Please do not move nor delete the Songs, nor dis- connect any connected USB storage device containing the Songs.

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Play the Jukebox list

1 While in the Main page of the Song Play mode, touch the Jukebox tab to show the Jukebox pane and see the list of Songs contained inside the se- lected Jukebox list.

2 Touch the name of the Song you want to start from, then touch the Select button to assign it to the Player.

3 Start and stop the Songs by pressing the PLAY/STOP ( ) button.

All the Songs in the list will continue playing one after the other, until you dont stop them.

4 Use the standard PLAYER 1 controls to play, pause, stop, fast forward and rewind the Songs.

Move through the Songs

Touch a different Song in the list, then touch the Select button to jump to that Song.

Jump to the next Song in the list by keeping the SHIFT button pressed and pressing the FAST FORWARD ( ) button.

Jump to the previous Song by keeping the SHIFT button pressed and press- ing the REWIND ( ) button.

Press the HOME ( ) button to go back to the beginning of the current Song.

What if a Song in the list is missing?

If a Song in the list is missing, the Player will stop and a warning message will appear in the display. Go to the Song Play > Jukebox pane, and select a different Song.

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10 Lyrics, chords, markers and score

Choosing one of the Players

While in the Lyrics, Score or Markers page, you can touch either the Player 1 or Player 2 button in the title bar to select the corresponding Player.

As an alternative, move the X-FADER slider fully to the left to only listen to and see the lyrics, chords, score or markers of Player 1. Move it fully to the right to only listen to and see the lyrics, chords, score or markers of Player 2.

Where are lyrics and chords contained?

Inside the MIDI Songs. Lyrics and chords may be contained inside MIDI Songs as MIDI events.

Inside the MP3 Songs. Lyrics may be contained into MP3 Songs as ID3/Lyrics3 and ID3/Frames tags.

In TXT files associated to MIDI or MP3 Songs. Lyrics and chords may be contained in a TXT file having the same name of a MIDI Song or an MP3 Song, and residing in the same folder. You can even load a text file while playing a Song or a Style.

In CDG files associated to MP3 Songs. Lyrics and chords may be con- tained in a CDG file having the same name of an MP3 Song, and resid- ing in the same folder.

In TXT files linked to a SongBook Entry. A TXT file can be linked to a SongBook Entry.

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reading the lyrics and chords contained in a Song

Reading lyrics and chords

Open the Lyrics page

Press the LYRICS button on the control panel. The Lyrics page will appear, and you will see the lyrics assigned to the selected Player.

Read the lyrics

While the Song is playing, lyrics contained in a MIDI or MP3 Song will auto- matically scroll in the display, in time with the music. Lyrics at the current position will be highlighted.

Exit from the Lyrics page

When done with the lyrics, press either the LYRICS or the EXIT button.

Changing the text size

You can choose between two text sizes.

Use the aA button in the Lyrics page to change the font size.

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Showing chords

You can show or hide the chord symbols that might be included as Lyrics events in the MIDI Songs.

Be sure the Chord button appears pressed in the Lyrics page to see the chord symbols. Chord symbols (if any) will appear above the lyrics, in time with the music.

Be sure the Chord button doesnt appear pressed in the Lyrics page to hide the chord symbols.

Chord transposition

When using the TRANSPOSE buttons, chord symbols may also be trans- posed, depending on the Master Transpose settings. To let the chord sym- bols be transposed, go to the Global > Tuning > Transpose Control page, and be sure one of the following settings is selected.

Style and Keyboard Tracks set to Off, and Player set to On. The chord sym- bols will be transposed with the Songs.

Style and Keyboard Tracks set to Immediate or Next Measure, and Player set to Off. The chord symbols will be transposed, but not the Songs.

For more information about transposing the chord symbols, see Transposing the score and chord symbols on page 878.

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reading the lyrics and chords loaded as a text file

If the text has been linked or loaded as a text (TXT) file, it will not scroll au- tomatically while the Song is playing back. You can manually scroll it in one of the following ways.

Scroll the text on the display

Scroll the text by using the VALUE controls or the vertical scrollbar.

Scroll the text with a footswitch or EC5 switch

1 Go to the Global > Controllers > Foot page, or the Global > Controllers > EC5 page, and assign the Text Page Next commands to the footswitch or EC5 switch.

2 Return to the Lyrics page, and scroll the text by using the programmed foot- switch or EC5 switch.

Scroll the text with a switch

1 Go to the Style Play or Song Play > Pads/Switches > Switch page, and assign the Text Page Next commands to one of the assignable switches.

2 Write the changes to the a Keyboard Set.

3 Return to the Lyrics page, and scroll the text by using the programmed as- signable switch.

Please note that programming an assignable switch will tie the page scroll command to a particular Keyboard Set or SongBook Entry, dedicated to a particular Song based on an external text file. On the contrary, programming the footswitch or EC5 switch will offer a global option, that will not change when choosing a different Keyboard Set or SongBook Entry.

Loading a text file with the same name of the Song

Lyrics and chords may be contained in a TXT file having the same name of a MIDI Song or an MP3 Song. For example, if a MySong.txt file exists in the same folder as the MySong.mid file or MySong.mp3 file, loading this latter will load the TXT Lyrics file as well.

See Creating text files (lyrics) on page 385 for more information on how to create correctly formatted text files.

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Linking text files to SongBook Entries

Lyrics and chords may be contained in a TXT file linked to a SongBook Entry. The same formatting rules described above apply.

On-the-fly loading of Lyrics and chords from an external text file

When no lyrics or chords are contained or associated to the Style or Song, you can load a text (TXT) file after having chosen a Style or Song.

Load a TXT file on-the-fly

An empty Lyrics page with a message will appear when you press the LYRICS button in one of the following cases:

You are in Style Play mode.

The Song does not contain lyrics and chords.

No external file is associated to the Style or the Song.

In this case, do the following:

Keep the SHIFT button pressed and touch the center of the display. The file selector will appear, and will let you choose a TXT file to be loaded.

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reading the lyrics and chords loaded as a CDG file

CDGs are graphic files that change in time with the associated MP3 Song.

Read the lyrics and chords in the CDG file

Be sure the CDG button appears pressed in the Lyrics page.

Loading a CDG file with the same name of the Song

Lyrics and chords may be contained into MP3 Songs as a CDG graphic file with the same name of an MP3 Song (MP3+G Song format). For example, if a MySong.cdg file exists in the same folder as the MySong.mp3 file, load- ing this latter will load the CDG Lyrics file as well.

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Moving through a Song with the markers

Using the markers

Song Marker events that might be contained in a MID file (that is, a MIDI Song) can be read by Pa4X. They are immediately shown in the Markers page.

Open the Markers page

While in Song Play mode, press the MARKER button.

Jump to a marker

1 If you like, start the Player by pressing the PLAY/STOP ( ) button.

You can jump to a marker even if the Player is not running.

2 When you want to jump to a marker, touch it in the markers list. At the begin- ning of the next measure, the Song will jump to the saved position.

Make the markers list scroll automatically

Select the Auto Scroll parameter, to let the markers list scroll automatically, and always let the current marker be shown in the display.

Loop the current section

You can use the markers to repeat a passage you need practicing.

1 Start the Player.

2 When you reach the beginning of the point you need practicing, touch the Add button to create a first marker.

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Usually, you will create the marker one or two measures before the actual starting point.

3 When you reach the end of the point you need practicing, touch the Add but- ton to create a second marker.

4 Select the first marker, then select the Loop checkbox to repeat (loop) be- tween the first and second marker.

5 If you no longer need them, delete the markers. In any case, they will be automatically removed when choosing a different Song or turning off the instrument.

Creating and editing markers

You can add your own marker points to a MIDI Song, then save them into the MID file.

Open the Markers page

While in Song Play mode, press the MARKER buttons.

Add markers

1 Start the Player by pressing the PLAY/STOP ( ) button.

Markers can be added even while the Player is not running, but adding them while the Song is running is easier.

2 When you reach the position you want to save as a marker, touch the Add button.

If you touch Add within the early beats of the measure, the beginning of the current measure is saved as a marker.

If you touch Add within the last beat of the measure, the beginning of the following measure is saved as a marker.

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3 Do the same for any following marker.

4 Stop the Player by pressing the PLAY/STOP ( ) button.

Delete markers

1 Touch the marker to be deleted in the markers list.

2 Touch the Delete button to delete the selected marker.

3 Save the markers (as described below).

Edit the name and position of a marker

1 Touch the marker to be edited in the markers list.

2 Touch the Edit button to start editing the marker. The Edit Marker window will appear.

3 While in the Edit Marker window, edit the position and name of the selected marker.

4 Save the markers (as described below).

Save the markers

Touch the Save Mk button to save all the markers into the MID file.

If you are not in the Markers page, choose the Save Song Marker command from the page menu.

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reading the music score

Creating and reading the music score

Create the music score

1 Choose a MIDI Song to play with the selected Player.

2 Press the SCORE button to open the Score page. A score of the selected track will be generated.

Depending on the content of the track, either notes or chords are shown in the staff.

Song name Tempo Selected PlayerChord symbols

Transposition

Current staff

Lyrics

Current position

Selected trackView options Clef

Choose a different track

Choose a different track to be seen as music score by using the Trk menu.

Usually, the melody is track #4.

Choose the clef

Choose a different clef by using the Clef menu.

Usually, the correct clef is automatically assigned by the score generator.

Lyrics, chords, markers and score |101

Clef Meaning

Treble Standard Treble clef.

Treble+8 Treble clef with transposition one octave upper.

Treble-8 Treble clef with transposition one octave lower.

Bass Standard Bass clef.

Bass-8 Bass clef with transposition one octave lower.

Exit from the Score page

When done with the score, press either the SCORE or the EXIT button.

Intelligent display of the score

Score generation is smart enough to clean-up a track with automatic quantization, syncopation, key and clef generation. Even non-quantized tracks will be shown in a very readable way.

If a Key Signature event is found at the beginning of the Song (position 001.01.000 of the Songs Master track), the correct key signature is also shown.

Following the Song

You can always see where you are in the score by watching at these indica- tors:

A red vertical line, showing indicating the current staff in play.

A red triangle, showing the current position.

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Showing lyrics, chords, note names

Read the Lyrics

Touch the Lyrics button to make the lyrics (if available) appear or disappear.

Read the chords

Touch the Chord button to make the chord symbols (if available) appear or disappear.

Read the note names

Touch the Note button to make the note name appear or disappear next to each note.

Choosing the chords and note names language

Chords and note names are shown either according to the English (A, B, C) or Italian (Do, Re, Mi) system, depending on the selected language.

Go to the Global > General Controls > Interface page, and use the Language parameter to change the language.

Muting the selected track

Mute the track if you are going to play or sing it live. This will avoid overlap- ping between your playing or singing and the internal Sounds.

Touch the Play/Mute ( / ) button to listen or mute the selected track.

Saving the Play/Mute status

To make the Play/Mute status of the Song tracks permanent for all the sub- sequent MIDI Songs, write it to memory.

Go to the Global > Mode Preferences > Song & Sequencer page, and touch the Save Track & FX button.

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Music score and transposition

When using the TRANSPOSE buttons, the music score and chord symbols in the Score page may be transposed in various ways. To decide if and how they are transposed, go to the Global > Tuning > Transpose Control page, and be sure one of the following settings is selected.

Style and Keyboard Tracks set to Off, and Player set to On. The score will be transposed with the Songs.

Style and Keyboard Tracks set to Immediate or Next Measure, and Player set to Off. The score will be transposed, but not the Songs.

For more information about transposing the score and chord symbols, see Transposing the score and chord symbols on page 878.

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11 Searching for files and other items

Using the Search function

Searching

Depending on the page, you can search for different types of data. For ex- ample, while in the Media pages you can only search for files, while in Style Play or Song Play mode you can search for several different types of data (Styles, Songs, Lyrics).

The Search function is also available while the Keyboard Set, Sound, Style, Pad, Voice Preset, Sample, Multisample, Drum Sample or File Selector is open. It is not available in all pages, since sometimes there are no relevant data to search for a particular page (for example, the Global pages).

Access the Search window

Press the SEARCH ( ) button to open the Search window.

Searching for files and other items |105

Choose the type of data to look for

If needed, use the Type menu to choose the type of item you are looking for.

Choose a storage device and folder

When searching for Files, Songs or Lyrics, you can choose a storage device and folder where to focus your search. When one of the above types are chosen, the Browse button will be activated.

1 Touch the Browse button to open the File Selector.

2 Use the Device menu to choose the storage device containing the file you are looking for. Use the Open and Close buttons to open and close the se- lected folders. Use the Root button to return to the top level of the device.

3 When you see the folder containing the file you are looking for, touch it, then touch the Select button to select it and close the File Selector. The name of the selected folder will be shown in the title bar of the Search window.

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Type the name and start searching

1 Type the name of the item you are looking for. There is no difference be- tween upper and lower cases (LOVE is the same as Love or love).

2 When finished entering the name, touch the Search button. After a while, the list of items found will start showing on the display.

The time needed to complete a search depends on the type and size of the device(s) and the number of items.

Only one search at a time can be carried on. Please wait for the current search to be completed, or touch the Stop button to stop the current search and do a new one.

Stop the Search operation

After you touch the Search button, its name changes to Stop. Touch this button to stop the ongoing search before all results are found. The name of the button will revert to Search. Any item found will remain on the display, until you do a new search.

Searching for files and other items |107

Exit from the Search window without stopping the Search operation

Touch the Cancel button in the display, or press the EXIT or SEARCH ( ) button on the control panel, to exit from the Search window and carry on other operations. The search will continue in the background.

Ask info for an item

Touch one of the items found to select it, then touch the Info button to see relevant information.

Touch OK to close the Info dialog.

Restart the Search operation

Touch the New Search button to return to the main Search page and start searching again.

Select the item found

1 If you have found what you were looking for, touch its name and then touch the Select command.

2 If you want to close the Search window without selecting anything, press the EXIT button. (When a window does not close by itself, it means the Display Hold is turned on. See Display Hold on page 46).

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A note about searching: the wildcards

While searching, the string entered will be searched as a whole word or as part of a word. For example, if you entered love, the function will find Love and LoveSong, or any other word containing the string love.

You can use the wildcards ? (any single character) and * (any sequence of characters) to search exactly for that string. For example, *love will find MyLove, but not LoveSong. ??love will find Mylove but not AllLove.

Also, if you are looking for words that can be spelled in a slightly different way, you can use the ? wildcard to find all occurrences; gr?y will find out both gray and grey.

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Part III: SONGBOOK

110| SongBook

Using the SongBook |111

12 Using the SongBook

Choosing the SongBook Entries

What is the SongBook?

The basic idea behind the SongBook is that you always start from a song. By choosing an Entry from the SongBook, you choose a template for that song. Everything you need (style, song, sounds, voice effects, lyrics, key, tempo value) is there at the touch of a single button.

In other words, the SongBook is the onboard music database, allowing you to organize the Styles and Songs for easy retrieving. Each Entry of this database (a song) may include information like the artist, title, genre, number, key, tempo, and meter (time signature) of a specified song. When choosing one of the Entries, the associated Style, MIDI or MP3 Song as well as the Style Play or Song Play mode is automatically recalled. The Master Transpose value is automatically set. A Voice Preset might also be recalled.

In addition to helping you organize your shows, the SongBook allows you to assign up to four Pads, and up to four Keyboard Sets to each Entry. Also, you can link a TXT file to any Entry, to be used as the Lyrics of a song, even if there are no Lyrics inside the associated MID or MP3 file, or if you prefer to play the song live with the backing of the Styles.

You can add your own Entries to the SongBook, as well as edit the ex- isting ones. KORG already supplies some hundred Entries as standard. Furthermore, the SongBook allows you to create various Set Lists, that are collections of Entries that will suit your different types of show, and you can choose with the dedicated buttons on the control panel.

Internal and Direct SongBook

In addition to the internal SongBook, residing in your Pa4X, you can also choose Entries and Set Lists from an external, Direct SongBook, that will extend your internal database on the fly. How to select it is explained in Creating the Direct SongBook on page 954.

112| SongBook

Choosing the SongBook Entries from the Book list

A large database is already included with the instrument. You may browse through this database and choose a SongBook Entry.

Choose a SongBook Entry

1 While you are in Style Play or Song Play mode, press the SONGBOOK but- ton to open the Book page.

2 Browse through the Entries.

Use the scrollbar or the VALUE controls to scroll.

Keep the SHIFT button pressed and touch one of the arrows of the scrollbar to jump to the previous or next alphabetical section.

3 When the Entry you are looking for appears in the display, touch it to assign it to the Arranger or the Player.

After choosing the Entry, its name will appear just under the title bar (Name), next to the name of the associated Style or Song. The name of the Entry in the list will appear highlighted.

Name of the selected

Entry

Selected Entry

Associated Style or Song

The associated Style or Song will be recalled. The Song will be assigned to Player 1, unless it is already playing (in this case, it will be assigned to Player 2).

Using the SongBook |113

Pads and Keyboard Sets will also be recalled. Keyboard Set #1 will be select- ed. Any TXT file associated with the Entry will be shown in the Lyrics page. A Voice Preset will also be recalled.

4 Use the START/STOP or PLAY/STOP ( ) button to start and stop play- back of the selected Style or Song.

Identifying the type of Entry

The icons in the Type column will help you identify the Entry.

type Meaning

Style-based Entry. When chosen, it will select a Style and switch to the Style Play mode.

MIDI Song-based Entry. When chosen, it will select a Song and switch to the Song Play mode.

MP3 Song-based Entry. When chosen, it will select a Song and switch to the Song Play mode.

Direct Entries are marked with a D overlapping the other type icons.

type Meaning

Direct Entry.

Sorting by label/column

On top of the list you can find some labels, each one corresponding to a col- umn of data (Type, Name, Genre, Key, Bpm, Meter). You can choose one of the labels to sort the list according to that type of data.

Change the order of the list

Reorder the items according to a different criterion (Type, Name, Genre, Key, Bpm, Meter) by touching the corresponding label on top of the list.

By touching the label again, the order of the items will switch between as- cending and descending.

Choosing the columns seen in the page

Due to space constraints, not all labels can be seen on top of the lists. You can decide what to show in the SongBook lists.

114| SongBook

Please note that the Artist and Key fields of all the supplied Entries have been intentionally left empty.

Choose one of the label combinations

1 Choose the Preferences command from the page menu to open the Preferences dialog.

2 Use the Columns menu to choose the set of columns to be shown.

3 When done, touch the OK button to close the dialog.

Filtering the Entries

When you are looking for a particular artist, genre or other categories, you may filter the list to only see the type of Entries you are looking for. Please note that you can also find items inside the SongBook database by pressing the SEARCH button on the control panel, but while the Search function only searches for names, the Filter function allows for a more refined search on multiple parameters at the same time.

Open the Filter dialog

While in the SongBook > Book page, touch the Filter button to open the Filter dialog.

Using the SongBook |115

Edit the filter criteria and activate the filters

1 Touch the Text Edit ( ) icon next to the field you want to edit, to open the virtual keyboard and type the text string you are looking for.

For example, you may want to find all songs containing the word love in the title (in any position in the string). If so, select the Name criterion, and enter the word love. Capitals are not relevant for the search.

When done editing the name, confirm by touching the OK button under the virtual keyboard.

2 Repeat the above step for all the fields you want to include in your filter.

3 If you like, select a Meter and/or a range of Tempo values to be included in your filter criteria.

Delete the filter criteria you dont need

Touch the Clear button to delete the text string or reset the parameter to a default value.

Touch the Clear All button to reset all filter criteria.

Confirm the filters

When done editing the filter parameters, touch the OK button to close the Filter dialog and return to the Book page.

116| SongBook

The Filtered checkbox will be automatically selected, and the filter will be activated. Only the Entries matching the entered criteria will be seen in the Book list.

Remove the filters and see all the Entries again

Touch the Filtered checkbox to deselect it.

Getting information on the SongBook Entries

You can see some statistical information on the selected SongBook Entry, to see the name of the Entry, the associated Style or Song, the total number of Entries in the SongBook database, the number of filtered Entries in the Book page, the number of available Set Lists, and the number of Entries in the selected list.

1 While in the SongBook, choose an Entry.

2 Go to the SongBook > Info page.

If you selected a Style-based Entry:

Name of the selected Entry

Associated Style

Using the SongBook |117

If you selected a Song-based Entry:

Name of the Entry assigned

to Player 1

Name of the Entry assigned

to Player 2

Song assigned to Player 1

Song assigned to Player 2

If the Selected Entry (Name) area is blank (---), the selected Entry has been modified, or no Entry has been selected.

118| SongBook

Choosing the SongBook Entries by Song Number

You can select a SongBook Entry by entering its unique Song ID Number. Numbers associated with each Entry can be programmed in any of the SongBook Entry edit pages. (See Editing the Song Selection Number on page 131 for more information).

To help you find a SongBook Entry by ID number, you can export a song list using the Export as Text File command from the page menu, and print it.

1 To see the numbers while in the Book page, be sure the Num column is shown.

If it is not shown, choose the Preferences command from the page menu, then use the Columns menu to choose one of the options including the Num column.

2 To select a SongBook Entry by entering its ID number, press the SONGBOOK button again while you are in any page of the SongBook. The numeric key- pad will appear, allowing you to enter the ID number corresponding to the desired Entry.

3 If a Direct SongBook has been selected, and the same number exists in both lists, you are asked to choose between the Internal and Direct SongBook. Choose an option and touch OK to confirm.

Choosing the SongBook Entries via MIDI

SongBook Entries can be remotely selected via MIDI. In addition, MIDI mes- sages can be sent via MIDI when choosing a SongBook Entry. This is useful to synchronize Pa4X to an external editor or digital music sheet reader (for example, a dedicate app running on a tablet).

Choosing the Tablet MIDI Preset

The Tablet MIDI Preset programs MIDI channel #16, so that it is used to send MIDI messages when selecting the SongBook Entries, or to receive MIDI messages to selecting them from an external device.

Go to the Global > MIDI > General Controls page and choose the Tablet MIDI Preset.

Using the SongBook |119

Editing an existing MIDI Preset

You can program or edit your own MIDI Preset for selecting SongBook Entries. A special MIDI channel used as the Control channel is needed to send MIDI messages to select the SongBook Entries, or to receive MIDI messages when selecting them.

Configure the Control channel

1 Go to the Global > MIDI > General Controls page and choose a MIDI Preset to be used as a starting point.

2 Go to the Global > MIDI > Midi In Channel page, and assign the Control op- tion to one of the sixteen available MIDI channels (usually one of the higher- numbered ones, for example #16).

3 Go to the Global > MIDI > Midi Out Channel page, and assign the Control op- tion to one of the sixteen available MIDI channels (the same as on the MIDI IN will work fine).

4 When done, save these settings to a new or existing MIDI Preset, by choosing the Write Midi Preset command from the page menu.

Selecting SongBook Entries via MIDI

When you are ready to remotely select SongBook Entries, switch to the Style Play or Song Play mode.

At this point, Pa4X must receive on the special Control channel the NRPN Control Change messages #99 (MSB, with value 2) and #98 (LSB, with value 64) in fast succession, as an initialization string. This string must be sent only once, unless another NRPN control is sent on the same MIDI channel before selecting a different SongBook Entry.

After the initialization string has been sent, you must send the selection string, made of two Control Change messages: CC#06 (Data Entry MSB) for the thousands and hundreds, and CC#38 (Data Entry LSB) for the tens and units. The range of the Data Entry controls, in this case, is 0~99 (instead of the typical 0~127).

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The following examples show some typical situations.

Send the following string to select SongBook Entry #77:

Initialization string (CC#99, 98)

Thousands and hundreds (00xx)

Tens and units (xx77)

Send the following string to select SongBook Entry #100:

Initialization string (CC#99, 98)

Thousands and hundreds (01xx)

Tens and units (xx00)

Send the following string to select SongBook Entry #2563:

Initialization string (CC#99, 98)

Thousands and hundreds (25xx)

Tens and units (xx63)

Sending MIDI messages when selecting SongBook Entries

When the special Control channel is assigned to one of the MIDI OUT chan- nels, MIDI messages are sent on this channel when choosing a SongBook Entry. The messages sent when selecting a SongBook Entry are the follow- ing:

An initialization string, made of the NRPN Control Change messages #99 (MSB, with value 2) and #98 (LSB, with value 64) in fast succession.

A selection string, made of the two Control Change messages CC#06 (Data Entry MSB) for the thousands and hundreds, and CC#38 (Data Entry LSB) for the tens and units. The range of the Data Entry controls, in this case, is 0~99 (instead of the typical 0~127).

Using the SongBook |121

Using the Set Lists

What are the Set Lists?

Set Lists are selections from the full Book list. They allow for smaller, cus- tomized lists, suitable for a single gig or your own music preferences. We already included some example lists, that you can use for your own shows.

Choosing either the Tile View or List View

Set Lists can be used in Tile View or in List View. In Tile View, songs are shown as pages of tiles, and assigned to the SET LIST buttons on the control panel. In List View, all songs are shown in a plain list.

Switch between Tile View and List View

1 While in any SongBook page, choose the Preferences command from the page menu to open the Preferences dialog.

2 Use the Set List Views menu to switch between the Tile View and List View.

3 When done, touch the OK button to close the dialog.

Playing a Set List from the Tile View

The Tile View shows the selected Set List as a set of songs assigned to the SET LIST buttons on the control panel. Each tile in the display corresponds to the same numbered button.

Select the Set List

1 Go to the SongBook > Set List page. You can press the SET LIST button to open this page.

122| SongBook

2 Be sure you are in Tile View, otherwise choose the Preferences command from the page menu to open the Preferences dialog, and select it.

3 Use the List pop-up menu to select one of the available Set Lists.

The songs in the selected set are assigned to the SET LIST buttons on the control panel.

Choose a page

The songs in the selected Set List are organized in pages of twelve (each page matches the SET LIST buttons).

Use the page indicator in the top right corner of the page to go to a different page inside the selected Set List.

Page indicator

Choose the Set List from the control panel

1 Be sure the SET LIST indicator is turned on.

2 Use the SET LIST buttons to choose the corresponding song from the se- lected Set List page.

Using the SongBook |123

Songs are assigned to the buttons whose indicator is turned on. Each row of tiles corresponds to a group of three buttons. The indicator on the selected song blinks.

Indicator status Meaning

Off No song assigned.

On Song assigned.

Blinking Song selected.

Choose the Set List from the display

1 Be sure you are in the SongBook > Set List page.

2 Touch one of the tiles in the display, to choose the corresponding song.

Play the Set List

1 Use the START/STOP or PLAY/STOP ( ) button to start and stop play- back of the selected Style or Song.

2 Use the standard Arranger or Player controls to start, pause or stop the Styles or Songs, or to fast forward and rewind the Songs.

3 Move to the previous or next song by touching the Prev(ious) or Next but- ton. Move to any other song by pressing a different SET LIST button, or by touching a different tile.

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Playing a Set List from the List View

The List View shows the selected Set List as a plain list of songs.

Select the Set List

1 Press the SET LIST button to open the SongBook > Set List page.

2 Be sure you are in List View, otherwise choose the Preferences command from the page menu to open the Preferences dialog, and select it.

3 Use the List pop-up menu to select one of the available Set Lists.

The list of songs in the selected Set List will appear. (Contrary to the Tile View, the songs are NOT assigned to the SET LIST buttons on the control panel.)

Play the Set List

1 Browse through the Entries in the list.

2 Touch the name of the Entry you want to start from to assign it to the Arranger or the Player.

3 Use the START/STOP or PLAY/STOP ( ) button to start and stop play- back of the selected Style or Song.

4 Use the standard Arranger or Player controls to start, pause, stop, fast for- ward and rewind the Styles or Songs.

5 Move to the previous or next song by touching the Prev(ious) or Next but- ton. Move to any other song by touching a different Entry in the list.

Editing the SongBook |125

13 Editing the SongBook

Creating and editing the SongBook Entries

Creating a new SongBook Entry

You can add your own Entries to the SongBook database.

Choose the Style or Song

1 Go to the Style Play or Song Play mode, depending on the type of Entry you want to add to the SongBook database.

2 Select the Style or Song to be added to the SongBook.

Assign the Song to Player 1 (only Songs assigned to Player 1 will be saved to the SongBook Entry).

Choose the Sounds, the Effects and the Pads

Choose the Keyboard Sounds, the Effects, the Pads, and adjust any relevant parameter the way you prefer for your performance.

A snapshot of the current situation will be saved into the Entry. Keyboard and Accompaniment Sounds and Effects, Volume levels, Play/Mute status, the Split status and position, the Octave and Master Transpose, the selected Style Element, the selected Keyboard Sets and Pads, the Voice Preset (and its Global status) will be saved in the Entry.

The current Keyboard Sounds and their settings will become Keyboard Set #1.

Please note that changes to a MIDI Songs Sounds will not be saved in the SongBook Entry. Only the data included in the MID file will be used. To edit the Song, edit the MID file in Sequencer mode.

126| SongBook

Create a new SongBook Entry

1 Keep the SONGBOOK button pressed for about one second to create a new SongBook Entry. The Write Song dialog will appear.

As an alternative, go to one of the SongBook Entry edit pages, and touch the New Song button, then the Write button.

2 While in the Write Song dialog, touch the Text Edit ( ) icon if you want to edit the name of the Entry, then touch OK to save the Entry to the SongBook database.

Editing an existing SongBook Entry

Choose an existing SongBook Entry

1 Choose a SongBook Entry from the SongBook > Book or SongBook > Set List page.

Change the Sounds, the Effects and the Pads

Press the EXIT button to exit the SongBook, and choose different Keyboard Sounds, Effects and Pads. Adjust any relevant parameter the way you prefer for your performance. Choose a different Voice Preset if you like, and select the Global checkbox if you want to use the Global preset.

Editing the SongBook |127

Save over the existing SongBook Entry

1 Go to one of the SongBook Entry edit pages, and touch the Write button to save the settings into the selected SongBook Entry.

Touch to Write the SongBook Entry

2 Choose the Rename/Overwrite option to write over the selected Entry.

If you prefer to create a new Entry, choose the New Song option instead.

3 If you want to change the Entrys name, while in the Write Song dialog touch the Text Edit ( ) icon, then touch OK to save the Entry to the SongBook database.

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Saving different Styles or Songs

With each SongBook Entry, a reference to a Style or Song is saved. When editing an Entry, you can change it with a different Style or Song.

1 Choose the SongBook Entry to be edited.

2 Go to the SongBook > Write page, and touch the Style/Song > Select button to open the Style Select or Song Select window.

Touch to choose a different Style or Song

3 Choose a different Style or Song.

The Style/Song area will show the Style or Song you just selected.

Replaced Style or Song

4 Be sure the Style/Song > Write checkbox is selected, to save the new Style or Song and replace the older one.

5 If you dont want to replace the Keyboard Sets or Voice Preset, be sure the other Write checkboxes are not selected.

6 Touch the Write button to save over the existing SongBook Entry.

Editing the SongBook |129

Saving different Keyboard Sets

With each SongBook Entry, up to four Keyboard Sets are saved. When edit- ing an Entry, you can replace the older Keyboard Sets with new ones.

1 Choose the SongBook Entry to be edited, and press the EXIT button to exit the SongBook.

2 Edit the Keyboard Sounds.

3 Go to the SongBook > Write page.

4 Select the Keyboard Set > Write checkbox to save the new Keyboard Sets instead of the older ones.

5 Choose a single Keyboard Set location to save the Keyboard Sounds to the selected Keyboard Set inside the SongBook Entry. After choosing the target location you can give the Keyboard Set a new name.

6 If you dont want to replace the Style or Song, or the Voice Preset, be sure the other Write checkboxes are not selected.

7 Touch the Write button to save over the existing SongBook Entry.

8 If you want to save more Keyboard Sets, repeat the above procedure for the other Keyboard Set locations inside the SongBook Entry.

Copying Keyboard Sets from a different Style or SongBook Entry

You can copy Keyboard Sets between Styles and/or Keyboard Sets. For de- tailed information, please see Copying Keyboard Sets between Styles and/ or SongBook Entries on page 943.

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Saving a different Voice Preset

With each SongBook Entry, a reference to a Voice Preset is saved. When edit- ing an Entry, you can replace it.

1 Choose the SongBook Entry to be edited, and press the EXIT button to exit the SongBook.

2 Go to the Style Play/Song Play > Mic pane and choose a Voice Preset. Select the Global checkbox if you want to use the Global preset.

3 Go to the SongBook > Write page. You will see the Voice Preset has been replaced.

4 Select the Voice Preset > Write checkbox to save the new Keyboard Sets instead of the older ones.

5 If you dont want to replace the Style or Song, or the Keyboard Sets, be sure the other Write checkboxes are not selected.

6 Touch the Write button to save over the existing SongBook Entry.

Saving different Pads

With each SongBook Entry, a reference to four Pads is saved. When editing an Entry, you can save or replace the selected Pads.

1 Choose the SongBook Entry to be edited, and press the EXIT button to exit the SongBook.

2 Go to the Style Play/Song Play > Pads pane to choose up to four Pads.

3 Go to the SongBook > Write page.

4 If you dont want to replace the Style or Song, the Keyboard Sets, or the Voice Preset, be sure the Write checkboxes are not selected.

5 Touch the Write button to save over the existing SongBook Entry.

Editing the SongBook |131

Editing the Song Selection Number

Each SongBook Entry can have a unique ID number (up to 9,999). You can type them to quickly recall an Entry (see Choosing the SongBook Entries by Song Number on page 118 for more information).

To help you find a SongBook Entry by ID number, you can export a song list using the Export as Text File command from the page menu, and print it.

Edit the Song Selection Number

Go to the SongBook > Write page (or any other SongBook Entry edit page), and edit the Number field.

Assigning a number is not mandatory, but may help in organizing the Entries. For example, you may use the different 100s to create a different way of cat- egorizing your entries by genre or age.

132| SongBook

Editing the database tags

The SongBook is a database. You can add to each SongBook Entry special archival data, or tags, that will later help in retrieving specific types of songs by using the SongBook > Book > Filter function.

1 Choose the SongBook Entry to be edited.

2 Go to the SongBook > Tags page.

3 Edit the SongBook Entrys database tags.

tag Style-based Entry MID-based Entry MP3-based Entry

Genre Music genre associated with the Entry.

Artist Name of the artist of the song associated with the Entry.

Key Info Original key of the Entry. The first field is the Root, the second one is the Major/minor mode.

Tempo/BPM Songs Tempo. This may change, if a Tempo Change event is included within the associated resource.

You can manually change this value by using the TEMPO buttons on the control panel. Any change will only be shown after saving the Entry.

Original Tempo of the Style.

Original starting Tempo of the MID file.

Always zero (original Tempo of the MP3 Song).

Meter Info Songs Meter (or Time Signature). This may change, if a Meter Change event is included within the associated resource.

M.Transp. (Master Transpose)

Songs Master Transpose value. When the Entry is selected, the Master Transpose of the whole instrument is automatically changed. The Master Transpose value saved in the SongBook Entry overrides any Master Transpose setting contained in the associated resource.

You can manually change this value by using the TRANSPOSE buttons on the control panel. Any change will only be shown after saving the Entry.

4 Touch the Write button to save over the existing SongBook Entry.

Editing the SongBook |133

Editing the Style controls (Synchro/Memory)

With Style-based Entries, you can memorize the status of the Styles Synchro and Memory function status.

1 Choose the SongBook Entry to be edited.

2 Go to the SongBook > Controls/Lyrics page.

3 Edit the SongBook Entrys Style controls.

Syncro Start / Synchro Stop / Memory status

Meaning

Unchanged When choosing this SongBook Entry, the status of the corresponding function will be left unchanged.

Off When choosing this SongBook Entry, the status of the corresponding function will be turned off.

On When choosing this SongBook Entry, the status of the corresponding function will turned on.

4 Touch the Write button to save over the existing SongBook Entry.

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Linking a text file to the SongBook Entry

You can add Lyrics to any Entry as a linked TXT file. Since there is no auto- matic synchronization between this type of Lyrics and the associated Style or Song, you must scroll them manually (as explained in Reading the lyrics and chords loaded as a text file on page 94).

Link Lyrics as a TXT file

1 Choose the SongBook Entry to be edited.

2 Go to the SongBook > Controls/Lyrics page.

3 Touch the Browse button to open the file selector, and choose a TXT file to be linked to the current SongBook Entry.

After selection, the name of the linked text file will appear in the Linked *.TXT area.

Unlink the TXT file

While in the same page, touch the Reset button.

Deleting a SongBook Entry

1 While in the SongBook > Book page, select the song to be deleted.

2 Go to any of the SongBook Entry edit pages, and touch the Del Song button to delete the selected song.

Editing the SongBook |135

Creating and editing the Set Lists

Enabling Set List editing

Editing the Set Lists is not usually available, to protect Set Lists from ac- cidental changes.

Enable Set List editing

While in the SongBook, select the Enable Set List Edit command from the page menu.

If you will prefer to protect the Set Lists again after editing, deselect the Enable Set List Edit command from the menu.

When the list can be edited, a new set of buttons will appear at the bottom of the page.

Creating or editing a Set List

Create a new, blank Set List

1 Go to the SongBook > Set List page, then touch the New List button.

2 If a Direct SongBook has been selected, you are asked to choose between the Internal and Direct SongBook. Choose an option and touch OK to con- firm.

The Internal Set Lists will use Internal Entries, while the Direct Set Lists will only use Direct Entries. This way, the list will always find the associated Entries.

The new list will be automatically selected.

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Select a Set List for editing

1 Go to the SongBook > Set List page. Choose either the List View or Tile View.

2 Use the List pop-up menu to select the Set List to edit.

Add Songs to the selected Set List

1 Go to the SongBook > Book page.

2 Browse through the songs in your SongBook database.

3 When you see the song you are looking for, touch it. If you want to select multiple songs at the same time, keep the SHIFT button pressed, and select the songs.

4 Touch the Add to list button to add the selected song(s) to the selected Set List.

Editing the SongBook |137

Move or delete songs from the selected Set List

1 Go to the SongBook > Set List page, and touch the song you want to move or remove from the list.

2 Edit the list.

Use the Move > Down ( ) and Move > Up ( ) buttons on the display to move the selected Song to a different position in the list.

Touch the Del Song button to delete the selected song from the Set List (the song will not, however, be deleted from the Book list).

Save the Set List

1 While in the SongBook > Set List page, touch the Write button to open the Write List dialog.

2 While in the Write List dialog, touch the Text Edit ( ) icon if you want to assign the Set List a new name. When done editing the name, confirm by touching the OK button under the virtual keyboard.

3 Choose the Rename/Overwrite option to write over the selected Set List. If you prefer to create a new Set List, choose the New List option instead.

4 Touch the OK button to confirm saving.

138| SongBook

Deleting a Set List

1 While in the SongBook > Set List page, use the List pop-up menu to select the Set List to delete.

2 Touch the Del List button to delete the selected Set List (the songs it con- tains will not be deleted from the Book list).

Editing the SongBook |139

Deleting all the SongBook Entries and Set Lists

You may want to create you own Book list, removing all the default Entries and Set Lists.

1 Go to any of the SongBook pages.

2 Choose the Initialize SongBook command from the page menu, and confirm.

Please note that this operation will permanently delete all the Entries and the Set Lists. To restore the original factory data, use the Factory Restore command in the Media > Utility page, and only select the SongBook.

140| SongBook

Selecting and deselecting SongBook Entries

Multiple selection of SongBook Entries

While in the Book page of the SongBook, you can select several Entries at the same time before executing an operation.

Set the Select mode

While in Book page, use the Select Mode button to decide either to select the Entries in a consecutive or separate way.

Select Mode

Select Mode Meaning

Choose this option to select the target Entries consecutively (i.e., in a row).

Choose this option to select the target Entries separately (i.e., with other Entries in the middle).

For more details on how multiple selection works, please see Selecting mul- tiple items on page 946.

Select multiple Entries separately

1 Touch the Select Mode button to choose the SHIFT function.

2 Select the first Entry to be selected.

3 Press and keep the SHIFT button pressed.

4 Select a second Entry to be selected.

Editing the SongBook |141

5 While keeping the SHIFT button pressed, continue selecting the other Entries to be selected.

6 Release the SHIFT button.

Select multiple Entries consecutively

1 Touch the Select Mode button to choose the SHIFT function.

2 Select the first Entry to be selected.

3 Press and keep the SHIFT button pressed.

4 Select the last Entry to be selected.

5 Release the SHIFT button.

Deselect the Entries

To deselect one or more Entries, without deselecting everything, keep SHIFT pressed and touch the items to be deselected.

To deselect everything, select any other Entry. All selected Entries will be deselected.

142| SongBook

Selected and active SongBook Entries

In the Book and Set List pages (List View mode), Entries that are selected in the list and active are shown with a vertical red line next to their name.

If you select a different Style, the Entry remains selected in the list, but it is no longer active, since its content has been replaced by a different Style. The red line disappears.

If the Entry is still active, but you have deselected it in the Book page (by keeping the SHIFT button pressed and touching the Entrys name), the red line is still shown, but the Entrys name is no longer highlighted. Any list op- eration you do will have no effect on this Entry.

Editing the SongBook |143

Using the SongBook with a personal computer

Additional software has been created to work together with the SongBook.

Editing the SongBook with SongBook Editor

You can use KORGs own SongBook Editor to edit single Entries, the SongBook database and the Set Lists on a Windows PC. With SongBook Editor you can comfortably view and edit a SongBook file on your PC.

Using a tablet as a SongBook extension

You can synchronize Pa4X to an external editor or digital music sheet reader (like BauM Softwares SongBook+ for the iPad or Zubersofts MobileSheets for Windows and MobileSheetsPro for Android). Please refer to the devel- opers documentation for further information about these software applica- tions.

144| SongBook

|145

Part IV: CUStOMIZING aND EDItING tHE SOUND SEtS

146| Customizing and editing the Sound sets

Customizing the Keyboard Sets |147

14 Customizing the Keyboard Sets

Playing different Sounds with the left and right hand

Splitting the keyboard

Split the keyboard into a Lower (left hand) and Upper (right hand) part

Press the SPLIT button on the control panel to light up its indicator. The keyboard will be divided into a Lower (left hand) and Upper (right hand) part.

UpperLower

Remove the split and play the Upper Sounds over the full keyboard range

Press the SPLIT button again to turn its indicator off. The Upper Sounds will play on the full keyboard range, as in an acoustic piano.

Upper

148| Customizing and editing the Sound sets

Split, Keyboard modes, Sounds

When changing the SPLIT status, the number of Sounds you hear may change.

SPLIt indicator

Keyboard mode

Left hand (Lower) Sounds right hand (Upper) Sounds

Off Full No Lower Sound Up to three Upper Sounds as- signed to the full extension of the keyboard

On Split A single Lower Sound assigned to the left hand

Up to three Upper Sounds as- signed to the right side of the keyboard.

Changing the local (or temporary) split point

You can choose a different point where the keyboard is split into an Upper and a Lower part. This is called the split point.

Change the local (or temporary) split point from the control panel

1 Keep the SPLIT button pressed to open the Split Point dialog.

2 Play the lowest note of the Upper (right hand) part on the keyboard.

Change the local (or temporary) split point from the display

1 While in the Main page, touch the Split tab to see the Split pane.

2 Touch the keyboard diagram in the display, then play the lowest note of the Upper (right) part on the keyboard.

As an alternative, touch the Split Point parameter to select it, and use the VALUE controls to select the new split point.

When you change the split point, the Global parameter is automatically de- selected (see Global and local (or temporary) split point on page 150).

Customizing the Keyboard Sets |149

Memorize the local split point

The local split point can be memorized into a Keyboard Set. Each Keyboard Set associated to a Style or SongBook Entry can have a different split point.

Write the changes to a Keyboard Set.

Changing the global split point

The global split point is both the general setting you use when there is no local split, and a template from which to start setting the various local split points saved into the Keyboard Sets. You can change it and use it as the main split point of the instrument. Some Keyboard Sets might override the global split point with their memorized local split points.

Change the global split point

1 Go to the Global > Mode Preferences > Style page.

As an alternative, keep the SHIFT button pressed and press the STYLE PLAY button to open the Style page.

2 Touch the keyboard diagram in the display, then play the lowest note of the Upper (right hand) part on the keyboard.

As an alternative, touch the Split Point parameter to select it, and use the VALUE controls to select the new split point.

3 Press the EXIT button to return to the previous page.

150| Customizing and editing the Sound sets

Global and local (or temporary) split point

You can choose a global split point that is not changed when choosing a different Keyboard Set. Or you can choose a local split point that is better suited to the individual Keyboard Set, and can change when selecting it. The local split point is just temporary, and only becomes permanent when you write a Keyboard Set.

To change the type of split point, select or deselect the Global parameter in the Split Point dialog.

Global Split Split type Meaning

On (Selected) Global Leave this box checked to use the global split point. This is the general setting from which you can start program- ming the local settings.

Off (Deselected) Local This box is automatically deselected when you start pro- gramming a local split point in the Main page. The local split point can be written into a Keyboard Set. Use it when you need a particular split point for a particular Sound set.

Customizing the Keyboard Sets |151

Parts, tracks, channels

On the keyboard, Sounds are assigned to one of the keyboard parts (Upper, Lower). In Styles and MIDI Songs, Sounds are directly assigned to the Arranger or Sequencer tracks, where cycling patterns or recorded sequences play them. Tracks are the equivalent of recorder tracks, with the associated mixer channels. In fact, Pa4X does include a recorder and a digital mixer!

Sounds/Tracks

Upper

Lower

Recorded TracksMixer Channels

Upper

Lower 1,2,3 1,2,3

Pads 1,2,3,4

Style Bs,Dr,Acc15

Song 1,2,316

Pads 1,2,3,4

Style Bs,Dr,Acc15

Song(s) 1,2,316

MIDI Song 1,2,316

MP3 Song

152| Customizing and editing the Sound sets

Playing two or three Sounds at the same time

You can play up to three layered Sounds on the keyboard. This is useful to add, for example, a layer of Strings or Synth Pads to a Grand Piano sound. The Sounds will be assigned to the Upper part of the keyboard.

When the SPLIT button indicator is turned off (Full Keyboard mode), the Upper parts will play on the full range of the keyboard, as it happens on an acoustic piano. Otherwise (Split Keyboard mode), you will play the Upper Sounds with the right hand.

Upper

UpperLower

Turn a Sound on or off from the control panel

Use the ON/OFF buttons in the KEYBOARD SOUNDS section to turn the cor- responding Sounds on or off.

Turn the selected Sound on or off from the display

If the Sound you want to mute is in Play, touch the Play/Mute icon to set it to Mute.

If the Sound you want to hear is in Mute, touch the Play/Mute icon to set it to Play.

Memorize the Sound status

Write the changes to a Keyboard Set.

Customizing the Keyboard Sets |153

Choosing different Sounds

You can assign different Sounds to the keyboard. The new combination of Sounds can then be written into a Keyboard Set.

Follow the same procedure when choosing Sounds for the other Sound sets (Accompaniment and MIDI Song tracks, that can be written into the Style Settings or a MIDI Song).

Open the Sound Select window from the control panel

Press the KEYBOARD SOUNDS > SELECT button corresponding to the Sound you want to change.

Open the Sound Select window from the display

1 Be sure to be in the main page of the Style Play or Song Play mode. If you are not there, press either the STYLE PLAY or the SONG PLAY buttons in the control panel.

2 Touch the name of the Sound you want to change to select it.

3 Touch a second time the name of the Sound you want to change.

Choose a Sound

1 Browse through the Sounds in the Sound Select window.

154| Customizing and editing the Sound sets

To choose one of the available types of Sound, touch the buttons at the top of the window.

type of Sound Meaning

Factory Standard Pa4X Sounds, that cannot normally be modified. These are the richest, most modern Sounds of the whole collection.

Legacy Legacy Sounds allowing for greater compatibility with older Pa-Series instruments.

Local Some models could include Local-type Sounds, that are Factory Sounds customized for a particular country.

GM/XG Sounds allowing for full compatibility with MIDI Songs based on General MIDI and XG Sounds and Drum Kits.

User Locations where you can load new Sounds and Drum Kits from an external device, or save new or edited Sounds and Drum Kits.

To choose a different group of Sounds, touch one of the tabs on the sides of the window.

To choose one of the available pages in the selected Sound group, touch one of the P1Px tabs at the bottom of the window.

2 Touch the name of the Sound you want to choose.

3 If you want to close the Sound Select window (and it does not close by itself), press the EXIT button. (When a window does not close by itself, it means the Display Hold is turned on. See Display Hold on page 46).

Memorize the assigned Sounds

Write the changes to a Keyboard Set.

Customizing the Keyboard Sets |155

Mixing the Keyboard Sounds

Adjusting the Sounds volume

At its core, Pa4X is a mixer. As with any mixer, you can adjust the volume level of each Sound, therefore changing the balance between the different Sounds on the keyboard.

Adjust the Sounds volume from the control panel

1 While in any page, be sure the lighted SLIDER MODE indicator is VOLUME.

2 Be sure the uppermost SLIDER indicator (PAD1 UPPER 1) indicator is turned on, otherwise press the TRACK SELECT button to turn it on.

3 Use the sliders to adjust the volume of the corresponding Sounds.

4 Keep the SHIFT button pressed, and move any of the sliders to proportion- ally change the volume of all the similar Sounds.

For example, moving any of the UPPER sliders proportionally changes the volume of all the Upper Sounds; moving one of the sliders corresponding to an Accompaniment Sound proportionally changes the volume of all the Accompaniment Sounds.

156| Customizing and editing the Sound sets

Adjust a Sounds volume from the display

1 While in the Main page, touch the Volume tab to select the Volume pane.

Accompaniment Groups Keyboard Sounds

2 Touch the mixer channel whose volume level you want to change.

3 Keep the virtual volume slider held on the screen, and drag it to the desired level.

As an alternative, use the VALUE controls to change the volume level of the selected channel.

Memorize the Sounds mix

Write the changes to a Keyboard Set.

Turning the Sounds on or off from the Volume pane

Sounds can be muted, in case you dont want to hear them in the mix.

Select the mixer channel

Select the mixer channel to turn on or off.

Turn a channel off (Mute)

Touch the Play icon ( ) in the mixer channel corresponding to the Sound to mute ( ).

Turn a channel on (Play)

Touch the Mute icon ( ) in the mixer channel corresponding to the Sound to play ( ).

Memorize the Sound status

Write the changes to a Keyboard Set.

Customizing the Keyboard Sets |157

Soloing a Sound

You can listen to a single Sound in solo, to understand how it sounds out of the mix.

Solo a Sound

While the Volume pane is shown, keep the SHIFT button pressed, and touch the mixer channel that you want to listen in solo.

In any page where it appears, you can touch the mixer channel correspond- ing to the Sound to isolate.

When this function is activated, the Solo warning will flash on the page header.

The Solo icon ( ) will flash in the mixer channel.

Solo a Sound via menu command

As an alternative, you can solo a Sound using a menu command.

1 While in any page where the name of the Sound or the mixer channel cor- responding to the Sound to listen in solo appears, touch it to select it.

2 Choose the Solo Track command from the page menu.

Deactivate Solo

Do one of the following:

While in any page where the mixer channels appear, keep the SHIFT button pressed, and touch the mixer channel that is currently in solo.

Choose the Solo Track command from the page menu to deselect it.

158| Customizing and editing the Sound sets

transposing the Upper Sounds to a different octave

All Upper Sounds can be transposed to an upper or lower octave at the press of a single button. The current octave transposition is shown next to the Sound name.

Octave

Transpose the Upper Sounds one octave up

Press the UPPER OCTAVE + button on the control panel.

Transpose the Upper Sounds one octave down

Press the UPPER OCTAVE - button on the control panel.

Reset the octave transposition

Press both UPPER OCTAVE buttons together.

Memorize the Sound transposition

Write the changes to a Keyboard Set.

Customizing the Keyboard Sets |159

Using the Ensemble to add harmony

There are several types of Ensemble, but with most of them what you play with your right hand will be harmonized with the chords you play with your left hand.

Turning the Ensemble on or off

Turn the Ensemble function on

1 Be sure the SPLIT indicator is turned on.

2 Press the ENSEMBLE button to light up its indicator.

Play chords with your left hand, and a melody with your right hand. You will hear the chord notes added to the melody.

Turn the Ensemble function off

Press the ENSEMBLE button again to turn its indicator off.

Choosing an Ensemble type

Select a different harmonization style

1 Go to the Style Play > Keyboard/Ensemble > Ensemble page.

As an alternative, keep the SHIFT button pressed, and press the ENSEMBLE button to open the Ensemble page.

160| Customizing and editing the Sound sets

2 Use the Type parameter to choose an Ensemble type.

Ensemble type Meaning

Duet Adds a single note to the melody.

Close Adds a closed-position chord to the melody.

Open 1 Adds an open-position chord to the melody.

Open 2 As the above, but with a different chord shape.

Block Block harmonization very typical of jazz music.

Power Ensemble Adds a fifth and an octave to the melody, as heard in hard rock.

Third Up This option adds a third over the melody note (depending on the recog- nized chord).

Fourths LO Typical of jazz, this option adds two perfect fourths under the melody.

Fourths UP As the above, but with notes added over the melody.

Fifths This adds two fifths below the original note.

Octave Adds an octave to the melody.

Dual This option adds to the melody line a second note, at a fixed interval set with the Note parameter. When selecting this option, a transposition value appears (-24...+24 semitones to the original note).

Brass Typical Brass section harmonization.

Reed Typical Reed section harmonization.

Trill When two notes are played on the keyboard, this option trills them. If three or more notes are played, only the last two are trilled. You can set the trill speed by using the Tempo parameter (see below).

Repeat The played note is repeated in sync with the Tempo parameter (see be- low). When playing a chord, only the last note is repeated.

Echo As the Repeat option, but with the repeated notes fading away after the time set with the Feedback parameter (see below).

AutoSplit1 If more than a single Upper Sound is in play, the Upper 1 Sound plays the melody in mono, while the other Upper Sounds play the chord notes. If only the Upper 1 Sound is in play, it plays polyphonically all the chord notes.

AutoSplit2 Similar to AutoSplit1, but the Upper 1 Sound always plays the uppermost note.

Customizing the Keyboard Sets |161

3 When they appear, adjust the additional parameters.

additional parameters

How it works Value

Note Velocity Velocity (dynamics) difference between the melody played with your right-hand and the added harmonization notes.

-100

Tempo Note duration for the Trill, Repeat or Echo Ensemble options. This is in sync with the Tempo value.

1/234/4

Feedback Repetitions of the original note/chord when the Echo option is selected.

18

4 Use the Ensemble Track Assign parameter to set the Ensemble function for each of the Upper Sounds.

Ensemble track assign

Meaning

Off No harmonization

Normal This Sound is included in the harmonization

Mute This Sound only plays the Ensemble notes, but not the original note.

Exit the Ensemble settings page

Press the EXIT button to return to the previous page.

Memorize the Ensemble settings

Write the changes to a Keyboard Set.

162| Customizing and editing the Sound sets

15 advanced editing of the Sound sets

the editing procedure

A Choose a Sound set

Sound sets are groups of Sounds that are selected all at the same time.

Sound set type

Keyboard Sets (from the library)

Sounds assigned to the keyboard, saved in the KEYBOARD SET LIBRARY.

Keyboard Sets (from a Style)

Sounds assigned to the keyboard, saved in the KEYBOARD SET sec- tion and selected with the Styles.

Keyboard Sets (from a SongBook Entry)

Sounds assigned to the keyboard, saved in the KEYBOARD SET sec- tion and selected with the SongBook Entry.

Style Settings Sounds for the Accompaniment tracks, selected with the Style.

MIDI Song (in Song Play mode)

Sounds manually assigned to the tracks of any MIDI Song selected in Song Play mode. You can select these Sounds, but not save them.

MIDI Song (in Sequencer mode)

Sounds selected by the Program Change messages contained inside a MIDI Song. You can edit and save these messages in Sequencer mode.

Choose from the library a Keyboard Set whose Sounds and settings to edit

Press either the STYLE PLAY or SONG PLAY button, then choose from the KEYBOARD SET LIBRARY section the Keyboard Set whose Sounds you want to edit.

Choose from a Style the Keyboard Set whose Sounds and settings to edit

Press the STYLE PLAY button, then choose a Style, then the Keyboard Set (from the KEYBOARD SET section) whose Sounds you want to edit.

Advanced editing of the Sound sets |163

Choose from a SongBook Entry the Keyboard Set whose Sounds and set-

tings to edit

Press the SONGBOOK button and choose a SongBook Entry; or press one of the SET LIST buttons to choose the corresponding SongBook Entry. Then choose the Keyboard Set (from the KEYBOARD SET section) whose Sounds you want to edit.

Choose a Style whose Sounds and settings to edit

Press the STYLE PLAY button, then choose the Style whose Sounds you want to edit.

Choose Sounds for the Song Play mode

Press the SONG PLAY button, then choose any MIDI Song from disk. These changes will not be saved to the Song, and will only serve for on-the-fly cus- tomization.

Choose a MIDI Song whose Sounds and settings to edit

Press the SEQUENCER button to go to the Sequencer mode, then choose from disk (or create by recording it) the MIDI Song whose Sounds you want to edit.

164| Customizing and editing the Sound sets

B Access editing

1 Press the MENU button to access editing and see the edit menu.

2 Choose an edit section and edit page to access the parameters.

C Choose a Sound to edit

Most editing is to be done on the selected Sounds.

Switch between the Keyboard and Style or Song Sounds

Repeatedly press the TRACK SELECT button. The display will cycle between the Keyboard and the Style or Song Sounds.

Select the track/channel to edit

Touch the individual track/channel to select it.

Selected mixer channel

D Save the changes

When finished editing, write the changes to a Sound set. This will be ex- plained at the end of the relevant chapters.

Advanced editing of the Sound sets |165

Mixing the Sounds

The Volume/Pan page is the internal digital mixer of the instrument.

Setting the Volume and Play/Mute status

Adjust the Sounds volume from the control panel

1 While in any page, be sure the lighted SLIDER MODE indicator is VOLUME.

2 Use the TRACK SELECT button to choose the row of parts/tracks to modify (look at the SLIDER indicators or the labels in the Main page > Volume pane).

3 Use the sliders to adjust the volume.

Access the Volume/Pan page

Go to the Mixer/Tuning > Volume/Pan page, and find the Volume and Play/ Mute controls.

Set the individual Sounds Volume

Keep a virtual volume slider held on the screen, and drag it to the desired level.

As an alternative, use the VALUE controls to change the volume level of the selected mixer channel.

Volume Meaning

0127 Volume level in MIDI values

166| Customizing and editing the Sound sets

Change the play/mute status of the individual Sound

Repeatedly touch the Play ( ) or Mute ( ) icon in the mixer channel cor- responding to the Sound whose status to change.

Linking the Upper Sound volume sliders

The Upper Sound volume sliders can be linked together, to proportionally change all Upper Sounds with a single slider.

1 Go to the Mixer/Tuning > Volume/Pan page.

2 Select or deselect the Upper Volume Link checkbox.

Upper Volume Link Meaning

On When you change the volume of one of the Upper Sounds, the vol- ume of the other Upper Sounds is changed proportionally.

Off You only move a single volume slider.

Setting the Pan

The Pan (panorama) is the Sounds position in the stereo field.

1 Go to the Mixer/Tuning > Volume/Pan page, and find the Pan controls.

2 Keep the Pan knob held on the screen, and move it to the desired level.

As an alternative, use the VALUE controls to change the value of the se- lected knob.

Pan Meaning

L-64 L-1 Left

C 00 Center

R+1 R+63 Right

Advanced editing of the Sound sets |167

adding effects

The FX processors

Pa4X includes both insert and master effects (effect is often abbreviated as FX).

Insert effects (IFX) are assigned to a single Sound, and process the whole signal passing through. The most common insert effects are amp simula- tors, chorus or flanger, overdrive and distortion pedals, compressors, etc. Insert effects are pre-fader, so the volume level of the mixer channel will not change the level of the signal entering the effect.

Master effects (MFX) are effects shared by several different Sounds, that can be mixed in at different levels. The most common master effects are delays and reverbs. Master effects are post-fader, so the volume level of the mixer channel will change the level of the signal entering the effect.

Each group of Sounds/channels can go to a different group and number of effects.

Sound/Channel FX Group

Insert FX Master FX

Keyboard FX B One (1), assigned to a single Sound.

Two (2), shared between all Sounds.

Accompaniment FX A Up to four (4), freely assignable to any Sound. Up to two (2) ef- fects can be assigned to a single Sound.

Three (3), shared between all Sounds.

Drum Families (DF)

FX A Up to four (4), freely assignable to any Drum Family. Up to two (2) effects can be assigned to a single Drum Family.

Drum Families can be processed by their own Insert FXs. The Drum Kit can then be further processed by its channels Insert FXs.

The total number of Insert FXs available for Drum Families, the Drum Kit and the other Accompaniment Sounds is four (4).

Three (3), shared between all Sounds.

Drum Families can set their own send level to the Master FXs. Then, the Drum Kit has its own send levels.

Pad FX A Three (3), shared between all Sounds.

168| Customizing and editing the Sound sets

Sound/Channel FX Group

Insert FX Master FX

MIDI Song FX A Up to four (4), freely assignable to any Sound. Up to two (2) ef- fects can be assigned to a single Sound.

Three (3), shared between all Sounds.

MIDI Song made with a Pa4X or a KORG Pa-Series instrument

FX A,B

Depends on the selected FX group. FX A and B groups behave as described above.

You can assign to the master effect processors any type of available effects, but we found it convenient to arrange them, most of the times, in the follow- ing way:

Master FX type of effect

A1 Reverb processor for the Accompaniment and MIDI Song Sounds

A2 Modulating FX processor for the Accompaniment and MIDI Song Sounds

A3 Delay processor for the Accompaniment and MIDI Song Sounds

B1 Reverb processor for the Keyboard Sounds

B2 Modulating FX processor for the Keyboard Sounds

All the effects in Pa4X

Pa4X includes a powerful multi-effect processor for the internal Sounds. These effects contribute to make the final sound of the instrument, adding vibe and a sense of the space. There are up to five insert and five master effects, to which the Sounds can be sent from their internal mixer channel.

At the end of the audio path there are Waves Audios MAXX EQ and Master effects, used to process both Sounds and MP3 Songs, and give more punch and refinement to the final, produced sound going to the audience.

In addition to the above, Pa4X also includes a multi-effect processor for the microphone, called the Voice Processor. This incredible effect is the joint effort of KORG and TCElectronic, whose acclaimed voice processing technology can be accessed directly from the control panel of this instru- ment, without having to patch-in any external effect processor.

Advanced editing of the Sound sets |169

Choosing (and viewing) the FX group

In Style Play and Song Play mode, the FX group is fixed and cannot be changed (you can only see it). In Sequencer mode you can freely choose it for each Song track.

1 Go to the Mixer/Tuning > Insert FX or FX Send page.

FX group

FX group

2 See, or choose the FX group (this latter is only possible in Sequencer mode).

170| Customizing and editing the Sound sets

Activating and choosing the insert effects

Each Sound can go to one or more insert effect processors.

Activate the insert effects

1 Go to the Mixer/Tuning > Insert FX page.

FX group

FX on/off Selected FX type

2 Turn on or off the insert effect(s) assigned to a Sound.

Choose the insert effects

1 While in the Insert FX page, touch the name of the selected effect type, or the x symbol under the On/Off button, to open the FX Edit page.

Selected FX

FX edit parameters

FX mix and modulation

2 Use the pop-up menu on top of the page to choose an effect.

3 If needed, edit the effect parameters, as described in the part of the manual dedicated to the Effects.

You can adjust the Wet/Dry mix of the insert effects, but we suggest not to touch it, unless you are editing the effects.

4 When finished editing, press the EXIT button to return to the previous page.

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Activating and choosing the insert effects for the Drum Families

On Drum tracks, you can access a separate Drum mixer, and add insert ef- fects to each Drum Family. The Drum channel is then sent to the main mixer, and can use the channels insert effects.

1 Go to the Mixer/Tuning > Insert FX page.

2 Press the TRACK SELECT button to cycle between the tracks, and find the Drum track.

DF (Drum Family) button in the

Drum track

3 Touch the DF button to access editing the Drum Families of the correspond- ing Drum track.

Name of the Drum Families

Selected track

4 On each Drum Family strip, use the various controls to activate/deactivate and select the insert effects.

5 When finished editing, touch the DF button again to exit the editing page.

172| Customizing and editing the Sound sets

Activating and choosing the master effects

Each Sound can send its audio signal to one or more master effects.

Activate the master effects

1 Go to the Master Effects pages, and choose either the FX group A (Accompaniment, Pads, Song) or B (Keyboard).

FX on/off

Selected FX

2 Turn on or off the master effect(s). Please keep in mind that master effects are assigned to all the Sounds of the same group.

Choose the master effects

1 While in the FX A or FX B page, touch the name of the assigned effects to open the FX Edit page.

Selected FX

FX edit parameters

FX mix and modulation

2 Use the pop-up menu on top of the page to choose an effect.

3 If needed, edit the effect parameters, as described in the part of the manual dedicated to the Effects.

You can adjust the Wet/Dry mix of the master effects, but we suggest not to touch it, unless you are editing the effects. To set the amount of effect, use the individual channels send level instead (as explained below).

4 When finished editing, press the EXIT button to return to the previous page.

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Adjusting the send level to the master effects

You can adjust the level of the direct (dry) signal sent from each Sound/ channel to the master effects.

1 Go to the Mixer/Tuning > FX Send page.

2 On each mixer channel, use the Master knobs to control the level of the di- rect (dry) signal sent to the corresponding FX processor (inside the selected FX group).

Master 1, 2, 3 Meaning

0127 FX Send level in MIDI values

174| Customizing and editing the Sound sets

Adjusting the send to the master effects for the Drum Families

On Drum/Percussion tracks, you can access a separate Drum/Percussion mixer, and adjust the level of the direct (dry) signal sent from each Drum Family to separate master effects. The Drum/Percussion channel is then sent to the main mixer, and can use the channels master effects.

Since the Drum Families will be processed by two sets of master processors, we suggest to lower to zero the Drum/Percussion send level in the main mixer.

1 Go to the Mixer/Tuning > FX Send page.

2 Press the TRACK SELECT button to cycle between the tracks, and find the Drum and Percussion tracks.

DF (Drum Family) buttons

in the Drum and Percussion

tracks

3 Touch the DF button to access editing the Drum Families of the correspond- ing Drum or Percussion track.

Name of the Drum Families

Selected track

4 On each Drum Family strip, use the Master knobs to control the level of the direct (dry) signal sent to the corresponding FX processor (inside the se- lected FX group).

Master Meaning

0127 FX Send level in MIDI values

5 When finished editing, touch the DF button again to exit the editing page.

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Including the dry (direct) signal in the master effects

The dry (or direct) signal is the raw sound, without the effects. It should be normally included in the signal coming out from the master effects, to give a sense of presence of the sounds source.

This parameter is not needed for the insert effects, since they always include the dry signal.

1 Go to the Mixer/Tuning > Volume/Pan page.

2 Select or deselect the Dry checkbox corresponding to the Sound you want to include or exclude.

Dry Meaning

On The direct signal is sent to the outputs, mixed with the master ef- fects.

Sound L/R Out

Master FX

Off The direct signal is removed from the audio outputs, that will only contain the effected signal. With stereo effects, the effected signal will still be positioned according to the Pan value.

This will work in a way similar to an insert effect, where all the dry signal is always processed.

Sound L/R Out

Master FX

176| Customizing and editing the Sound sets

Copying the effects

To speed up programming, you can copy a single insert or master effect, or all the effects of an FX group (FXA or FXB). You can copy them between dif- ferent elements (for example, between Styles and Song, or Keyboard Sets and Sounds).

The Copy/Paste operation only copies the parameters of the FX Edit page. Parameters contained in other pages, like Dry or FX Send, are not copied.

Copying a single effect

Copy the effect

1 Select the source element (Keyboard Set, Style, Song or Sound).

2 Go to the Mixer/Tuning > Insert FX page to copy an insert effect, or to the Master Effects > FX A/B page to copy a master effect.

3 Touch the name of the effect to be copied, to open the relevant FX Edit page.

4 Choose the Copy Effect command from the page menu.

5 Press the EXIT button to exit.

Paste the effect

1 Select the target element (Keyboard Set, Style, Song or Sound).

2 Go to the Mixer/Tuning > Insert FX page to paste an insert effect, or to the Master Effects > FX A/B page to paste a master effect.

3 Touch the name of the effect to be pasted, to open the relevant FX Edit page.

4 Choose the Paste Effect command from the page menu.

5 Press the EXIT button to exit.

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Copying all the master effects in an FX group

Copy the effects

1 Select the source element (Keyboard Set, Style, Song or Sound).

2 Go to the Master Effects > FXA/B page showing the group to be copied.

3 Choose the Copy All Effects command from the page menu.

Paste the effects

1 Select the target element (Keyboard Set, Style, Song or Sound).

2 Go to the Master Effects > FXA/B page showing the group to be pasted.

3 Choose the Paste All Effects command from the page menu.

If you are copying a group of three effects over two effects, or a group of two effects over three effects, only the first two will be copied.

178| Customizing and editing the Sound sets

Equalizing the Sounds

The Channel Equalizer

Pa4X includes three-band equalization (EQ) on each individual mixer chan- nel. Each Sound can be individually equalized.

Setting the EQ gain

1 Go to the Mixer/Tuning > EQ Gain page.

2 Keep the Gain knob held on the screen, and move it to the desired level.

As an alternative, use the VALUE controls to change the value of the se- lected knob.

EQ Gain Meaning

Hi (High) Gain

-18 +18dB High frequencies equalization. This is a shelving curve filter.

Mid (Middle) Gain

-18 +18dB Middle frequencies equalization. This is a bell curve filter.

Low Gain

-18 +18dB Low frequencies equalization. This is a shelving curve filter.

Advanced editing of the Sound sets |179

Adjusting the EQ input sensitivity

Extreme equalization gains can overload the audio circuits and lead to dis- tortion. You can however trim the input to avoid overloading.

1 Go to the Mixer/Tuning > EQ Control page.

2 Use the Input Trim knobs to attenuate the level of the signal passing through the equalizer.

Input trim Meaning

0 99 Attenuation value.

Bypassing the EQ

Each EQ can be momentarily bypassed, to check its effect while programing.

1 Go to the Mixer/Tuning > EQ Control page.

2 Select the Bypass checkbox on the mixer channel you want to exclude from equalization. Deselect it to activate the EQ again.

180| Customizing and editing the Sound sets

Resetting the EQ

You can reset the EQ to the default (that is, flat) status.

1 Go to the Mixer/Tuning > EQ Control page.

Track Reset

2 Reset all the EQs, or a single EQ.

Reset the EQ on a single track/channel

Touch the Track Reset button corresponding to the channel whose EQ you want to reset.

Reset the EQ on all tracks/channels

Touch the Reset All Tracks button.

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Octave transpose and fine tuning

You can set the octave transpose and fine tuning of each Sound.

Access the Tuning page

Go to the Style Play/Song Play > Mixer/Tuning > Tuning page.

As an alternative, keep the SHIFT button pressed and press one of the UPPER OCTAVE buttons to open the Tuning page.

Set the octave transpose

Use the Oct. Transpose knobs to set the octave transpose for each Sound.

Octave transpose Meaning

0 Standard tuning.

-3 +3 Octave Transpose value (in octaves).

Set the fine tuning

Use the Detune knobs to set the fine tuning for each Sound.

Detune Meaning

0 Standard tuning.

-64 +63 Sound pitch (in cents of a semitone).

182| Customizing and editing the Sound sets

Programming the sound routing and polyphony

Using the internal or external Sounds

Usually, the Keyboard, Arranger and Players play the internal Sounds. However, you can choose to let them play an external sound generator.

1 Go to the Track Control > Mode page.

2 Use the Internal/External parameter to connect the corresponding part/ track to the internal and/or external sound generation.

Int/Ext Meaning

Both The part/track plays both the internal sounds and an external instru- ment connected to the MIDI OUT or USB DEVICE port.

Internal The part/track only plays the sounds generated by the internal sound generator.

External The part/track only plays an external instrument connected to the MIDI OUT or USB DEVICE port. The connected device must receive data on the MIDI channel associated with this part/track on Pa4X.

Advanced editing of the Sound sets |183

External Sounds and Program Change messages

A part/track set to the External status cannot play the internal sounds. Instead of the assigned Sound name, the indicator is shown on a tracks area in the Main page:

Control Change/ Program Change area

This indicator begins with a remark saying the track is in External (E) mode, and continues with a strings of transmitted Control Change and Program Change data. This will let you know what the track is transmitting. In the fol- lowing example, CC#0 is the Control Change 0 (Bank Select MSB), CC#32 is the Control Change 32 (Bank Select LSB), PC is the Program Change:

CC#32 value

PC valueCC#0 value

When touching the Sound area, the numeric keypad appears, instead of the Sound Select window. You can enter the Control Change/Program Change bundle shown above, separating the three parts with a dot (.).

Choosing the polyphony type (Mono, Poly, Drum)

Sounds can play polyphonically or monophonically, or behave as Drum Kits.

1 Go to the Track Control > Mode page.

184| Customizing and editing the Sound sets

2 Use the Type parameter to choose the polyphony mode.

type Meaning

Drum Drum/Percussion track. This is typically assigned to the Drum and Percussion tracks of the Accompaniment and MIDI Songs.

Set a Keyboard Sound to Drum mode, if you dont want it to be trans- posed (it will behave as a Drum Kit, even if it is an ordinary Sound). Also, set it to Drum mode if you wish to separately adjust the volume and set a different output for each percussive family of a Drum Kit.

Drum Kits are never transposed, whichever the type of track they are assigned to.

This parameter cannot be edited, it the track has already been set to Drum or Percussion mode in Style Record mode.

Poly Tracks/parts of this kind are polyphonic, meaning they can play more than one note at the same time.

Mono Tracks/parts of this kind are monophonic, meaning each new note stops the previous note.

Mono Right A Mono track/part, with priority assigned to the rightmost (highest) note.

Mono Left A Mono track/part, with priority assigned to the leftmost (lowest) note.

Advanced editing of the Sound sets |185

Quick editing of Drum Kits

You can adjust the volume and edit the main parameters for each family of Drum and Percussion instrument for the selected track. A list of families is shown below.

These parameters can be accessed only on tracks set to the Drum mode in the Track Controls > Mode page. Use them on tracks with a Drum Kit as- signed, or you will not be able to hear any change.

Edit the Drum Kits

1 Go to the Track Controls > Drum Edit page.

2 If you like, start the Style or Song to listen to the changes during playback.

3 If you like, solo the track you are editing, to isolate it from the other tracks.

4 Use the Select buttons to select a track set to Drum mode (usually, the Drum and Percussion tracks).

After selecting a track set in Drum mode, the parameters in the page can be selected (otherwise, they remain dimmed).

186| Customizing and editing the Sound sets

5 Select one of the Drum families, by using the Drum Family icons on top of the page.

Drum family icon Drum family

Kick drums

Snare drums

Toms

Hi-Hat cymbals

Ride, Crash and other cymbals

Low-pitched percussions

High-pitched percussions

Special effects

6 Check the value of the selected parameter for all the Drum families. An over- view of the current parameter can be seen under the icons of the Drum fami- lies. This will let you compare the value of the selected family with all the others. The values appear dimmed (non editable).

7 Select and edit the parameters. All values are offsets referred to the value of the original Drum Kit.

Advanced editing of the Sound sets |187

Sound parameter Meaning Value

Volume Instruments family volume. 0 127

Attack Attack time. This is the time during which the sound goes from zero (at the moment when you strike a key) to its maximum level.

-64 +63 (offset)

Decay Decay time. Time to go from the final Attack level to the minimum level.

Cutoff Filter cutoff. This sets the sound brightness.

Resonance Use the Filter Resonance to boost the cutoff fre- quency.

Fine Tune Fine instrument tuning.

Coarse Tune Coarse instrument tuning.

EQ Hi Equalization, High band.

EQ Mid Equalization, Middle band.

EQ Low Equalization, Low band.

Ambience Vol Volume of the Ambience effects (environment and mechanical noise).

Ambience Time Length of the Ambience effects (environment and mechanical noise).

Resetting a Drum family

Touch the Reset Family button to reset all edited values.

Resetting a track

Touch the Reset Track button to reset all changes to the selected track.

188| Customizing and editing the Sound sets

Quick editing of Sounds

You can edit the main Sounds parameters. These changes will be saved in a Sound set, and not be part of the internal parameters of the Sounds (that you can edit in Sound Edit mode).

Edit the Sounds

1 Go to the Track Controls > Sound Edit page.

2 If you like, start the Style or Song to listen to the changes during playback.

3 If you like, solo the Sound you are editing, to isolate it from the other tracks.

4 Use the Select buttons to select the Sound to edit.

5 Use the knobs to edit the corresponding parameters. All values are offsets referred to the value of the original Sound.

Sound parameter Meaning Value

Attack Attack time. This is the time during which the sound goes from zero (at the moment when you strike a key) to its maximum level.

-64 +63 (offset)

Decay Decay time. Time to go from the final Attack level to the minimum level.

Release Release time. This is the time during which the sound goes from the sustaining phase, to zero. The Release is triggered by releasing a key.

Cutoff Filter cutoff. This sets the sound brightness.

Resonance Use the Filter Resonance to boost the cutoff frequency.

LFO Depth Intensity of the Vibrato (LFO).

LFO Speed Speed of the Vibrato (LFO).

LFO Delay Delay time before the Vibrato (LFO) begins, after the sound starts.

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Setting Portamento

Portamento is a smooth sliding transition from a note to the following one.

Select the Portamento checkbox to turn portamento on, or uncheck it to turn it off.

Use the Portamento > Time knob to adjust the speed of portamento.

Resetting a track

Touch the Reset Track button to reset all changes to the selected track.

Resetting all tracks

Touch the Reset Family button to reset all edited values.

190| Customizing and editing the Sound sets

Programming the key and velocity range

You can program a key and velocity zone for each of the Keyboard Sounds.

Key range is useful to create a set of Keyboard Sounds playing in differ- ent zones of the keyboard. For example, you may have French Horns and Woodwinds playing in the center range of the keyboard, while only Woodwinds play on the higher range.

Velocity range is useful to create a sound made of up to three dynamic lay- ers, assigning each of the Upper Sounds to a different velocity zone. As an example, you may choose El.Piano 1 as the Upper 1 Sound, and El.Piano 2 as the Upper 2 Sound. Then, set Upper 1 to Bottom=0, Top=80, and Upper 2 to Bottom=81, Top=127. The El.Piano 1 will play when playing softer, the El.Piano 2 when playing louder.

Access the Range/Velocity page

Go to the Keyboard/Ensemble > Range/Velocity page.

Set the Key Range

Use the Top Key and Bottom Key parameters to set the Top and Bottom limits of the Sounds Key zone.

Key Meaning

C-1 G9 Selected key. The Top value is always higher than the Bottom value.

Set the Velocity Range

Use the Top Vel. and Bottom Vel. parameters to set the Top and Bottom limits of the Sounds Velocity zone.

Velocity Meaning

0 127 Velocity value. The Top value is always higher than the Bottom value.

Advanced editing of the Sound sets |191

Editing the Digital Drawbars

Digital Drawbars are special Sounds emulating the classic tonewheel organs. Settings for the Digital Drawbars are memorized in a Keyboard Set, the Style Settings or in a MIDI Song, and may be considered the equivalent of an or- gans preset.

A single Digital Drawbars Sound can be assigned to the keyboard, and only one to the accompaniment. A single Digital Drawbars Sound can be assigned to tracks 1-8, and a single one to tracks 9-16 or a MIDI Song.

You can assign the same Sound to different tracks in the same block (for example, two different Acc tracks in a Style). Also, you can use the different blocks to record the different manuals of a classic organ (for example, record the Upper manual in one of the tracks 1-8, and the Lower manual in one of the tracks 9-16).

Choosing a Digital Drawbars Sound

Open the Sound Select window from the control panel

Press one of the KEYBOARD SOUNDS > SELECT buttons.

Open the Sound Select window from the display

While in the Main page, touch one of the Sound names to open the Sound Select window.

Choose the Digital Drawbars Sound

1 Use the side tabs to select the Organ group.

192| Customizing and editing the Sound sets

2 Choose the DRAWBARS Sound. The Drawbars Setting page will appear.

3 If you want to close this window, press the EXIT button.

Editing the Digital Drawbars

Access Digital Drawbars editing

1 While in the Main page, touch the DRAWBARS Sound to open the Sound Select window.

2 Touch the selected DRAWBARS Sound to open the Drawbars Setting page.

Changing the footage

Change the footage (harmonic content of the sound) from the control

panel

1 Be sure the selected SLIDER MODE is DRAWBARS.

2 Use the sliders to change the corresponding drawbars.

Change the footage (harmonic content of the sound) from the display

Drag the virtual sliders to change the corresponding drawbars.

Advanced editing of the Sound sets |193

Changing the Rotary/Percussion settings

Go to the Rotary/Percussion page

In case it is not selected, touch the Rotary/Percussion tab to show the Rotary/Percussion page.

Program the Rotary parameters

Rotary adds the effect of a rotating speaker. The rotation speed can be con- trolled by pushing forward the joystick.

rotary parameters

Meaning

Rotor On/Off Use this switch to start or stop the rotating speaker.

Speed Slow/Fast Use this slider to switch the rotating speakers speed (from slow to fast, or vice-versa).

Program the Percussion parameters

Percussion adds a percussive sound to the attack segment of the organ sound.

Percussion parameters

Meaning

On/Off Turns percussion on or off.

Harmonic Selects a percussion harmonic between the Second and Third.

Mode If All, the percussive attack is played on all notes of a chord. If 1st, the percussive attack is played only on the first note of a chord or a group of held notes. Release all notes to trigger the percussion again.

Volume Volume level of the percussive sound.

Decay Decay speed of the percussive sound (Fast or Slow).

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Changing the Tone/Noise settings

Go to the Tone/Noise page

Touch the Tone/Noise tab to show the Tone/Noise page.

Program the Tone parameter

Tone is the waveshape of the drawbars, producing the raw timbre.

tone option Meaning

Mellow A mellow-sounding wave.

Hard A harder-sounding wave.

Program the Leakage parameter

Increase Leakage from adjacent tonewheels, to make the sound richer.

Program the Key On and Key Off parameters

Use the Key On and Key Off parameters, to add the noise of keypress or key release.

Changing the Rotary FX settings

Go to the Rotary FX Set page

Touch the Rotary FX Set tab to show the Rotary FX Set page.

This page lets you separately program the rotor and horns volume, effects, miking and cabinet simulation.

Please note the individual parameters can only be accessed if one of the insert effects (IFX) or master effects MFX has the Rotary SpeakerOD effect

Advanced editing of the Sound sets |195

assigned. In case there isnt some or all of the parameters in this page might not be accessible.

Program the Overdrive parameters

The overdrive simulator recreates the amp distortion, increasing realism.

Overdrive Meaning Value

Overdrive On/Off Use this switch to turn overdrive on or off. On, Off

Gain Determines the degree of distortion. 0100

Tone Sets the tonal quality of the overdrive. 015

Level Sets the overdrive output level. 0100

Turn the Cabinet on/off

You can use the Cabinet switch to turn the cabinet simulator on or off. Simulating the cabinet resonance would greatly increase realism, but you can decide to turn it off for greater flexibility.

Program the Rotary Speakers miking

You can balance the rotor (low range) and the horn (high range). Miking con- tributes to the volume and presence of the separate speakers.

Balance/Mic Meaning Value

Horn/Rotor Balance Level balance between the high-frequency horn and low-frequency rotor.

Rotor, 199, Horn

Mic Distance Distance between the microphone and rotary speak- er.

0100

Mic Spread Angle between the left and right microphone axis. 0100

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Turning Master FXs on or off

You can use the FX1 and FX2 buttons in the Master FXB section to turn the master effects on/off.

Writing the Sound sets |197

16 Writing the Sound sets

Writing the Keyboard Sets to the library

Keyboard Sets can store the Keyboard Sounds and settings. The library is where you organize them by type and family. You can recall these Keyboard Sets by using the KEYBOARD SET LIBRARY buttons.

Note: All changes will be lost when choosing a different Keyboard Set, unless you write them. Changes can normally only be saved onto the User or Direct Keyboard Sets.

Writing a Keyboard Set

Open the Write Keyboard Set to Library dialog from the control panel

While in Style Play or Song Play mode, keep any of the KEYBOARD SET LIBRARY buttons pressed for about one second.

Open the Write Keyboard Set to Library dialog from the display

While in Style Play or Song Play mode, choose the Write Kbd Set to Library command from the page menu.

Keyboard Set name

Keyboard Set bank

Keyboard Set location

Touch to open the Keyboard Set Select window

Write over the same User Keyboard Set

If you want to overwrite the current User Keyboard Set, just touch the OK button.

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Write to a different Keyboard Set location

1 If you want to save onto a different location, touch the Select button and open the Keyboard Set Library Select window. Choose a location as if you were choosing a Keyboard Set. Blank locations are shown as a series of dash- es ().

2 When back at the Write Keyboard Set dialog, you may change the name of the Keyboard Set. Touch the Text Edit ( ) icon to open the virtual key- board and edit the name.

When done editing the name, confirm by touching the OK button under the virtual keyboard.

3 When back at the Write Keyboard Set dialog, confirm the Write operation by touching the OK button.

Writing the Sound sets |199

Writing Keyboard Sets into a Style

Keyboard Sets can store Keyboard Sounds and settings inside a Style. When choosing a Style, four Keyboard Sets matching the selected Style are automatically selected. You can recall these Keyboard Sets by using the KEYBOARD SET buttons under the display.

Note: Changes can normally only be saved onto Favorite, User and Direct Styles.

Open the Write Keyboard Set to Style dialog from the control panel

While in Style Play or Song Play mode, keep any of the KEYBOARD SET but- tons under the display pressed for about one second.

Open the Write Keyboard Set to Style dialog from the display

1 While in Style Play or Song Play mode, choose the Write Kbd Set to Style command from the page menu.

Keyboard Set name

Style containing the Keyboard Set

Keyboard Set location inside the Style

Write the Keyboard Set

If you want to overwrite the current Keyboard Set, just touch the OK button.

If you want to write the Keyboard Set to a different location inside the same Style, touch the arrow next to the Kbd Set parameter to open a pop-up menu and choose a different location.

2 You may change the name of the Keyboard Set. Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name.

When done editing the name, confirm by touching the OK button under the virtual keyboard.

3 When back at the Write Kbd Set to Style dialog, confirm the Write operation by touching the OK button.

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Writing Keyboard Sets into a SongBook Entry

You can write the changes to the Keyboard Sounds and settings into one of the Keyboard Sets. When choosing a SongBook Entry, four Keyboard Sets matching the selected Entry are automatically selected. You can recall these Keyboard Sets by using the KEYBOARD SET buttons under the display.

Saving Keyboard Sets to a new SongBook Entry

You can create a new SongBook Entry, and at the same time save the current Keyboard Sets with it.

1 While you are in Style Play or Song Play mode, choose the Style or Song the SongBook Entry will be based on. The Style includes up to four Keyboard Sets.

2 If you want, edit the Keyboard Sounds and their settings (split point, octave transposition, volume). This will be Keyboard Set #1.

3 When finished editing, keep the SONGBOOK button pressed for one second to open the Write Song page.

4 If a Direct SongBook has been selected, choose between the Internal and Direct SongBook.

5 Touch the New Song Name parameter and assign the Entry a name.

6 Touch the OK button to save the new SongBook Entry.

Together with the Keyboard Sets, all the current settings are saved into the new SongBook Entry (including the selected Style or the selected Song).

If you edited the Keyboard Sounds, they will be saved as the Keyboard Set #1.

Writing the Sound sets |201

Saving a Keyboard Set to the selected SongBook Entry

You can save the Keyboard Sounds as a Keyboard Set inside the selected SongBook Entry.

1 Before editing the Keyboard Sounds, go to the SongBook > Book or Set List page, and choose the SongBook Entry where to save them.

2 Press the EXIT button to exit the SongBook.

3 Edit the Keyboard Sounds.

4 Go to the SongBook > Write page.

5 Select the Keyboard Set > Write checkbox, and select the name of the single Keyboard Set.

6 Choose a single Keyboard Set location to save the Keyboard Sounds to the selected Keyboard Set inside the SongBook Entry. After choosing the target location you can give the Keyboard Set a new name.

7 Touch the Write button to make the Write Song dialog appear.

8 If a Direct SongBook has been selected, choose between the Internal and Direct SongBook.

9 Choose whether to overwrite an existing Entry, or create a new one:

202| Customizing and editing the Sound sets

To overwrite the current SongBook Entry, choose Rename/Overwrite.

To create a new SongBook Entry, choose New Song.

10 Touch the New Song Name line if you want to edit the SongBook Entrys name.

11 Touch OK to save the SongBook Entry.

12 If you want to save more Keyboard Sets, repeat the above procedure for the other four Keyboard Set locations inside the SongBook Entry.

Writing the Sound sets |203

Writing Style Settings, Song Settings and MIDI Song Sounds

The Sounds configuration can also be written into other elements.

To edit additional Style parameters, and save the Style Settings, see the pages starting from Customizing the Styles on page 207.

To edit additional parameters of the Song Play mode, and save the Song Play Settings, see the pages starting from Customizing the Songs on page 327. Please remember that changes made in Song Play mode are temporary, and will be discarded when playing a Song.

To edit additional MIDI Song parameters and save them into a Standard MIDI File, see the pages starting from Editing the MIDI Songs on page 364.

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|205

Part V: CUStOMIZING, rECOrDING aND EDItING tHE StYLES aND PaDS

206| Customizing, recording and editing the Styles and Pads

Customizing the Styles |207

17 Customizing the Styles

Setting the Chord recognition

Choosing where to play chords (Chord Scan area)

You can play chords with your left or right hand separately, or with both hands. You can choose the recognition area, depending on the song you are playing and your preferred playing style.

The area where chords are recognized depends on the status of the CHORD SCAN indicators.

CHOrD SCaN Where to play chords (Chord Scan area) Notes to play

LOWER Left hand (Lower area of the keyboard) Depends on the Chord Recognition mode

UPPER Right hand (Upper area of the keyboard) Three or more

LOWER+UPPER Both hands (full keyboard) Three or more

Off No chord recognized

Make chords be recognized when played with your left hand

Press the CHORD SCAN > LOWER button to turn its indicator on.

The number of notes to be played, for a chord to be recognized, depends on the Chord Recognition mode (see below).

Make chords be recognized when played with your right hand

Press the CHORD SCAN > UPPER button to turn its indicator on.

Always play three or more notes to let the arranger recognize a chord.

Make chords be recognized when played with both hands

Press both the CHORD SCAN (LOWER+UPPER) buttons to turn their indica- tors on.

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Always play three or more notes to let the arranger recognize a chord.

Deactivate chord recognition

Press both the CHORD SCAN (LOWER+UPPER) buttons to turn their indica- tors off.

Only the Drum and Percussion tracks will continue to play.

Memorize the Chord Scan area

Write a Keyboard Set.

Choosing how to play chords (Chord Recognition mode)

You can play chords in the simplest (even simplified), or the most sophisti- cate way. Its at you how chords have to be played to be recognized.

1 Go to the Global > Mode Preferences > Style 1 page.

As an alternative, keep the SHIFT button pressed and press the STYLE PLAY button to open the Style 1 page.

Customizing the Styles |209

2 Choose how to play chords by using the Chord Recognition menu.

Chord recognition How to play chords

One Finger This mode is only available when the SPLIT indicator is turned on. If you turn it off, the mode will automatically switch to Fingered (3 Notes).

With this mode, you can compose a chord using a simplified chord playing technique:

Play a single note for a Major chord to be recognized.

Play the root note, plus a white key on the left, for a 7th. For example, play C3 + B2 for a C7.

Play the root note, plus a black key on the left, for a Minor chord. For example, play C3 + Bb2 for a C minor.

Play the root note, plus a white and a black key on the left, for a Minor 7th. For example, play C3 + B2 + Bb2 for a C min 7.

One Finger Plus This mode works like One Finger. However, if you play complete chords, it will recognize them as if you were in Fingered (3 Notes). This way, you can play chords that One Finger cannot recognize.

Fingered (1 Note) When the SPLIT indicator is turned on, play one or more notes to compose a chord. A full Major chord will be recognized even if only a single note is played.

When the SPLIT indicator is turned off, play at least three notes to compose a chord.

Fingered (3 Notes) Always play three or more notes for a chord to be recognized.

Advanced When the SPLIT indicator is turned on, play one or more notes for a chord to be recognized. If you play a single note, a root+8ve will be played. If you play a fifth, a root+5th chord will be played.

When the SPLIT indicator is turned off, play at least three notes to compose a chord.

With this mode, you can play rootless and slashed chords, often used in jazz, fusion or modern pop. You dont always need to play the root note, that would otherwise double the note already played by the bassist.

3 Press the EXIT button to return to the previous page.

210| Customizing, recording and editing the Styles and Pads

Keeping a chord in memory by pressing the Damper pedal

You can choose to keep the recognized chord in memory while the Damper pedal is kept pressed. In this case, you can freely play any chord on the key- board, and the arranger will still play the latched chord. This is especially useful when playing in Full Keyboard mode (with the SPLIT indicator turned off), and all the notes you play on the keyboard could be recognized as a new chord.

1 Go to the Global > Mode Preferences > Style 1 page.

As an alternative, keep the SHIFT button pressed and press the STYLE PLAY button to open the Style 1 page.

2 Select the Damper&Latch checkbox, to make the recognized chord be held for as long as the Damper pedal is kept pressed.

At this point, play a chord for the arranger. Press the Damper pedal and keep it pressed to keep the recognized chord in memory. Release the Damper pedal when you want to play another chord to be recognized by the arranger.

Customizing the Styles |211

automatically holding chords and Lower notes (Memory)

Using the Memory function

You can keep the chords and/or Lower notes in memory even after raising your hand from the keyboard. How this function works depends on the set- tings of the Memory Mode parameter (see below).

Press the MEMORY button to turn its indicator on, and keep the chords and/ or Lower notes in memory.

Press the MEMORY button to turn its indicator off. The chords and/or Lower notes are released as soon as you raise your hand from the keyboard.

Choosing the Memory Mode

Set how the MEMORY button works according to your preferences.

1 Go to the Global > Mode Preferences > Style 1 page.

As an alternative, keep the SHIFT button pressed and press the STYLE PLAY button to open the Style 1 page.

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2 Use the Memory Mode parameter to choose the way the MEMORY button works.

Memory Mode Meaning

Chord When the MEMORY indicator is on, recognized chords are held even when raising your hand from the keyboard. When the indicator is off, chords are reset when raising your hand.

Chord + Lower When the MEMORY indicator is on, recognized chords and the Lower Sound are held until the next note or chord is played. When the in- dicator is off, both the chord (therefore the accompaniment) and Lower Sound are cut when raising the hand from the keyboard.

Fixed Arr. + Lower When the MEMORY indicator is on, recognized chords and the Lower Sound are held until the next note or chord is played. When the indi- cator is off, the Lower Sound is cut when raising the hand from the keyboard, while the chord is held (the accompaniment will continue to play).

Customizing the Styles |213

recognizing the root note (Bass Inversion)

The instruments internal arranger recognizes chords by analyzing all the notes you play in the chord recognition area, and considering their func- tion in a chord. You can however always force the lowest (leftmost) note of the chord to be considered, for example the chords root of a slashed chord (such as C/E or F/C).

Press the BASS INVERSION button to turn its indicator on. The lowest note of a chord will always be detected as the root note.

Press the BASS INVERSION button to turn its indicator off. The lowest note will be scanned together with the other chord notes, and will not always be considered as the root note.

214| Customizing, recording and editing the Styles and Pads

Setting how velocity controls the accompaniment

You can play stronger than a set velocity value to trigger an accompaniment control.

1 Go to the Global > Mode Preferences > Style 2 page.

2 Use the Velocity Control parameter to choose the function to be controlled when playing strongly.

Velocity Control Meaning

Off The function is turned off.

Break When playing with a velocity higher than the trigger value on the Lower track, the Break is automatically triggered.

Start/Stop You can start or stop the automatic accompaniment by playing hard- er on the keyboard.

Bass Inversion When playing with a velocity higher than the trigger value, the Bass Inversion function will be activated or deactivated.

Memory When playing with a velocity higher than the trigger value, the Memory function will be activated or deactivated.

3 Use the Value parameter to set the velocity trigger value.

4 Before using this function, be sure the SPLIT indicator is turned on.

Customizing the Styles |215

Mixing the grouped accompaniment Sounds

Grouped Accompaniment Sounds

As in a mixer, the Accompaniment Sounds can be grouped together. For example, instead of separately muting the guitar and the strings parts in the Accompaniment, you can mute the Accompaniment (ACCOMP) group by touching a single button.

Grouped Accompaniment Sounds can be accessed directly from the Main page > Volume pane:

Muting grouped Accompaniment parts

Turn a group of Accompaniment Sounds off (Mute)

If the group you want to mute is in Play, touch the Play/Mute icon to set it to Mute.

Turn a group of Accompaniment Sounds on (Play)

If the group you want to hear is in Mute, touch the Play/Mute icon to set it to Play.

216| Customizing, recording and editing the Styles and Pads

Adjusting the (global) Accompaniment groups volume

Groups volume is a global setting, that is not meant to change when you select a different Style. To avoid abrupt changes in the volume level of the Accompaniment Sounds during a show, we moved the volume settings to a safer area than the Main page.

1 Go to the Global > Mode Preferences > Style 2 page.

2 In the Style Volume section, touch the mixer group channel whose volume level you want to change.

Grouped part name Meaning

DR/PERC Grouped Drum and Percussion parts (volume offset)

ACCOMP Grouped Accompaniment parts (Acc1-5) (volume offset)

BASS Bass part (volume offset)

3 Keep the virtual volume slider held on the screen, and drag it to the desired level.

As an alternative, use the VALUE controls to change the volume level of the selected channel.

As it happens with the groups of a mixer, these levels are not the actual chan- nel level, but a global offset added to the separate channels. Therefore, the resulting level will depend on the individual level of each channel, summed to this groups offset.

If you like, you can finely mix the various groups. For example, if you prefer Drums and Bass to be more prominent to let them have more punch, you can lower the grouped Accompaniment Sounds to leave more room to the rhythm section.

If you wish to permanently mute a group, just move its volume to zero.

The (relative) volume level of grouped tracks will remain the same for all the subsequent Styles you will choose during your performance.

4 Press the EXIT button to return to the previous page.

Editing the Style Settings |217

18 Editing the Style Settings

Mixing the individual accompaniment Sounds

Adjusting the volume of the individual Accompaniment Sounds

As you can do with the Keyboard Sounds, you can adjust the volume of the individual Accompaniment Sounds. This will allow for finer balancing be- tween Accompaniment Sounds.

Please note that in the Global > Mode Preferences > Style page you can adjust the volume of the grouped Style tracks as a general setting, as if you were adjusting the levels of the mixer groups.

Note: Changes can normally only be saved onto Favorite, User or Direct Styles. They cannot be saved onto Factory Styles.

Adjust the Accompaniment Sounds volume level from the control panel

1 While in any page, be sure the lighted SLIDER MODE indicator is VOLUME.

2 Be sure the second-from-top SLIDER indicator (DRUM ACC5) is turned on, otherwise press the TRACK SELECT button to turn it on.

3 Use the sliders to adjust the volume of the corresponding Sounds.

218| Customizing, recording and editing the Styles and Pads

4 Keep the SHIFT button pressed, and move any of the sliders to proportion- ally change the volume of all similar Sounds.

For example, moving any of the UPPER sliders proportionally changes the volume of all the Upper Sounds; moving one of the sliders corresponding to a Style track, proportionally changes the volume of all the Style tracks.

Style tracks Meaning

DRUM Drum part

PERC Percussion part

BASS Bass part

ACC1-5 Five separate instrumental accompaniment parts (Acc1-5). These may freely be melodic or chordal parts

Adjust an Accompaniment Sounds volume level from the display

1 See the Accompaniment parts mixer.

While in the Main page, touch the Volume tab to select the Volume pane, then press the TRACK SELECT button to switch to the Accompaniment Sounds.

Accompaniment parts

As an alternative, you can adjust the levels in the Style Play or Style Record > Mixer/Tuning > Volume/Pan page.

2 Touch the mixer channel whose volume level you want to change.

3 Keep the virtual slider held on the screen, and drag it to the desired level.

As an alternative, use the VALUE controls to change the volume level of the selected channel.

4 Keep the SHIFT button pressed, and drag any of the virtual sliders to pro- portionally change the volume of all similar Sounds.

5 Return to the Main page

When done, press the TRACK SELECT button again to switch back to the Main page and see the grouped parts.

Editing the Style Settings |219

Memorize the volume level

Write the Style Settings.

Turning the individual Accompaniment Sounds on or off

Sounds can be muted, in case you dont want to hear them in the mix. As an example, the accompaniment might contain a piano part, and you want to play it live on the keyboard.

Note: Changes can normally only be saved onto Favorite, User or Direct Styles. They cannot be saved onto Factory Styles.

See the Accompaniment parts mixer

While in the Main page, touch the Volume tab to select the Volume pane, then press the TRACK SELECT button to switch to the Accompaniment Sounds.

Accompaniment parts

As an alternative, you can access these parameters in the Style Play or Style Record > Mixer/Tuning > Volume/Pan page.

Turn a channel on (Play) or off (Mute)

Select the mixer channel, then touch the Play ( ) or Mute ( ) icon to turn the corresponding Sounds on or off.

Return to the Main page

When done, press the TRACK SELECT button again to switch back to the Main page and see the grouped parts.

Memorize the play/mute status

Write the Style Settings.

220| Customizing, recording and editing the Styles and Pads

Soloing an Accompaniment Sound

You can solo an Accompaniment Sound exactly as you would do with the Keyboard Sounds.

Solo a Sound

While the Volume pane is shown, keep the SHIFT button pressed, and touch the mixer channel that you want to listen in solo.

In any page where it appears, you can touch the mixer channel correspond- ing to the Sound to isolate.

When this function is activated, the Solo warning will flash on the page header.

The Solo icon ( ) will flash in the mixer channel.

Solo a Sound via menu command

As an alternative, you can solo a Sound using a menu command.

1 While in any page where the name of the Sound or the mixer channel cor- responding to the Sound to listen in solo appears, touch it to select it.

2 Choose the Solo Track command from the page menu.

Deactivate Solo

Do one of the following:

While in any page where the mixer channels appear, keep the SHIFT button pressed, and touch the mixer channel that is currently in solo.

Choose the Solo Track command from the page menu to deselect it.

Editing the Style Settings |221

Changing the Sounds of the accompaniment parts

Style vs. Style Element Sounds

You can assign Accompaniment Sounds to the whole Style (saved in the Style Settings), that will not change when changing Style Element (for exam- ple, going from Variation 1 to Variation 2). Or you can assign Accompaniment Sounds to each Style Element, to let them change when choosing a different Style Element.

Choosing Sounds for the whole Style

You may prefer to assign Sounds to the accompaniment tracks that will not change when choosing a different Style Element (Intro, Variation). The new combination of Sounds can be written into the current Style Settings.

This is like having a band playing the same instruments for the whole song, as it usually happens. It is also much quicker to program.

Choose Sounds for the Accompaniment parts

1 While in the Main page, touch the Volume tab to select the Volume pane.

2 Press the TRACK SELECT button to switch to the Accompaniment Sounds (Style Tracks View).

Sounds of the Accompaniment parts

3 Be sure the Original Sound Set checkbox is not selected. In any case, it will be automatically deselected when choosing a Sound.

This will make the Style choose the Sounds assigned to the Style Settings, instead of the Sounds assigned to the Style Elements (the original Sounds).

222| Customizing, recording and editing the Styles and Pads

4 Choose Sounds by touching the Sound icon on each track.

These Sounds will become part of the Style Settings. They will remain the same for the whole Style, and will not change when choosing different Style Elements.

Memorize the assigned Sounds

Write the Style Settings.

Changing Sounds for each Style Element

You can assign Sounds to each accompaniment part of each Style Element (Intro, Variation). This option requires editing the Style in Style Record mode, since the events are recorded into the Style sequence. Please see the relevant chapter.

To use these Sounds, be sure the Original Sound Set checkbox is selected in the Main > Volume page.

Drum Kits

Drum Kits (including Percussion Kits) are special Sounds, where each note of the keyboard is a different percussive instrument. To preserve the kits mapping, Drum Kits are not affected by transposition.

Choose the Drum and Percussion accompaniment parts

Usually, you will assign Drum Kits to the DRUM part, and Percussion Kits to the PERC part.

Choose Drum Kits

Choose Drum Kits as any other Sound. Drum Kits are contained in the banks whose name includes Drums.

Editing the Style Settings |223

Accompaniment Sounds and the Style Settings

The Style Settings contain all the Sounds used by the accompaniment parts. A set of Sounds playing together in a Style can be memorized as the Style Settings.

Style Settings are contained in the Style, and are recalled when choosing a Style.

Style Settings Bass Sound Drums Sound Percussions Sound

Acc 1 Sound Acc 2 Sound Acc 3 Sound Acc 4 Sound Acc 5 Sound

Digital Drawbars and the accompaniment parts

Digital Drawbars are special Sounds emulating the classic tonewheel or- gans. Settings for the Digital Drawbars assigned to the accompaniment tracks are memorized in the Style Settings, and may be considered the equivalent of an organs preset. You can have a single Digital Drawbars Sound for all the accompaniment parts.

224| Customizing, recording and editing the Styles and Pads

Setting the Style controls

Remapping Drum Kit instruments

You can remap Drum Kit instruments to add variety to the percussive part. Select different Maps and Designations while listening to the Style, and see how they affect the final result.

1 Go to the Style Play > Style Controls > Drum/Fill page.

As an alternative, you can access these parameters in the Style Record > Style Track Controls > Drum Map page.

2 Use the Drum Mapping > Var pop-up menus to choose an alternative ar- rangement of percussive instruments for the selected Drum Kit, without any additional programming. Just select a Drum Map for each Variation, and some percussive instruments will be replaced with different instruments.

Drum Mapping Meaning

Off Standard mapping

Drum Mapping 17 Drum Mapping number. Mapping 1 is soft-sounding, while mapping 7 is loud-sounding.

Editing the Style Settings |225

3 Use the Kick and Snare Designation > Kick pop-up menu to replace the origi- nal Kick (Bass Drum) sound with a different Kick of the same Drum Kit.

4 Use the Kick and Snare Designation > Snare pop-up menu to replace the original Snare Drum sound with a different Snare of the same Drum Kit.

Designation Meaning

Off Original Kick or Snare

Type 13 Kick or Snare replacing the original one

Memorize the Drum Kit mapping

Write the Style Settings.

Choosing a Fill Mode for each Fill/Break

The Fill Mode parameters allow for automatically choosing a Variation at the end of each Fill, after having pressed one of the FILL or BREAK buttons. These settings can be saved to the Style Settings or a SongBook Entry, so you can have a different Fill Mode configuration for each Style or SongBook Entry.

1 Go to the Style Play > Style Controls > Drum/Fill page.

2 Use the Fill Mode > 15/Brk pop-up menus to choose a Fill Mode for the cor- responding Fill/Break.

226| Customizing, recording and editing the Styles and Pads

Fill Mode Meaning

Off The same Variation, playing before selecting a Fill, will be selected again.

V1&V2 V3&V4 The specified Variations will be alternatively selected, when one of them is selected. For example, with the V1&V2 option, if Variation 1 is selected, Variation 1 and Variation 2 will be alternatively selected after the end of the Fill.

Var.Up/Var.Down The next higher/lower numbered Variation is selected, in cycle. After Variation 4, an Up command will select Variation 1. After Variation 1, a Down command will select Variation 4.

Var.Inc/Var.Dec The next higher/lower numbered Variation is selected. When Variation 4 is reached, an Inc command will select Variation 4 again. When Variation 1 is reached, a Dec command will select Variation 1 again.

To Var.1 To Var.4 Fill to Variation (->1, ->2, ->3, ->4) automatically selects one of the four available Style Variations at the end of the fill.

Auto Fill and Fill Mode

Auto Fill and Fill Mode can interact, by doing strictly related things:

When the Auto Fill is enabled (AUTO FILL indicator on), you can choose a Variation by pressing one of the VARIATION buttons. This will automatically select a Fill, then the chosen Variation. This is the easiest way to select the Variation best fitting the next song section, and let the instrument automatically choose a Fill for you.

When the Fill Mode is programmed in a Style or SongBook Entry, you can choose a Fill or Break by pressing one of the FILL or BREAK but- tons. The chosen Fill or Break will be played back, then the programmed Variation will be automatically selected. This is a sophisticated way of creating complex sequences of Fills and Variations.

Please note that, while Auto Fill is a Global setting, Fill Mode is tied to a Style or SongBook Entry.

Turning the key range on/off and setting the wrap-around point

Accompaniment Sounds, like the acoustic instruments they imitate, sound better in their natural range. When the accompaniment pattern exceeds this range, or goes over the wrap-around point, it can be transposed to fall in the best range.

Editing the Style Settings |227

1 Go to the Style Play > Style Controls > Range/Wrap page.

As an alternative, you can access these parameters in the Style Record > Style Track Controls > Range/Wrap page.

2 Use the Sound Range On/Off checkbox to turn the Key Range on/off for each Sound.

A preferred range is set in the Style Record > Element Track Controls > Range page for each track of each Style Element. You can turn it on/off for the whole Style.

Kbd range Meaning

On The Sounds Key Range is considered. When a track goes over the lower or higher Key Range point, it is automatically transposed, to remain inside the programmed range.

Off No Sounds Key Range considered. The track plays the real note.

3 Use the Wrap Around knob to set a wrap-around point.

The wrap-around point is the highest key for the accompaniment track. When the detected chords pitch is too high, the Style pattern might be transposed to a range that is too high, therefore sound unnatural. So, when the pattern reaches the wrap-around point, it will jump to a lower octave.

228| Customizing, recording and editing the Styles and Pads

It is advisable to set different wrap-around points for each track, to avoid that all tracks jump to a different octave at the same time. For more real- istic results, we suggest to consider the actual range of the real instrument.

Wrap around Meaning

1 12 Maximum transposition (in semitones) of the track, referred to the original Key/Chord of the Style pattern.

Memorize the key range and wrap-around

Write the Style Settings.

Editing the Style Settings |229

Choosing and mixing the Pads

You can assign four Pads to each Style. The new combination of Pads can then be written into the Style Settings.

Choosing the Pads

Open the Pad Select window

1 Be sure to be in the main page of the Style Play or Song Play mode. If you are not there, press either the STYLE PLAY or the SONG PLAY buttons in the control panel.

2 Select the Pad pane by touching the corresponding tab.

3 Touch the name of the Pad you want to change to open the Pad Select window.

Choose a Pad

1 Browse through the Pads in the Pad Select window.

230| Customizing, recording and editing the Styles and Pads

To choose one of the available types of Pads, touch the buttons at the top of the window.

Pad type Meaning

Hit While they are mostly used as non-transposing events, they can also be transposing notes or chords. Basically, they are single-note or single-chord Sequences (see below).

Sequence Single-track patterns, that can be transposed by playing different chords on the keyboard exactly as a Style track.

User Freely available locations to save your own Pads (created or edited in Pad Record).

Direct Pads accessed directly from a storage device, without first having to load them.

To choose a different group of Pads, touch one of the tabs on the sides of the window.

To choose one of the available pages in the selected Pad group, touch one of the P1P6 tabs at the bottom of the window.

2 Touch the name of the Pad you want to choose.

3 If you want to close the Pad Select window (and it does not close by itself), press the EXIT button. (When a window does not close by itself, it means the Display Hold is turned on. See Display Hold on page 46).

4 Repeat the above procedure for the other Pads.

Memorize the assigned Pads

Write the Style Settings.

Pads can also be memorized into a SongBook Entry. See the instructions dedicated to the SongBook.

Editing the Style Settings |231

Mixing the Pads

Access the Pad page

Go to the Style Play or Song Play > Pad/Switch > Pad page.

Choose the Pads

While in this page, you can choose different Pads by touching the Pad name, and following the procedure seen above.

Adjust the volume and pan

Use the Volume parameter to set the level of each Pad.

Use the Pan parameter to set the position of each Pad in the stereo pan- orama.

Adjust the send level to the master effects

Use the Master parameters to adjust the amount of the signal sent to the FX A Master effects.

Equalize the sound

Use the EQ Gain controls to set the three-band equalizer for each Pad.

Memorize the Pad settings

Write the Style Settings.

232| Customizing, recording and editing the Styles and Pads

19 Writing the Style Settings

Writing the Style Settings

Style Settings can save Accompaniment Sounds and settings into a Style.

Note: Changes can normally only be saved onto Favorite, User or Direct Styles, and onto SongBook Entries. They cannot be saved onto Factory Styles.

Writing the Style Settings while in Style Play mode

Open the Write Current Style Settings dialog from the control panel

While in Style Play mode, keep one of the STYLE buttons pressed for about one second.

Open the Write Current Style Settings dialog from the display

While in Style Play mode, choose the Write Current Style Settings com- mand from the page menu to open the Write Current Style Settings dialog.

Write the Style Settings

To write the current settings into the selected Style, touch the OK button.

Writing the Style Settings |233

Writing the Style Settings while in Style Record mode

In Style Record mode, you can write the Style Settings together with the Style.

While in Style Record mode, choose the Write Style command from the page menu. Its Styles Settings are automatically saved. See Writing the Styles on page 321.

234| Customizing, recording and editing the Styles and Pads

20 the Chord Sequencer

recording Chord Sequences

You can record a Chord Sequence, that will play the chords for you. This will be useful, for example, when you have to play a repeated sequence, and prefer to use your left hand to play a solo on the keyboard, or to select the DNC controllers.

Recording a Chord Sequence while the Accompaniment is playing

You can start recording while the Arranger is playing.

1 Press the START/STOP button to start the automatic accompaniment.

2 Press the CHORD SEQUENCER > RECORD ( ) buttons to start recording.

While in record, you will see the red Chord Record icon flashing in the dis- play.

3 At the beginning of the next measure, start recording your Chord Sequence.

4 When the Chord Sequence is done, press the CHORD SEQUENCER > RECORD ( ) buttons together again to stop recording.

The red Chord Record icon will disappear from the display.

The green Chord Sequence icon will appear next to the name of the Style, to show a Chord Sequence is available.

The Chord Sequencer |235

The Chord Sequence will remain in memory until you record a new Chord Sequence, choose a different Style or SongBook Entry, or turn the instru- ment off. If the sequence is locked, it will not change when choosing a differ- ent Style or SongBook Entry.

Recording a Chord Sequence while the Accompaniment is not playing

1 Press the CHORD SEQUENCER > RECORD ( ) buttons to enter record- pending mode.

While in record, you will see the red Chord Record icon flashing in the dis- play.

2 Play a chord, then start the automatic accompaniment in one of these ways:

Press the START/STOP button.

If the SYNCHRO START indicator is turned on, the accompaniment will start as soon as you play a chord.

The red Chord Record icon will continue flashing in the display.

3 Record your Chord Sequence.

4 When the Chord Sequence is done, press the CHORD SEQUENCER > RECORD ( ) buttons together again to stop recording.

The red Chord Record icon will disappear from the display.

The green Chord Sequence icon will appear next to the name of the Style, to show a Chord Sequence is available.

The Chord Sequence will remain in memory until you record a new Chord Sequence, choose a different Style or SongBook Entry, or you turn the in- strument off. If the sequence is locked, it will not change when choosing a different Style or SongBook Entry.

236| Customizing, recording and editing the Styles and Pads

Playing back a Chord Sequence

When the icon appears next to the name of the Style, a Chord Sequence is available in the selected Style or SongBook Entry.

Starting the Chord Sequence while the Accompaniment is playing

1 While the accompaniment is playing, press the CHORD SEQUENCER > PLAY/ STOP ( ) buttons together to start the Chord Sequence.

The indicators of the two buttons will start flashing. The Chord Sequence will be played back in loop starting from the next measure.

2 Play your solo part, while the Chord Sequence plays the chords for you.

During Chord Sequence looping, you can freely select any Fill or Variation, as if you where playing chords with your hands.

3 Press the CHORD SEQUENCER > PLAY/STOP ( ) buttons together again to stop the Chord Sequence. The button indicators will stop flashing.

If you stop the automatic accompaniment, the Chord Sequence is also stopped.

Starting the Chord Sequence with the Accompaniment

1 While the accompaniment is not playing, press the CHORD SEQUENCER > PLAY/STOP ( ) buttons together to start the Chord Sequence.

The indicators of the two buttons will start flashing.

2 Start the accompaniment. The Chord Sequence will immediately start play- ing.

3 Play your solo part, while the Chord Sequence plays the chords for you.

During Chord Sequence looping, you can freely select any Fill or Variation, as if you where playing chords with your hands.

4 Press the CHORD SEQUENCER > PLAY/STOP ( ) buttons together again to stop the Chord Sequence (or stop the accompaniment). The buttons indi- cators will stop flashing.

The Chord Sequencer |237

Managing the Chord Sequences

Writing a Chord Sequence

The Chord Sequence can be memorized to the Style Settings or a SongBook Entry.

Write the Style Settings or a SongBook Entry, and the Chord Sequence in memory will be automatically saved.

For information on how to write the Style Settings, see Writing the Style Settings on page 232. For information on how to write a SongBook Entry, see the Editing the SongBook on page 125.

Recalling a Chord Sequence

Each Style or SongBook Entry may contain a Chord Sequence.

Choose a different Style or SongBook Entry to recall the memorized Chord Sequence.

If there is no Chord Sequence memorized, the one already in memory will be deleted.

Locking the Chord Sequence

If you prefer to keep the current Chord Sequence in memory, without let- ting a Style or SongBook Entry recall the memorized one, select the Chord Sequence lock.

Go to the Global > General Controls > Lock > Style page, and select the Chord Sequence checkbox.

238| Customizing, recording and editing the Styles and Pads

Deleting a Chord Sequence

To start anew, you can delete the Chord Sequence from memory.

1 Open the Chord Sequence dialog by choosing the Chord Sequence Edit command from the page menu.

2 Choose the Delete Sequence option, and touch the OK button to confirm deletion.

At this point, you can save the Style Settings or SongBook Entry again, and the Chord Sequence will be gone from them.

Copying a Chord Sequence

You can copy a Chord Sequence from a different Style or SongBook Entry.

1 Open the Chord Sequence dialog by choosing the Chord Sequence Edit command from the page menu.

2 Choose the Copy from option, and use the pop-up menu to choose either a Style or SongBook Entry as the source.

3 Touch the Select button to choose the source Style or SongBook Entry.

4 When back to the Chord Sequence dialog, touch the OK button to confirm copying.

At this point, you can save the Style Settings or SongBook Entry again, and the copied Chord Sequence will be saved.

The Chord Sequencer |239

Importing a Chord Sequence from a Standard MIDI Files

You can import a Chord Sequence from a Standard MIDI File (MIDI Song, that is a MID file).

1 Open the Chord Sequence dialog by choosing the Chord Sequence Edit command from the page menu.

2 Choose the SMF option, and use the pop-up menu to choose the Import op- tion.

3 Use the Use pop-up menu to choose between importing Chords (Chord events you might have recorded with a Backing Sequence Song, or included in a Standard MIDI Files as Lyrics events) or Notes (ordinary notes, recog- nized as chords).

4 Touch the Select button to choose the source Standard MIDI Files (MID file).

5 When back to the Chord Sequence dialog, use the From measure and To measure parameters to set a measure range from which to import from.

For example, you may want to only import the verse or chorus chords.

6 Touch the OK button to confirm importing.

At this point, you can save the Style Settings or SongBook Entry again, and the imported Chord Sequence will be saved.

Exporting the Chord Sequence

You can export a Chord Sequence to a Standard MIDI File (MID file), to be used in a MIDI Song.

1 Open the Chord Sequence dialog by choosing the Chord Sequence Edit command from the page menu.

2 Choose the SMF option, and use the pop-up menu to choose the Export op- tion.

3 Touch the OK button to confirm exporting.

4 When the file selector appears, choose a folder where to save the exported file.

240| Customizing, recording and editing the Styles and Pads

21 recording the Styles and Pads

How are Styles and Pads made?

KORG supplies a huge amount of professionally crafted Styles and Pads with Pa4X. However, you are free to customize them, or create totally new Styles and Pads on your own.

Styles and Pads share most of the same structure and recording/editing op- erations. Here is how they are made.

How Styles are made

Style Elements

Styles are music sequences automatically played by the Pa4Xs arranger when you play a chord, to give a you a realtime backing. A Style is made of a series of Style Elements (Intro, Variation, Fill, Ending), each one corre- sponding to a section of a song. The Style Elements can be directly selected by using the corresponding buttons on the control panel (or selected by the Auto Fill function).

Chord Variations

Each Style Element is made of smaller units, called the Chord Variations. When you play in the chord recognition area, the arranger scans the key- board and detects which chord you are playing. Then, depending on the se- lected Style Element, it chooses the right Chord Variation to be played for the recognized chord.

Recording the Styles and Pads |241

Which Chord Variation corresponds to each scanned chord is decided by the Chord Variation Table. Each Style Element contains a Chord Variation Table, whose general structure is the following:

recognized Chord Chord Variations (CV)

Variation 1-4 Intro 1-2, Count-In, Fill 1-4, Break, Ending 1-3

Major

CV1 CV6 CV1 CV2

6

M7, M7(b5)

sus, sus2, M7sus

m

m6

m7, m7(b5), m(M7)

7, 7(b5), 7sus4

dim, dim(M7)

#5

7(#5), M7(#5)

1+5, 1+8

b5

dim7

Key/Chord

After deciding what CV to play, the arranger triggers the right sequence for each track. Since each sequence is written in a particular key (for ex- ample, CMajor, GMajor or Emin), the arranger transposes it according to the scanned chord. Notes in the sequence are carefully transposed, to make them work fine with all the recognized chords.

Tracks and Patterns/Sequences

Each Chord Variation is made of eight different tracks. DRUM and PERC are used for drum and percussion sequences, BASS for bass and ACC1-5 are for instrumental accompaniment sequences (string, guitar, piano or other ac- companiment instruments).

242| Customizing, recording and editing the Styles and Pads

What happens when you play a chord

To summarize, when you play a chord in the chord recognition area, the ar- ranger determines which Style Element is in use, then determines which Chord Variation should be used for the recognized chord, then Style sequenc- es for every track of that Chord Variation are transposed from the original chord to the recognized chord, and so on every time you play a chord.

Ordinary, Guitar and Drum tracks

There are different types of tracks, and each of them is treated in a different way by the arranger:

track type Meaning

Acc (Accompaniment) When a chord is recognized, the programmed chord notes are transposed to a suitable scale, according to the Note Transposition Tables (NTT) The NTT table allows you to re- cord just some Chord Variations, and have all the notes play in the right place, avoiding dissonances and transposing the pattern notes to the notes of the recognized chord.

Bass It behaves like the Acc tracks, but playing the chords root.

Drum No transposition is applied. The original pattern plays al- ways.

Perc (Percussion)

Gtr (Guitar) When a chord is recognized, the arranger triggers single strings, strumming and arpeggios on a virtual guitar, keep- ing care of how notes are played on the guitar fretboard. Please note that inside a Guitar track you can also find some sequence typical of an Acc track a useful addition for short free-form passages, like a short lead solo.

What to record in a Style

Recording a Style means recording tracks, inside a series of Chord Variations, inside a series of Style Elements, inside the Style itself.

You dont have to record all Chord Variations for all Style Elements. Often you only need to record a single Chord Variation for each Style Element. Exceptions are the Intro 1 and Ending 1, where we suggest to record both a Major and minor Chord Variations.

Recording the Styles and Pads |243

The Style structure

To explain the Style structure, we can use a tree structure, as shown in the following diagram:

Pop Ballad

Variation 1

CV1

Drum Perc Bass Acc1 Acc2 Acc3 Acc4 Acc5

CV2

CV3

CV4

CV5

CV6

Variation 2

Variation 3

Variation 4

Intro1

CV1

CV2

Intro 2

Intro 3/C.In

Fill 1

Fill 2

Break

Fill 3

Fill 4

Ending 1

Ending 2

Ending 3

244| Customizing, recording and editing the Styles and Pads

How Pads are made

The Pads

A Pad is basically a single-track, single Style Element Style. Most of what ap- plies to Style recording also applies to Pad recording. There are two different categories of Pads: Hit and Sequence.

Pad type Meaning

Hit While they are mostly used as non-transposing events, they can also be transposing notes or chords. Basically, they are single-note or single-chord Sequences (see below).

Sequence Single-track patterns, that can be transposed by playing different chords on the keyboard exactly as a Style track.

Each Pad is made up of up to six smaller units, called Chord Variations (CV). Each Chord Variation is made of a single track (the Pad track).

Exactly as with the Styles, when playing a chord in the chord recognition area, the corresponding Chord Variation is recalled. Recognized chords are associated to a Chord Variation by means of the Chord Variation Table. Each Pad contains a Chord Variation Table.

The Pad structure

The Pad structure is the same of a single-track Style Element, as shown in the following diagram:

Pad

CV1 Pad Track

CV2

CV3

CV4

CV5

CV6

Recording the Styles and Pads |245

What to record in a Pad

Recording a Pad means recording a single track, inside a series of Chord Variations, inside the Pad itself.

You dont need to record all Chord Variations. It is often only needed to re- cord just a single Chord Variation.

Recorded MIDI data

When recording Styles and Pads, non-supported events are filtered out. Here are the allowed events.

recorded MIDI data CC#

Note On

RX Noise On

Pitch Bend

Channel After Touch

Modulation 01

Breath 02

Pan 10

Expression 11

CC#12 12

CC#13 13

Ribbon 16

Damper (Hold 1) 64

Filter Resonance (Harmonic Content) 71

Low Pass Filter Cutoff (Brightness) 74

CC#80 (Sound Controller 1) 80

CC#81 (Sound Controller 2) 81

CC#82 (General Purpose #7) 82

246| Customizing, recording and editing the Styles and Pads

Programming the Style Settings, then recording the musical sequences

The accompaniment track parameters are to be programmed separately from the actual recording of the musical sequences.

1 While in Style Play or Style Record mode, program the Style Settings as described in the previous pages and the pages dedicated to the more gen- eral Sound sets. You will program the containing tracks parameters (like Volume, Pan, Octave Transpose, FX settings). You will also choose and mix the Pads.

After having edited the track parameters in Style Play mode, save them to the Style Settings by choosing the Write Current Style Settings command from the page menu of the Style Play mode.

Editing done in Style Record mode can be saved by choosing the Write Style command from the page menu of the Style Record mode; the Style Settings will be automatically saved with the Style.

2 Go to the Style Record or Pad Record mode to create or edit the music sequences.

After having created or edited music sequences in Style/Pad Record mode, save them by choosing the Write Style or Write Pad command from the page menu of the Style/Pad Record mode.

Recording the Styles and Pads |247

accessing the Style/Pad record mode

Accessing Style Record

1 If you want to edit an existing Style, press the STYLE PLAY button to go to the Style Play mode, and choose a Style to edit.

You can normally only edit Favorite, User or Direct Styles. To edit Factory Styles, you must first unprotect them, or copy them to a Favorite or User location.

2 Press the RECORD button to open the Record/Edit Menu dialog.

3 Select either the Style > Edit or the Style > New option:

Select Style > Edit to edit the current Style.

Select Style > New to create a new, empty Style. Default Style Settings will be recalled.

4 The main page of the Style Record mode will appear.

248| Customizing, recording and editing the Styles and Pads

Accessing Pad Record

1 Press the RECORD button to open the Record/Edit Menu dialog.

2 Select either the Pad > Edit or the Pad > New option:

Select Pad > Edit to edit the current Pad.

You can normally only edit User or Direct Pads. To edit Factory Pads, you must first unprotect them, or copy them to a User location.

After you touch the Edit option, you are asked to choose a Pad to edit.

Select Pad > New to create a new, empty Pad. Default Pad Settings will be recalled.

3 The main page of the Pad Record mode will appear.

Recording the Styles and Pads |249

The main Style Record page

Record parameters

Sound

Key/Chord and transposition table

Mixer

Measure counter Beat counter

The main Pad Record page

Record parameters

Sound

Pad Volume (not saved)

Key/Chord

Transposition table

Measure counter Beat counter

Exiting Style/Pad Record

While in the Style/Pad Record mode, choose the Exit from Record com- mand from the page menu, or press the RECORD button again.

250| Customizing, recording and editing the Styles and Pads

Listening to the recorded Style

Testing chords

While in Style/Pad Record mode, the keyboard can play chords to drive the recorded musical patterns, and a piano sound to help you test the patterns. How chords are recognized depends on the status of the SPLIT indicator.

SPLIt indicator Lower Upper

On Lower chord scan Piano sound

Off Full chord scan, piano sound

Blinking Full chord scan, no sound

Listening to the results

1 Press the START/STOP button to check how the musical pattern works.

2 Play a chord, and test the patterns.

3 Press START/STOP again to stop playback.

Recording the Styles and Pads |251

Setting the recording parameters

Choosing what to record

Choosing the Style Element and Chord Variation

With Styles, you record a Chord Variation, inside a Style Element, inside a Style. This is the musical sequence you listen when playing a chord.

Pads are made of a single Style Element, so you only have to choose the Chord Variation.

Go to the Style/Pad Record > Main page to choose the Chord Variation to be recorded, and set the recording parameters.

The parameters are in the Record Parameters box.

With Styles:

With Pads:

Use the Element pop-up menu to choose a Style Element.

Each Style Element corresponds to a button on the control panel carrying the same name. After selecting a Style Element, select a Chord Variation for actual editing (see below).

Style Element Meaning

Var1 End3 Selected Style Element

Use the Chord Var pop-up menu to choose a Chord Variation inside the se- lected Style Element (or Pad).

252| Customizing, recording and editing the Styles and Pads

When an asterisk (*) appears next to the abbreviation (CV1* CV6*), the Chord Variation is empty.

Style Element Chord Variation

Var1, Var2, Var 3, Var4 CV1 CV6

Intro1, Intro2, Intro3 (CountIn), Fill1, Fill2, Fill3, Fill4, Break, Ending1, Ending2, Ending3

CV1 CV2

Adjusting the total Chord Variation length

Use the CV Length (Chord Variation Length) parameter to set the length of the Chord Variation (in measures).

The overall length of the selected Chord Variation can be 32 measures. When playing a Style or Pad, this will be the overall length of the musical sequence, when the corresponding chord is recognized on the keyboard.

Be careful not to decrease the Chord Variation length after recording, or any measure after the selected length will be deleted.

Adjusting the tracks recording length

Use the Rec Length (Recording Length) parameter to set the length (in mea- sures) of the selected track (the one with the Record icon ( ).

The value of this parameter is always equal to, or a divider of, the Chord Variation Length.

This is not the total length of the Chord Variation, just that of the current track. For example, you may want to record a Chord Variation eight mea- sures long, with a drum pattern repeating every two measures. If so, set the CV Length parameter to 8, and the Rec Length parameter to 2 before starting to record the Drum track. When playing back the Style, saving it or executing any edit operation on the Style, the 2-measures pattern will be extended to the full 8-measures length of the Chord Variation.

If you assign to CV Length a value lower than Rec Length, the value of Rec Length is not immediately updated in the display. Therefore, you are still free of changing the value of CV Length, before the measures exceeding its value are deleted.

However, when you start recording the real Rec Length value is changed to the new one, even if the display still shows the old value.

For example, you may have CV Length = 4 and Rec Length = 4. If you set CV Length to 2, and press START/STOP to begin recording, Rec Length is still shown as 4, but it is in reality set to 2, and recording will cycle for just 2 mea-

Recording the Styles and Pads |253

sures. After you press START/STOP to stop recording, Rec Length is updated to 2, and all measures after the second measure are deleted.

Tempo, Meter, Resolution

Setting the recording Tempo

While recording, you might want to use a different Tempo than the one saved in the Style Settings. This alternative value will allow you, for example, to re- cord at a slower speed, or to experiment with different values while listening what you recorded.

When playing Pads, the Tempo is always the one of the most recently se- lected Style or MIDI Song.

Use the Tempo parameter to set the recording Tempo value.

As an alternative, use the TEMPO buttons to change the recording Tempo.

This value will not be saved in the Style or Pad.

Hint: In case you want to create Tempo variations in a Style, insert Tempo Change events in the Master Track (Style Record > Event Edit page). Pads always take Tempo values from the Style or Song.

Choosing the Meter of the Style Element or Pad

Use the Meter parameter to set the meter (time signature) of the Style Element or Pad.

You can only edit this parameter if the Style Element or Pad is still empty.

254| Customizing, recording and editing the Styles and Pads

Choosing the Resolution

Use the Resolution parameter to set quantization during recording.

Quantization is a way of correcting timing errors; notes played too soon or too late are moved to the nearest axis of a rhythm grid, set with this param- eter, thus playing perfectly in time.

To quantize after recording, use the Style/Pad Record > Style/Pad Edit > Quantize function.

resolution Meaning

High No quantization applied

(1/32) (1/8) Grid resolution, in musical values. 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. A 3 after the quanti- zation value means triplet.

No quantization

1/16

1/8

Synchronizing

Cue mode for the Style Element

You can decide how a Variation or Fill Style Element will enter after having been selected.

Go to the Style Record > Main page, and use the Cue mode pop-up menu to choose the way the Style Element will enter.

Cue mode Meaning

Immediate, first measure

The Style Element enters immediately, and begins from the first measure. Only available on Fills.

Immediate, current measure

The Style Element enters immediately, and begins from the current measure. Only available on Fills.

Next measure, first measure

The Style Element enters at the beginning of the next measure, and begins from the first measure of the new pattern. Available on both Fills and Variations.

Next measure, current measure

The Style Element enters at the beginning of the next measure, and begins from the current measure. Only available on Variations.

Recording the Styles and Pads |255

Pad Sync

You can decide how the Pad will synchronize to the current Tempo.

Go to the Pad Record > Main page, and use the Pad Sync pop-up menu to choose the way the Pad will synchronize.

Pad Sync Meaning

Off No synchronization. The sequence will start as soon as you press the PAD button.

Continued Like a Fill, the pattern will start immediately, in sync with the Arrangers or active Players Tempo. Depending on the current posi- tion of the beat counter, it might not start from its very beginning; instead, it will continue from the current position.

For example, if the Arrangers or Players beat counter shows the third beat, and is playing tick 91, the Pad will start from its third beat, at tick 91.

Beat counter

Beat The sequence will start at the next beat, in sync with the Arrangers or Players Tempo. It will start from its very beginning (that is, tick 1 or measure 1).

256| Customizing, recording and editing the Styles and Pads

assigning Sounds to the Style Element and Pads

While in Style Record mode, you can assign different Sounds to each Style Element. These Sounds are used when the Original Sound Set parameter (that you can access in the Style Play > Main > Volume pane, when the ac- companiment tracks are shown) is checked. Sounds assigned to the Style Settings are ignored.

Assigning different Sounds to each Style Element can be useful when you want, for example, to play a songs section or a a single part with a different set of instruments.

Pads only have a single Style Element and track, so there is a single Sound for the whole Pad.

Assigning a Sound to a track of the Style Element

Choosing a Sound from the main record page

1 Go to the Style Record > Main page.

2 Choose a Style Element.

3 Touch the track to select in the mixer area.

The selected track will show the Record icon ( ). Information about the assigned Sound will appear in the dedicated area.

Selected track Assigned Sound

Sound bank Program Change sequence

4 Touch the name of the Sound to open the Sound Select window, and choose a Sound.

Choosing a Sound from other edit pages

1 Go to the Style Record > Main page.

2 Choose a Style Element.

Recording the Styles and Pads |257

3 Go to any page of the Element Track Controls edit section, for example the Style Record > Element Track Controls > Expression page.

Original Sounds

4 Touch the icon of the Sound to be replaced, to open the Sound Select win- dow, and choose a Sound.

Testing the Sounds

Press the START/STOP button to check how the changes work. Press START/ STOP again to stop playback.

Assigning a Sound to the Pad track

1 Go to the Pad Record > Main page.

2 Touch the name of the Sound to open the Sound Select window, and choose a Sound.

Assigned Sound

Sound bank Program Change sequence

258| Customizing, recording and editing the Styles and Pads

Transposing the Sounds while recording

While recording, you can transpose the accompaniment tracks, to make re- cording of low or high keyboard ranges easier. You can set a separate trans- pose value for each track.

1 Go to the main page of the Style/Pad Record mode.

Mixer channels

Octave

2 Touch the corresponding mixer channel to choose a Style track.

3 Use the UPPER OCTAVE buttons on the control panel to transpose the se- lected track. The current value will appear in the Oct indicator.

Recording the Styles and Pads |259

Choosing the original key/chord and the note transposition table You will record the musical sequences in a particular key (say, C), matching a chord shape (say, Major). You will then choose a transposition table accord- ing to which they will be transposed and transformed when a different key and a slightly different chord will be recognized.

Accessing the key/chord and note transposition table

Go to the Style/Pad Record > Main page to choose the chord and transposi- tion table.

The parameters are in the Record Parameters box.

With Styles:

With Pads:

Choosing the Original Key/Chord for the selected track

Use the Key and Chord pop-up menus to define the original key/chord root and chord type for the selected Style track (or the Pad track) in the current Chord Variation.

When playing this exact chord, the recorded patterns will play without any transformation. No transposition, no processing will be applied.

When you select a track, the original key/chord assigned to the selected track will be shown. All recorded tracks will play back on that same key/ chord. For example, if the original key/chord for the Acc1 track is A7th, when selecting the Acc1 track all the other tracks will play on the A7th key/chord.

In the example above, you will record the Acc1 track in the AMajor key, with notes pertaining to the A7th scale. This exact pattern will be recalled when an A7th chord will be recognized.

These Key/Chord parameters dont apply to Guitar tracks, controlled by dif- ferent transformation rules.

Hint: To conform to KORG specifications, it is advisable to record both the Major and minor Chord Variations for the Intro 1 and Ending 1 Style Elements.

260| Customizing, recording and editing the Styles and Pads

Choosing an NTT table for the selected track

Use the NTT Type and NTT Table parameters to choose an NTT table (Note Transposition Table) for the selected Style track (or the Pad track) of the current Chord Variation.

An NTT table is a set of sophisticated algorithms that allows KORG arrangers to convert recognized chords into musical patterns. The NTT table deter- mines how the arranger will transpose pattern notes, when a chord is rec- ognized that does not exactly match the original chord of a Chord Variation.

For example, if you only recorded a Chord Variation for the CMaj chord, when a CMaj7 is recognized on the keyboard the arranger must transpose some notes to create the missing 7th.

NTT parameters are not used by Drum and Percussion tracks, and are there- fore dimmed when selecting these tracks.

There are two general types of NTTs:

Ntt type Description

Parallel Notes are transposed inside the area set by the Wrap Around parameter. These tables are ideally suited to melody parts.

as written as played back

Fixed The arranger moves as few notes as possible, making legato lines and chord changes more natural. They are ideally suited to chord tracks (strings, piano etc...).

as written as played back

Recording the Styles and Pads |261

These are the NTT Type/Table combinations:

Ntt type/table Description

Parallel/Root The root note (in CMaj = C) is transposed to the missing notes.

Parallel/Fifth The 5th note (in CMaj = G) is transposed to the missing notes. As recorded with NTT = Root or 5th (Key/Chord = C)

When you play a C7 with NTT = Root

When you play a C7 with NTT = 5th

As recorded with NTT = i-Series (Key/Chord = CM7 )

When you play a C with NTT = i-Series

When you play a C7 with NTT = i-Series

Parallel/i-Series All original patterns must be programmed on the Maj7 or min7 chords. When loading old KORG i-Series Styles, this option is auto- matically selected.

As recorded with NTT = Root or 5th (Key/Chord = C)

When you play a C7 with NTT = Root

When you play a C7 with NTT = 5th

As recorded with NTT = i-Series (Key/Chord = CM7 )

When you play a C with NTT = i-Series

When you play a C7 with NTT = i-Series

Parallel/No Transpose The chord shape is not modified, and is moved to the new key un- changed. The pattern plays exactly the recorded notes, and is moved to the new key as it is. This is the standard setting of Intro 1 and Ending 1 in KORGs original Styles (where a chord progression is usu- ally recorded).

Fixed/Chord This table moves as few notes as possible, making legato lines and chord changes more natural. It is ideally suited to chord tracks (strings, piano etc...). Contrary to the Parallel mode, the programmed chord is not transposed according to the Wrap Around parameter, but always stays around its original position, looking for common notes between the chords.

Fixed/No Transpose The programmed notes can only be transposed by the Master Transpose. They are never transposed when chords are changed.

To conform to KORG specifications, it is advisable to set the NTT table to No Transpose on the Intro 1 and Ending 1.

262| Customizing, recording and editing the Styles and Pads

recording a Style or Pad in realtime record mode

After having chosen the Style Element and Chord Variation, go on recording. Be sure to be in the Main page or the Style Record or Pad Record mode.

Using the metronome

Press the METRONOME ( ) button to turn the metronome on or off while recording.

Recording the Styles and Pads |263

Realtime recording

Select the Style track to record

While in the Style Record > Main page, touch a track to enable it for record- ing. The Record icon ( ) will appear.

track Description

Drum Drum track

Perc Percussion track

Bass Bass track

Acc 15 One of the five instrumental Accompaniment tracks

Select the Pad track to record

Be sure the Pad track is enabled for recording. The Record icon ( ) should appear.

Practice before recording

1 Mute the track to record, by repeatedly touching its status icon in the mixer channel. The Mute icon ( ) will appear. Be sure any track already recorded is showing the Play ( ) icon.

2 Press the START/STOP button to let any previously recorded track play back, and practice on the keyboard.

3 When you have finished practicing, press START/STOP to stop the arranger.

4 Set the track to record again, by repeatedly touching its status icon. The Record icon ( ) will appear again.

Record

1 Press the START/STOP button to begin recording.

A 1-measure precount will play before the recording actually begins. When it begins, record freely.

While recording, the tracks Keyboard Range is ignored, and notes can be recorded and played back over the full keyboard range. The Local Control parameter is also automatically set to On, to allow playing on the keyboard.

2 Recording will happen in cycle. The sequence will last for some measures, according to the Rec Length value, then start again from the beginning.

264| Customizing, recording and editing the Styles and Pads

At any subsequent cycle, you can add notes and overdub the previous re- cording. This is very useful, for example, to record different percussive in- struments at any cycle on a Drum or Percussion track.

3 When finished recording, press START/STOP to stop recording.

Record other tracks of the Chord Variation

While the arranger is not running, select a different Style track and go on recording all the tracks of the current Chord Variation.

Record other Chord Variations of the Style Element or Pad

When finished recording the Chord Variation, select a different Chord Variation to complete the Style Element or Pad.

Record other Style Elements of the Style

When finished recording the Style Element, record the other Style Elements to complete the Style.

Deleting notes

Use the Delete Note button to delete a single note or a single percussive instrument from a track. For example, to delete a snare, keep the D2 note (corresponding to the snare) pressed.

1 Select a Style track.

2 Touch the Delete Note button, and keep it pressed.

3 Press START/STOP to start the sequence.

4 When you reach the passage containing the note to be deleted, play the note on the keyboard. Keep it pressed, up to the last note to be deleted.

If the note is at the beginning of the sequence, press the note before start- ing it.

5 When finished, release the Delete Note button and the note to be deleted, and press START/STOP again to stop the sequence.

Listening to the results

Press the START/STOP button to check how it works. Press START/STOP again to stop playback.

Recording the Styles and Pads |265

Saving the Style or Pad

When finished recording the new Style or Pad, choose the Write Style or Write Pad command from the page menu to save it.

Exiting the Style/Pad Record mode without saving

To exit the Style/Pad Record mode without saving any change, choose the Exit from Record command from the page menu, or press the RECORD but- ton.

266| Customizing, recording and editing the Styles and Pads

recording a Style or Pad in Step record mode

Step Recording allows you to create a new Style or Pad by entering single notes or chords in each track one step at a time. This is very useful when transcribing an existing score, or in need of a higher degree of detail, and is particularly suitable to create drum and percussion tracks.

Step recording

Access Step Recording

While in the Style/Pad Record > Main page, choose the Step Record Overdub command from the page menu, to access step recording on the selected Style track (or the Pad track).

Style Element / Chord Variation Current position

Event list

Chord Variation Current position

Event list

Recording the Styles and Pads |267

Position the input pointer

The Position parameter shows the current position. This is where you will insert the next event.

If you do not want to insert a note or chord at the current position, insert a rest instead, as shown below.

To jump to the next measure, filling the remaining beats with rests, touch the Next M. button.

Choose a step value

Use the Step Time values to choose the step value.

Choose the relative note duration

Use the Duration parameter to set the relative note duration. The percent- age is always referred to the step value.

Duration Meaning

50% Staccato

85% Ordinary articulation

100% Legato

Choose the note velocity

Use the Velocity parameter to set the velocity or playing strength of the event to be inserted.

Velocity Meaning

Kbd Keyboard. Select this parameter by turning the VALUE controls com- pletely counter-clockwise. When this option is selected, the playing strength of the played note is recognized and recorded.

1 127 Velocity value. The event will be inserted with this velocity value, and the actual playing strength of the note played on the keyboard will be ignored.

Insert a note or rest at the current position

To insert a single note, play it on the keyboard. The inserted note length will match the step length. You may change the velocity and relative duration of the note, by editing the Duration and Velocity parameters.

To insert a rest, touch the Rest button. Its length will match the step value.

268| Customizing, recording and editing the Styles and Pads

To tie the note to be inserted to the previous one, touch the Tie button. A note will be inserted, tied to the previous one.

Insert a chord

Play a chord instead of a single note. The event name will be the first note of the chord you pressed, followed by the indicator.

Insert a chord made of notes with different velocity values

You can make the upper or lower note of a chord, for example, louder than the remaining ones, to let the most important note stand out from the chord.

1 Edit the first notes Velocity value.

2 Press the first note and keep it pressed.

3 Edit the second notes Velocity value.

4 Press the second note and keep it pressed.

5 Edit the third notes Velocity value.

6 Press the third note, then release all notes.

Insert a second voice

You can insert passages where one note is kept pressed, while another voice moves freely.

A few examples:

Step Time =

Step Time =

On

Press E and C

On

Press G

Off

Off

Release G and C

Release E (continue holding C)

Recording the Styles and Pads |269

Step Time = Step Time = Step Time =

Press F and C Press G

(continue holding C)

OffOn On Release F

(continue holding C)

Step Time = Step Time =

Press E

(continue holding C)

OffOn Release E and C

Step Time = Step Time =

Press D

(continue holding C)

Off On Release G

(continue holding C)

Step Time =

Off Release D

(continue holding C)

Step Time = Step Time =

On

Press C

On

Press G (continue holding C)

Off

Release G and C

Tie

Go back

If you want to go back, touch the Back button. This will delete the previously inserted event, and set the step in edit again.

Overdub recording

When the end of the pattern is reached, the End of Loop event is shown, and the recording restarts from the 001.01.000 position. Any note exceeding the pattern length, inserted at its end, will be reduced to fit the total length of the pattern.

270| Customizing, recording and editing the Styles and Pads

At this point, you may go on, inserting new events in overdub mode (the previously inserted events will not be deleted). This is very useful when pro- gramming a drum or percussion track, where you may want to program the bass drum on a first phase, the snare drum on a second phase, and the hi-hat and cymbals during the following phases.

Exit from the Record mode

1 When finished recording, touch the Done button to exit the Step Record mode.

2 A dialog box will appear, asking you to either cancel, discard or save the changes. Touch Cancel to continue editing, No to exit from the Step Record without saving, or Yes to save and exit Step Record.

Listen to your Style or Pad

When back to the main page of the Style/Pad Record mode, you may turn all tracks to the play status, then press START/STOP to listen to the Style or Pad. Press START/STOP again to stop the playback.

Saving the Style or Pad

When finished recording the new Style or Pad, choose the Write Style or Write Pad command from the page menu to save it.

Exiting the Style/Pad Record mode without saving

To exit the Style/Pad Record mode without saving any change, choose the Exit from Record command from the page menu, or press the RECORD but- ton.

Recording the Styles and Pads |271

recording a Guitar track

Simulating a real guitar

Guitar Mode allows for easy creation of realistic rhythm guitar parts, without the artificial, unmusical playing typical of MIDI programming of guitar parts. In Guitar Mode, each chord is played according to its real position on the gui- tar neck, and not generated by simply transposing a written pattern.

Recording a Guitar track is unlike recording the other tracks, where you play exactly all the notes of a melody line or all the chords of an accompaniment part. With Guitar tracks you simulate how a guitar player uses his or her left and right hand, by doing the following:

Play the keys corresponding to the strumming modes.

Play an arpeggio using the six keys corresponding to the six guitar strings (and the special keys corresponding to the root and fifth notes).

Play RX Noises to add realism to the pattern.

Add regular patterns, for melodic or chordal passages.

Fine edit the MIDI data in the Event Edit page, to select the chord types, chord shapes, and recreate any nuance of a real guitar performance.

272| Customizing, recording and editing the Styles and Pads

The Guitar track recording procedure

Here is the general procedure to follow for recording a Guitar track in Guitar Mode.

1 If there is no Guitar track, go to the Style Record > Style Track Controls > Type/Trigger/Tension page (or to the Pad Record > Pad Track Controls > Settings page) and set one of the Acc tracks as the Guitar track.

2 While in the Style Record > Main page, select a track set to the Guitar type. The Guitar Mode page becomes available.

3 Go to the Guitar Mode page, and set the parameters.

Recording the Styles and Pads |273

In particular, edit the Key/Chord parameters, being sure it matches the oth- er tracks (for example, if you are recording the other tracks in Gm7, choose Gm7 for the Guitar track).

4 Return to the Style/Pad Record > Main page, and set the recording prefer- ences. Choose the Style Element and Chord Variation. Choose the Recording Length, to set the length of the pattern to be recorded.

5 Touch the Guitar track (in a Style, corresponding to one of the Acc tracks), until the red Record icon appears on it.

6 Press the START/STOP button to start recording. After the 1-measure pre- count, start recording.

7 Record guitar strumming, by pressing the keys in the range from C1 to B1. Record single strings, arpeggios or power chords, by pressing the keys from C2 to B2. Record simple melodies or chords in the range from C3 to B6. Record RX Noises in the range from C7 to the end of the MIDI scale.

61-keys 76-keys 88-keys

RX NoisesStrumming

Single strings, arpeggios,

power chords Free melodies

or chords

8 Press the START/STOP button to stop recording.

9 Touch the Guitar track, to make the green Play icon appear.

274| Customizing, recording and editing the Styles and Pads

10 Press the START/STOP button to listen to what you just recorded.

At this point, you can either keep it, or delete it. You can use the Delete Note button to delete the notes corresponding to the strumming or strings just recorded. For more information, see the instructions for the Realtime Record mode.

11 Go on, and record other Chord Variations of the same Style/Pad Element, then record other Style Elements of the Style.

Listening to the recorded pattern

You can listen to the recorded pattern in two ways:

To listen to the selected Chord Variation at the original Key/Chord set in the Guitar Mode page, go to the Main page of the Style/Pad Record mode.

To listen to the whole Style/Pad (testing various chords, and even selecting different Style Elements), go to any of the other pages in the Record or Play mode.

The Guitar Mode page in detail

Reading the fingerboard diagram

You can see how a chord is composed on the fingerboard diagram.

Fingered string

Non-playing/muted string

Barr

Capo

Here is the meaning of the various symbols:

Symbol Meaning

Red dot Fingered string (i.e., played note).

White dot Fifth, playing on the D#2 key.

X Non played or muted note.

Light grey bar Barr (a finger crossing all the strings, like a mobile capo).

Dark grey bar Capo.

Recording the Styles and Pads |275

Choosing a Key/Chord

With Guitar tracks, the Key/Chord parameter usually sets the chord used for prelistening while programming the pattern.

Intro 1 and Ending 1 behave in a different way, since they contain programmed chord sequences. In this case, this is the reference key that will allow the cor- rect transposition during playback.

Chord progressions for Intro 1 and Ending 1 have to be entered in the Event Edit page. The root notes are entered in the lowest MIDI octave (from C-1 to B-1), under the normal range of a piano keyboard. Chord types are inserted by using velocity values, as shown in the following table:

61-keys 76-keys 88-keys

Out of the 88-note piano range

Root Notes; Velocity = Chord Type

Vel. Chord type Vel. Chord type

1 Major 2 Major 6th

3 Major 7th 4 Major 7th flatted 5th

5 Suspended 4th 6 Suspended 2nd

7 Major 7th suspended 4th 8 Minor

9 Minor 6th 10 Minor 7th

11 Minor 7th flatted 5th 12 Minor major 7th

13 Dominant 7th 14 7th flatted 5th

15 7th suspended 4th 16 Dimished

17 Diminished major 7th 18 Augmented

19 Augmented 7th 20 Augmented major 7th

21 Major w/o 3rd 22 Major w/o 3rd and 5th

23 Flatted 5th 24 Diminished 7th

276| Customizing, recording and editing the Styles and Pads

As an example, a typical C Major progression will be entered as follows:

Chord root Note Velocity

C Major C-1 1

A Minor A-1 8

D Minor D-1 8

G Dominant 7th G-1 13

C Major C-1 1

Selecting a Capo

A capo (from the Italian capotasto, head of fingerboard) is a movable bar attached to the fingerboard of the guitar, to uniformly raise the pitch of all the strings. Its use makes the strings shorter, therefore changing the timbre and position of the chords (but not their shape).

This might prevent some strings from sounding, depending on the chord po- sition. The following example shows a C Major chord fingered with no capo, and the same chord with a capo on the fifth position.

Fret = 0

Fret = V

Use the Capo > Fret pop-up menu to choose a Capo (capotasto).

Capo Meaning

0 Open string no capo.

I XII Position of the capo over the fingerboard (i.e., I corresponds to the first fret, II to the second one, and so on).

Recording the Styles and Pads |277

Selecting the lowest and highest strings

You can choose a range of strings over which the pattern will play. For ex- ample, you might want to limit strumming to the highest notes, like in the typical funky rhythm guitar.

The following example shows the same C Major chord played on all six strings, on the highest four strings, then on the highest four strings, but with a capo added on the fifth fret.

Strings 1-6, fret 0

Strings 1-4, fret 0

Strings 1-4, fret V

Use the Strings > High/Low parameter pair to choose the highest and lowest strings to play.

String Meaning

1 6 Selected string. The pattern will be played between these strings.

278| Customizing, recording and editing the Styles and Pads

Recording the guitar pattern

After having set the various parameters in the Guitar Mode page, you can return to the Style/Pad Record > Main page and start recording.

Recording strumming

While recording, you can select a type of strumming.

Press one of the keys in the octave from C1 to B1.

By pressing these keys, you play the corresponding type of strumming.61-keys 76-keys 88-keys

Note Strum

C1 Full Down

C#1 Full Down Mute

D1 Full Up

D#1 Full Up Mute

E1 Full Down Mute Body

F1 Full Down Slow

F#1 Full Down Slow Mute

G1 Full Up Slow

G#1 Up Mute 4-Strings

A1 Down 4-Strings

A#1 Down Mute 4-Strings

B1 Up 4-Strings

Recording the Styles and Pads |279

Recording single strings, arpeggios or power chords

While recording, you can select single strings, power chords or fast arpeg- gios.

Use the keys in the octave from C2 to B2 to select single strings or power chords.

By pressing these keys, you can play arpeggios or power chords. You can ei- ther play a free arpeggio with the six guitar chords assigned to the keys from C to A, or play one of the faster arpeggios on the higher keys.

The root note is always available on the C# key, while the fifth note is always assigned to the D# key; with them, you can always play the lowest notes of an arpeggio.

This octave also includes a mute all strings key (F#).61-keys 76-keys 88-keys

Note String(s)

C2 VI String (E)

C#2 Recognized Chord Root

D2 V String (A)

D#2 Recognized Chord Fifth

E2 IV String (D)

F2 III String (G)

F#2 Mute All Strings

G2 II String (B)

G#2 Power Chord

A2 I String (e)

A#2 Full Down/Up

B2 Down/Up 4-Strings

280| Customizing, recording and editing the Styles and Pads

Recording free melodies or chords

Together with strums and arpeggios, you can record regular patterns made of free melodies or chords, exactly as if the track was of the Acc type. This is useful when you need some short melodic or chordal passages (for example, the closing of a strumming pattern, or a lead solo during an Intro or Ending).

You can record the pattern by playing in the range from C3 to B6, as shown by the diagram. 61-keys

76-keys 88-keys

Recording RX Noises

RX Noises are noises generated on the guitar during a performance. Some are already included in the strumming patterns. Here you can add more to taste, for increased realism.

Press one of the keys from C7 and up to trigger RX Noises.61-keys 76-keys 88-keys

Note rX Noise

C7 and up RX Noises (depending on the Sound)

Choosing a Chord Shape

You can choose Chord Shapes in the Event Edit page, by entering a C0 note with different velocity values. The following table shows how a certain veloc- ity value corresponds to how a chord is played in a particular position and on a certain number of strings.

Playing the same chord with different positions in the same pattern will sim- ulate the typical behavior of a guitar player.

Out of the 88-note piano range

Velocity = Chord Shape

61-keys 76-keys 88-keys

Recording the Styles and Pads |281

Vel. range from Str. to Str. Position

0 6 Strings I VI 0

1 6 Strings I VI 0

2 6 Strings I VI 1

3 6 Strings I VI 2

4 6 Strings I VI 3

5 6 Strings I VI 4

6 6 Strings I VI 5

7 5 Strings Bass II VI 0

8 5 Strings Bass II VI 1

9 5 Strings Bass II VI 2

10 5 Strings Bass II VI 3

11 5 Strings Bass II VI 4

12 5 Strings Bass II VI 5

13 5 Strings Treble I V 0

14 5 Strings Treble I V 1

15 5 Strings Treble I V 2

16 5 Strings Treble I V 3

17 5 Strings Treble I V 4

18 5 Strings Treble I V 5

19 4 Strings Bass III VI 0

20 4 Strings Bass III VI 1

21 4 Strings Bass III VI 2

22 4 Strings Bass III VI 3

23 4 Strings Bass III VI 4

24 4 Strings Bass III VI 5

25 4 Strings Middle II V 0

26 4 Strings Middle II V 1

27 4 Strings Middle II V 2

28 4 Strings Middle II V 3

29 4 Strings Middle II V 4

30 4 Strings Middle II V 5

31 4 Strings Treble I IV 0

32 4 Strings Treble I IV 1

33 4 Strings Treble I IV 2

282| Customizing, recording and editing the Styles and Pads

Vel. range from Str. to Str. Position

34 4 Strings Treble I IV 3

35 4 Strings Treble I IV 4

36 4 Strings Treble I IV 5

37 3 Strings Bass IV VI 0

38 3 Strings Bass IV VI 1

39 3 Strings Bass IV VI 2

40 3 Strings Bass IV VI 3

41 3 Strings Bass IV VI 4

42 3 Strings Bass IV VI 5

43 3 Strings MiddleBas III V 0

44 3 Strings MiddleBas III V 1

45 3 Strings MiddleBas III V 2

46 3 Strings MiddleBas III V 3

47 3 Strings MiddleBas III V 4

48 3 Strings MiddleBas III V 5

49 3 Strings MiddleTreble II IV 0

50 3 Strings MiddleTreble II IV 1

51 3 Strings MiddleTreble II IV 2

52 3 Strings MiddleTreble II IV 3

53 3 Strings MiddleTreble II IV 4

54 3 Strings MiddleTreble II IV 5

55 3 Strings Treble I III 0

56 3 Strings Treble I III 1

57 3 Strings Treble I III 2

58 3 Strings Treble I III 3

59 3 Strings Treble I III 4

60 3 Strings Treble I III 5

61 2 Strings Bass V VI 0

62 2 Strings Bass V VI 1

63 2 Strings Bass V VI 2

64 2 Strings Bass V VI 3

65 2 Strings Bass V VI 4

66 2 Strings Bass V VI 5

67 2 Strings MiddleBas IV V 0

Recording the Styles and Pads |283

Vel. range from Str. to Str. Position

68 2 Strings MiddleBas IV V 1

69 2 Strings MiddleBas IV V 2

70 2 Strings MiddleBas IV V 3

71 2 Strings MiddleBas IV V 4

72 2 Strings MiddleBas IV V 5

73 2 Strings Middle III IV 0

74 2 Strings Middle III IV 1

75 2 Strings Middle III IV 2

76 2 Strings Middle III IV 3

77 2 Strings Middle III IV 4

78 2 Strings Middle III IV 5

79 2 Strings MiddleTreble II III 0

80 2 Strings MiddleTreble II III 1

81 2 Strings MiddleTreble II III 2

82 2 Strings MiddleTreble II III 3

83 2 Strings MiddleTreble II III 4

84 2 Strings MiddleTreble II III 5

85 2 Strings Treble I II 0

86 2 Strings Treble I II 1

87 2 Strings Treble I II 2

88 2 Strings Treble I II 3

89 2 Strings Treble I II 4

90 2 Strings Treble I II 5

284| Customizing, recording and editing the Styles and Pads

22 Editing the Styles and Pads

Editing the track parameters

For each Style Element, and the Pad, you can edit various track parameters.

Hint: In the edit pages where the Style Element abbreviation appears, you can choose a Style Element by pressing the corresponding button on the control panel (VARIATION1 ENDING3).

Selected Style Element

Style Element/Pad relative volume (Expression)

You can set different Expression (CC#11) values for each of the Style Element tracks. Since Expression is a relative volume control, you can use it to lower the level compared to the overall volume of the Style. This is especially use- ful when different Sounds are assigned to the same track in different Style Elements, and the level of these Sounds is different.

With Pads, Expression can help balancing the Pads between them.

1 Go to the Style Record > Element Track Controls > Expression page.

Selected Style Element

Expression

Editing the Styles and Pads |285

You set the Expression value for the Pad in the Pad Record > Pad Track Controls > Settings page.

2 Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 ENDING3).

3 Use the Expression Monitor indicators to check if Expression (CC#11) mes- sages are contained in the tracks.

Press the START/STOP button to start playback, and look at the indicators. When one of them lights up, you can enter Event Edit on the corresponding track, and edit or remove the Expression messages.

4 Use the Expression knobs to set the Expression (CC#11) value for the corre- sponding track. This value can be seen at the beginning of the Event Edit list.

Adjusting Expression

You can quickly and easily adjust the Expression level of all tracks in a Style Element. This allows for a more precise control over the volume level of all Style Element.

1 While in this page, select one of the Style Elements by pressing its button in the control panel.

2 Keep the SHIFT button pressed, and press the TEMPO + button to increase the Expression value of all the Style Elements tracks, TEMPO - to decrease it.

3 Release the SHIFT button.

4 Repeat the above operation with all the desired Style Elements.

A tracks volume may be changed by an Expression event contained in a track. To check if any of these events exist in a track, let the Style Element play and look at the Expression Monitor in this same page. If one or more Expression events are found, go to the Event Edit page and delete or edit them.

286| Customizing, recording and editing the Styles and Pads

5 Press the START/STOP button and play some chords to check how it works. Select any Style Element using the control panel button. Press START/STOP again to stop playback.

Keyboard Range

Setting the Keyboard Range automatically transposes any sequence note that would otherwise play too high or too low in pitch, compared to the origi- nal acoustic instruments natural range, when transposed by the arranger. This will result in more natural sounding instruments.

For example, the standard lower limit for a concert flute is C4. If you play a chord under the C4, the transposed pattern could exceed this limit, and sound unnatural. A Bottom limit set to C4 for the flute track will solve the problem.

Different Keyboard Range values can be set for each Style Element. This will help forcing a preferred range in a particular section of the song, to simulate a particular piano comping style, or to avoid overlapping of instruments over different tracks.

1 Go to the Style Record > Element Track Controls > Range page. Selected Style Element

Keyboard Range

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You set the Keyboard Range for the Pad in the Pad Record > Pad Track Controls > Settings page.

2 Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 ENDING3).

3 Use the Top and Bottom parameters to set the bottom and top limit of the keyboard range for the corresponding track of the selected Style Element.

While recording, the Keyboard Range is ignored. It will be used when playing back the Style.

4 Press the START/STOP button and play some chords to check how it works. Select any Style Element using the control panel button. Press START/STOP again to stop playback.

RX Noise/Guitar

In the Noise/Guitar page you can set the RX Noise level and the human feel of the Guitar tracks.

1 Go to the Style Record > Element Track Controls > Guitar/Noise page.

Selected Style Element

RX Noise level

Guitar track humanization

288| Customizing, recording and editing the Styles and Pads

You set the RX Noise and Humanize parameters for the Pad in the Pad Record > Pad Track Controls > Settings page.

2 Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 ENDING3).

3 Use the RX Noise knobs to adjust the volume of RX Noises in the corre- sponding tracks. This control applies to all types of tracks (provided the Sound contains RX Noises).

4 Use the Humanize Guitar knobs to apply a random value to the position, velocity and length of notes of Guitar tracks. This only works on tracks set to the Gtr type in the Style Record > Style Track Controls > Type/Trigger/ Tension page, or the Pad Record > Pad Track Controls > Settings page.

5 Press the START/STOP button and play some chords to check how it works. Select any Style Element using the control panel button. Press START/STOP again to stop playback.

Editing the Styles and Pads |289

Pad type

When triggered, Pads can play once or loop until you stop them.

1 Go the Pad Record > Pad Track Controls > Settings page.

2 Use the Pad Type pop-up menu to choose the type of Pad.

Pad type Meaning

One Shot When you press one of the PAD buttons, the corresponding Pad is only played once. This is useful for playing Hits or Sequences that must only play once.

Loop When you press one of the PAD buttons, the corresponding Pad plays up to the end, then continues playing from the start. Press STOP in the PAD section to stop it playing. This is useful for playing cyclic sequences.

Please note that, while in Pad Record, the pattern is always played back in loop, even if this parameter is set to One Shot.

290| Customizing, recording and editing the Styles and Pads

Editing the Chord table

You can assign a Chord Variation to each of the main recognized chord. When a chord is recognized, the assigned Chord Variation will be automati- cally selected by the arranger to play the accompaniment.

1 Go to the Style Record > Chord Table & Variation > Chord Table page.

Selected Style Element

With a Pad, go to the Pad Record > Pad Chord Table > Chord Table page.

2 Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 ENDING3). Pads have no Style Elements.

3 Use the Chord / Chord Variation parameters to assign a Chord Variation to each of the chords.

4 Press the START/STOP button and play some chords to check how it works. Select any Style Element using the control panel button. Press START/STOP again to stop playback.

Editing the Styles and Pads |291

Checking the available Chord Variations

You can see which Chord Variations contain data (having been recorded or imported) in the current Style.

Go to the Style Record > Chord Table & Variation > Chord Variation page.

Dimmed Chord Variations are empty.

While in the Chord Table page you can see which Chord Variations have been used in the current Style Element, this page lets you see which Chord Variations are contained in the whole Style. If there are unused Chord Variations, you may choose to delete them to make the Style file lighter, or to assign them to a chord.

292| Customizing, recording and editing the Styles and Pads

Editing the track type, trigger, tension

You can edit the track type, its response to retriggering, and add harmonic tension.

1 Go to the Style Record > Style Track Controls > Type/Trigger/Tension page.

You can access these parameters for the Pad in the Pad Record > Pad Track Controls > Settings page.

2 Press the corresponding button on the control panel to select one of the Style Elements (VARIATION1 ENDING3).

Editing the Styles and Pads |293

3 Use the Track Type parameter to set the type of the corresponding track.

track type Meaning

Drum Drum track. This type of track is not transposed by the arranger, and is used for Drum Kits made of Drum Sounds. It can be affected by Drum Mapping. With Pads, this is used for both Drum and Percussion sounds.

Perc Percussion track. This type of track cannot be transposed, and is used for Drum Kit made of Percussion sounds. It is NOT affected by the Drum Mapping. (Not available with Pads.)

Bass Bass track. This type of track always plays the root when changing chord.

Acc Accompaniment track. This type of track can be used freely, for me- lodic or harmonic accompaniment patterns.

Gtr Guitar track. This type of track uses Guitar Mode to create guitar strumming or arpeggios.

4 Use the Trigger Mode parameter to define how Bass and Acc-type tracks are retriggered when the chord is changed.

trigger Mode Meaning

Off Each time you play a new chord, current notes will be stopped. The track will remain silent until a new note will be encountered in the pattern.

Rt (Retrigger) The sound will be stopped, and new notes matching the recognized chord will be played back.

Rp (Repitch) New notes matching the recognized chord will be played back, by repitching notes already playing. There will be no break in the sound. This is very useful on Guitar, Bass, Strings and Brass tracks.

5 Use the Tension checkbox to make the accompaniments harmony richer and more interesting, by adding tension.

Tension adds notes (a 9th, 11th and/or 13th) that have actually been played to the accompaniment, but havent been written in the Style pattern.

6 Press the START/STOP button and play some chords to check how it works. Select any Style Element using the control panel button. Press START/STOP again to stop playback.

294| Customizing, recording and editing the Styles and Pads

Editing the Style/Pad sequences

You can edit the Style/Pad sequence data in the Style/Pad Record > Style/ Pad Edit section. With Pads, you cannot select a track or Style Element to edit.

Quantizing

The quantize function may be used to correct any timing mistake after re- cording, or to give the pattern a groovy feeling.

1 Go to the Style/Pad Record > Style/Pad Edit > Quantize page.

2 Select the Track, Style Element (E) and Chord Variation (CV) to edit.

track Meaning

All All tracks selected

Drum Acc5 Selected track

3 Use the Resolution pop-up menu to choose the quantize resolution.

resolution Meaning

(1/32) (1/4) Grid resolution after recording, in musical values. 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. A bf character added after the value means swing-quantization. A 3 af- ter the quantization value means triplet.

No quantization

1/16

1/8

Editing the Styles and Pads |295

4 Use the Start Tick and End Tick parameters to set the beginning and ending of the passage to be quantized.

If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.

5 Use the Bottom Note and Top Note parameters to set key range to edit.

These parameters are only available when a Drum or Percussion track is selected. If you select the same note as the Bottom and Top parameters, you can select a single percussive instrument in a Drum Kit.

6 After having set the various parameters, touch Execute.

7 Press the START/STOP button to check how it works. Press START/STOP again to stop playback.

Transposing

The transpose function may be used to transpose the selected track(s).

After transposing, please dont forget to readjust the Key/Chord parameter in the main page of the Style/Pad Record mode.

1 Go to the Style/Pad Record > Style/Pad Edit > Transpose page.

2 Select the Track, Style Element (E) and Chord Variation (CV) to edit.

track Meaning

All All tracks selected, apart for the tracks set in Drum mode (like the Drum and Percussion tracks). The whole selected Chord Variation will be transposed.

Drum Acc5 Selected track.

296| Customizing, recording and editing the Styles and Pads

3 Use the Value parameter to choose the transpose value.

Value Meaning

-127 127 Transpose value (in semitones)

4 Use the Start Tick and End Tick parameters to set the beginning and ending of the passage to be transposed.

If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.

5 Use the Bottom Note and Top Note parameters to set key range to edit.

If you select the same note as the Bottom and Top parameters, you can se- lect a single percussive instrument in a Drum Kit. Since in a Drum Kit each instrument is assigned to a different note of the scale, transposing a percus- sive instrument means assigning the part to a different instrument.

Selective transpose can also be used to avoid transposing RX Noises (trans- posing only notes under C7).

6 After having set the various parameters, touch Execute.

7 Press the START/STOP button to check how it works. Press START/STOP again to stop playback.

Editing Velocity data

You can change the velocity (dynamics) value of notes in the selected track.

When an RX Sound is assigned to the track being edited, the resulting sound may change, since this kind of Sounds is made of several different layers triggered by different velocity values.

Also, a fade-out may result in the level jumping up next to the zero, since a higher-level layer may be selected by low velocity values.

Editing the Styles and Pads |297

1 Go to the Style/Pad Record > Style/Pad Edit > Velocity page.

2 Select the Track, Style Element (E) and Chord Variation (CV) to edit.

track Meaning

All All tracks selected. The velocity for all notes of the whole selected Chord Variation will be changed.

Drum Acc5 Selected track.

3 Use the Velocity Value parameter to choose the transpose value.

Value Meaning

-127 127 Velocity change value (in MIDI value)

4 If you want to use the advanced parameters, allowing you to select a velocity curve and create fade-ins or fade-outs, select the Advanced checkbox.

When this parameter is selected, the Intensity, Curve, Start Velocity Value and End Velocity Value parameters become accessible.

Use the Intensity parameter to specify the degree to which the velocity data will be adjusted toward the curve you specify with Curve.

Intensity Meaning

0 100% Intensity value. With a setting of 0%, the velocity will not change. With a setting of 100%, the velocity will be changed the most.

298| Customizing, recording and editing the Styles and Pads

Use the Curve parameter to select one of the six curves, and specify how the velocity will change over time.

Start Value

Curve 1

Velocity

Start Value = 0%, End Value = 100%

127

1 End Value

Start Value

Curve 2

Velocity

127

1 End Value

Start Value

Curve 3

Velocity

127

1 End Value

Start Value

Curve 4

Velocity

127

1 End Value

Start Value

Curve 5

Velocity

127

1 End Value

Start Value

Curve 6

Velocity RANDOM

127

1 End Value

Use the Start Vel. Value and End Vel. Value to change the velocity value at the starting and ending of the selected curve.

Intensity Meaning

0 100% Velocity change in percentage

5 Use the Start Tick and End Tick parameters to set the beginning and ending of the passage to be edited.

If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.

6 Use the Bottom Note and Top Note parameters to set key range to edit.

If you select the same note as the Bottom and Top parameters, you can se- lect a single percussive instrument in a Drum Kit. Selecting a range can also be used to only edit RX Noises (from C7) or ordinary notes (under C7).

7 After having set the various parameters, touch Execute.

8 Press the START/STOP button to check how it works. Press START/STOP again to stop playback.

Editing the Styles and Pads |299

Cutting out measures

You can delete a selected measure (or a series of measures) from the se- lected Chord Variation. All following events will be moved back, to replace the cut measure(s).

1 Go to the Style/Pad Record > Style/Pad Edit > Cut page.

2 Select the Track, Style Element (E) and Chord Variation (CV) to edit.

track Meaning

All All tracks selected

Drum Acc5 Selected track

3 Use the Start parameter to select the first measure to be cut.

4 Use the Length parameter to choose the number of measures to be cut.

5 After having set the various parameters, touch Execute.

6 Press the START/STOP button to check how it works. Press START/STOP again to stop playback.

300| Customizing, recording and editing the Styles and Pads

Deleting data from measures

The Delete page is where you delete MIDI events out of the Style. This func- tion does not remove measures from the pattern. To remove whole mea- sures, use the Cut function instead.

1 Go to the Style/Pad Record > Style/Pad Edit > Delete page.

2 Select the Track, Style Element (E) and Chord Variation (CV) to edit.

track Meaning

All All tracks selected. After deletion, the selected Chord Variation will remain empty.

Drum Acc5 Selected track.

Editing the Styles and Pads |301

3 Use the Event pop-up menu to choose the type of event to delete.

Event Meaning

All All events. The measures are not removed from the Chord Variation.

Note All notes in the selected range.

Dup.Note All duplicate notes. When two notes with the same pitch are encoun- tered on the same tick, the one with the lowest velocity is deleted.

After Touch After Touch events.

Pitch Bend Pitch Bend events.

Prog.Change Program Change events, excluding the bundled Control Change #00 (Bank Select MSB) and #32 (Bank Select LSB).

This kind of data is automatically removed during recording.

Ctl.Change All Control Change events, for example Bank Select, Modulation, Damper, Soft Pedal

CC00/32 CC127 Single Control Change events. Double Control Change numbers (like 00/32) are MSB/LSB bundles.

Some CC data are automatically removed during recording.

4 Use the Start Tick and End Tick parameters to set the beginning and ending of the passage to be deleted.

If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.

5 Use the Bottom Note and Top Note parameters to set key range to edit.

These parameters are available only when the All or Note option is selected. If you select the same note as the Bottom and Top parameters, you can se- lect a single percussive instrument in a Drum Kit. Selecting a range can also be used to only edit RX Noises (from C7) or ordinary notes (under C7).

6 After having set the various parameters, touch Execute.

7 Press the START/STOP button to check how it works. Press START/STOP again to stop playback.

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Deleting Style Elements, Chords Variations or a whole Style

You can delete a selected Style Element or Chord Variation, or the whole Style.

1 Go to the Style/Pad Record > Style/Pad Edit > Delete All page.

2 Select the Track to delete.

track Meaning

All All tracks of the selected Style, Style Element or Chord Variation.

Drum Acc5 Single track of the selected Style, Style Element or Chord Variation.

3 Select the Style Element (E) and Chord Variation (CV) to delete.

E/CV Meaning

All All Style Elements, i.e. the whole Style. When E/Track=All and CV=All, the whole Style is deleted.

Var1 CountIn Single Style Element.

V1-CV1 CI-CV2 Single Chord Variation.

4 After having set the various parameters, touch Execute.

5 Press the START/STOP button and play some chords to check how it works. Select any Style Element using the control panel button. Press START/STOP again to stop playback.

Copying from a Style

You can copy a track, Chord Variation or Style Element from the same or a different Style. Be warned that copying will overwrite all data at the target location.

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1 Go to the Style/Pad Record > Style/Pad Edit > Copy from Style page.

2 Use the From Style parameter to choose the source Style. Touch the Select button to open the Style Select window and select the source Style from there. Touch the Current button to select the current Style as the copy source.

3 Use the From E/CV pop-up menu to choose the source Style Element (E) and Chord Variation (CV), and the To E/CV pop-up menu to choose the target.

E/CV Meaning

All All Style Elements, i.e. the whole Style. You cant change the target, that is automatically set to All.

Var1 End2 Single Style Element.

V1-CV1 CI-CV2 Single Chord Variation.

Due to the different structure, you can only copy over similar Style Elements, for example from a Variation to another Variation.

4 Use the From Track pop-up menu to choose the source track, and the To Track pop-up menu to choose the target.

track Meaning

All All tracks of the selected Style, Style Element or Chord Variation.

Drum Acc5 Single track of the selected Style, Style Element or Chord Variation.

5 After having set the various parameters, touch Execute.

When you copy over an existing Chord Variation, Program Change data is not copied, to leave the original Sounds unchanged for that Chord Variation. If you copy a complete Style Element (Var1, End1 etc.), Program Changes are also copied.

304| Customizing, recording and editing the Styles and Pads

Copying from a Pad

You can copy a Chord Variation or all of a Pads Chord Variations. Be warned that copying will overwrite all data at the target location.

1 Go to the Style/Pad Record > Style/Pad Edit > Copy from Pad page.

2 Use the From Pad parameter to choose the source Pad. Touch the Select button to open the Pad Select window and select the source Pad from there.

3 Use the From CV pop-up menu to choose the source Chord Variation (CV), and the To E/CV pop-up menu to choose the target.

E/CV Meaning

Var1 End2 Single Style Element.

V1-CV1 CI-CV2 Single Chord Variation.

4 Use the To Track pop-up menu to choose the target in the Style where to copy the Pad track.

track Meaning

All All tracks of the selected Style, Style Element or Chord Variation.

Drum Acc5 Single track of the selected Style, Style Element or Chord Variation.

5 After having set the various parameters, touch Execute.

When you copy over an existing Chord Variation, Program Change data is not copied, to leave the original Sounds unchanged for that Chord Variation.

Editing the Styles and Pads |305

Editing the MIDI events

The Event Edit is the page where you can edit each single MIDI event of the selected Chord Variation. You can, for example, replace a note with a differ- ent one, or change its playing strength (that is, velocity value).

The Event Edit page

Go to the Style/Pad Record > Event Edit > Event Edit page.

a. Touch here to choose the

track to edit

b. Edit the events

306| Customizing, recording and editing the Styles and Pads

The Event Edit procedure

Here is the general procedure to follow for the event editing.

Choose the Style or Pad and access editing

1 While in Style Play mode, access recording by pressing the RECORD button and choosing one of the options (create or edit a Style or Pad).

2 While in the Style/Pad Record > Main page, select the Style Element (Style only) and Chord Variation to edit.

3 Go to the Style/Pad Record > Event Edit > Event Edit page.

Listen to the patterns

Press the START/STOP button to listen to the selected Chord Variation. Press START/STOP again to stop it.

Filter the events shown

Go to the Style/Pad Record > Event Edit > Filter page to select the events to hide.

Editing the Styles and Pads |307

Filter Meaning

Note/RX Noise Notes and RX Noises

Program Program Change

Control Control Change events. Only the following Control Change numbers are allowed with Styles.

Control function CC#

Modulation 1 1

Modulation 2 2

Pan 10

Expression(a) 11

CC#12 12

CC#13 13

Ribbon 16

Damper 64

Filter Resonance 71

Low Pass Filter Cutoff 74

Sound Controller 1 (CC#80) 80

Sound Controller 2 (CC#81) 81

CC#82 82

(a). Expression events cannot be inserted at the starting Position (001.01.000). An Expression value is already among the default header parameters of the Style Element or Pad.

Tempo/Meter Tempo and Meter (time signature) changes (Master Track only).

Pitch Bend Pitch Bend events.

Pa Controls Messages exclusive to the Pa-Series instruments.

Edit the events

1 Go back to the Style/Pad Record > Event Edit > Event Edit page.

2 Use the Track pop-up menu to select the track to edit in a Style. The Pad track is already selected.

The list of events contained in the selected track (inside the selected Chord Variation) will appear in the display. Some events on the beginning of the Chord Variations, as well as the EndOfTrk event (marking its ending point) cannot be edited, and appear dimmed.

3 Scroll though the various events by using the scrollbar.

308| Customizing, recording and editing the Styles and Pads

4 Touch the event to be edited, and edit it.

Measure/Position Type Value 1 Value 2 Duration/Length

Select the M (Measure), and use the VALUE controls to change events posi- tion.

Select the Type parameter, and use the VALUE to change the event type.

Select the Value 1 and Value 2 parameters, and use the VALUE controls to edit them. In case of numeric values, you can also touch them twice to open the numeric keypad.

If a Note event is selected, select the D (Duration/Length) parameter, and use VALUE controls to change the events length.

Jump to a different measure

1 Touch the Go Meas. button to go to a different measure. The Go To Measure dialog will appear.

2 Enter a target measure and touch OK to confirm The first event available in the target measure will be selected.

Insert events

Touch the Insert button to insert an event at the current Position (M). A Note event with default values will be inserted.

Delete events

Select an event, then touch the Delete button to delete it.

Edit other tracks

When editing is complete, select a different track to edit.

Exit Event Edit

When finished editing the selected Chord Variation, press the EXIT button to go back to one of the Style Record > Record pages, then select a different Chord Variation to edit.

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Copying the Style track settings

Once you have edited a Style track, you can copy and paste its settings to another track, Chord Variation or Style Elements.

1 Choose the Copy command from the page menu to open the Copy Track Settings dialog.

2 Check all the track settings you want to copy.

3 Use the From pop-up menu to choose the source Style Element.

Style Element Meaning

Current Style Element Settings will be copied from all the tracks of the current Style Element to all the tracks of the target Style Element(s).

Current Track Settings will be copied from the selected track of the current Style Element to the same track of the target Style Element(s).

4 Use the To pop-up menu to choose the target Style Element.

Style Element Meaning

All Settings will be copied to all the Style Elements (whole Style).

All Var Settings will be copied to all the Variation Style Elements.

All Fill/Break Settings will be copied to all the Fill/Break Style Elements.

All Intro/Ending Settings will be copied to all the Intro/Ending Style Elements.

Var1 End3 Settings will be copied to the selected Style Element.

310| Customizing, recording and editing the Styles and Pads

23 Importing and exporting the Styles and Pads

Importing a Standard MIDI File to a Chord Variation

You can import Standard MIDI Files created on your preferred external se- quencer, and transform them to a Chord Variation.

Preparing the MID file

The Standard MIDI File to be imported must be programmed as if it was one of Pa4Xs Chord Variations. Here are the rules.

Importing Style Element / Chord Variation parameters

When importing an SMF, parameters like CV Length, Meter, Tempo Changes, Program Changes and Expression are recognized.

The Chord Variation length is the same as the imported SMF. You can change length by changing the value of the CV Length parameter in the Style/Pad Record > Main page.

Key/Chord, Chord Table, Expression, and any other Style Element param- eter, must be manually programmed in the relevant Style/Pad Record pages.

The starting Tempo, and each tracks Volume, must be programmed as Style Settings data, and then saved in the Style Settings.

Meter (Time Signature) Change is not allowed, therefore not recognized.

Importing and exporting the Styles and Pads |311

MIDI events

When importing, only the events allowed for recording are imported (as shown in the table on page 245). Some controllers are reset at the end of the pattern.

Sounds

Sounds assigned to each track are imported, provided the Program Change, Bank Select MSB and LSB events are on the first tick of the SMF. These will be the original Sounds of the Style Element, that you can access from the Style Record > Main page, or the Style Record > Element Track Controls > Expression page. These data are also the Sound of the Pad track.

These Sounds can be overridden by Sounds assigned to the Style Settings, when the Original Sound Set parameter in the Style Play > Main > Volume pane (accompaniment tracks shown) is not checked.

Note length

If a note extends beyond the last measure of the Chord Variation, an addi- tional measure is appended (for example, if a note extends after the end of the fourth measure in a 4-measure pattern, a 5-measure Chord Variation will be generated). If so, change the CV Length value to reset the Chord Variation length. The exceeding note will be cut, to fit the new sequence length.

MIDI channels

When programming a Chord Variation on an external sequencer, please as- sign each Style track to the correct MIDI channel (In and Out), according to the following table.

Style track MIDI Channel

Bass 09

Drum 10

Percussion 11

Accompaniment 1 12

Accompaniment 2 13

Accompaniment 3 14

Accompaniment 4 15

Accompaniment 5 16

The Pad track is to be assigned to MIDI channel #10.

312| Customizing, recording and editing the Styles and Pads

Importing a Standard MIDI File into a Chord Variation

1 Go to the Style/Pad Record > Import/Export > Import SMF page.

2 Use the From Song parameter to choose a MID file to import. Touch the Select button to open the file selector.

Only Standard MIDI Files in format 0 can be loaded.

3 Select the Initialize checkbox if you want all settings of the target Style Element or Pad (like Key/Chord, Chord Table, Sounds) to be reset when loading the SMF.

It is a good idea to select the Initialize parameter when importing the first Chord Variation of a Style Element or Pad, and deselect it when importing the subsequent Chord Variations. This way, the initial parameter will be reset only once.

4 Use the To Element/Chord Variation pop-up menu to choose a target Chord Variation inside a Style Element or Pad.

5 After having set all the parameters in this page, touch the Execute button to import the Standard MIDI File into the target Chord Variation.

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Importing a Standard MIDI File to a Style

Preparing a Standard MIDI File separated by markers

As an alternative to importing individual Chord Variations, you can convert a Standard MIDI File separated by markers into a Style. This is a single Standard MIDI File containing all the Chord Variations and Style Elements (Variation 1, Variation 2, etc.) each one separated by a marker (the same events used in Song Play mode).

All the rules described in the section devoted to importing an individual Chord Variation apply. Style Tracks and MIDI Channels must be matched as in the previous table, as per KORGs standard Style format definition. Tracks/ MIDI Channels other than the above mentioned are ignored during the im- port procedure.

Importing a Standard MIDI File into a Style

1 Go to the Style/Pad Record > Import/Export > Import SMF page.

2 Use the From Song parameter to choose a MID file to import. Touch the Select button to open the file selector.

Only Standard MIDI Files in format 0 can be loaded.

3 Select the Initialize checkbox if you want all settings of the target Style Element or Pad (like Key/Chord, Chord Table, Sounds) to be reset when loading the SMF.

When creating a new Style, we suggest to check the Initialize checkbox. Do not check it if the SMF you are loading was previously exported from a Style to be edited; in this case, it is very important to keep all the previous settings.

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4 After having set all the parameters in this page, keep the SHIFT button pressed and touch the Execute button to import the Standard MIDI File.

Imported MIDI events

When importing, only the events allowed for recording are imported (as shown in the table on page 245). Some controllers are reset at the end of the pattern.

The following events are stripped off the sequence, and automatically trans- ferred to the Style Element or Pad header during the import procedure:

Time signature (this event is mandatory)

Control Change bundle #00-32 (Bank Select MSB/LSB)

Program Change

Control Change #11 (Expression), Control Change 00, Control Change 32 and Program Change messages must be placed at the very beginning of each Chord Variation (tick 0).

Whenever they are not saved in the SMF, Program Change, Control Change 00, 11 and 32, can be still programmed in Style Record mode, by using the edit features available.

Naming conventions

The naming structure for the markers inside the SMF is EnCVn, whose sin- gle components are shown in the following table:

Component Meaning

E Style Element (v = Variation, i = Intro, f = Fill, e = Ending)

n Style Element number (1~4 for Variations, 1~2 for all other Style Elements)

CV Chord Variation (cv = Chord Variation no other choices allowed)

n Chord Variation number 1~6 for Variations, 1~2 for all others]

It is mandatory not to use capital letters in marker names. Some examples of valid names:

i1cv2 = Intro1 Chord Variation 2

v4cv3 = Variation 4 Chord Variation 3

Examples of non accepted names:

V1cv2, v1CV2, intro i1cv2, v1cv1 chorus

Importing and exporting the Styles and Pads |315

The order of the Chord Variations inside the SMF is not relevant. They can be freely placed inside the SMF.

Pads always use names of this type: v1cvn (they always start with v1).

Below, you can find a screenshot of a test file created in Steinberg Cubase, just as an example of how a SMF separated by markers can look like. Considering analogies between actual workstations, it will not look much different in other applications like Digital Performer, Logic Pro, Pro Tools or Sonar.

316| Customizing, recording and editing the Styles and Pads

Importing a MIDI Groove to a Style or Pad

You can import a MIDI Groove created with the Time Slicing operation (in the Sampling). Importing a MIDI Groove is a step in the general procedure of creating an Audio Groove from an audio sample. You can find the procedure described on page 505. The Import Groove operation is described on page 512.

Importing and exporting the Styles and Pads |317

Exporting a Chord Variation

You can export a Chord Variation as a Standard MIDI File (MID file), then edit it on your preferred external sequencer.

Exporting a Chord Variation to a Standard MIDI File

1 Go to the Style/Pad Record > Import/Export > Export SMF page.

The (non editable) To Song parameter shows the name of the Standard MIDI File that will be generated. This (automatically assigned) name will be the same of the exported Chord Variation.

2 Use the To Element/Chord Variation pop-up menu to choose the source Chord Variation from a Style Element or the Pad.

3 After having set all the parameters in this page, touch the Execute button to export it as a Standard MIDI File. A standard file selector will appear. Select the target device and directory, then touch Save. A dialog box will appear, letting you assign a name to the file.

318| Customizing, recording and editing the Styles and Pads

Exporting a Style to a Standard MIDI File separated by markers

As an alternative to exporting single Chord Variations to individual Standard MIDI Files, you can export a whole Style as an SMF separated by markers, that is, a single SMF containing all the Chord Variations and Style Elements (Variation 1, Variation 2, etc.) each one separated by a marker (the same events used in Song Play mode).

1 Go to the Style/Pad Record > Import/Export > Export SMF page.

The (non editable) To Song parameter shows the name of the Standard MIDI File that will be generated.

2 Keep the SHIFT button pressed and touch the Execute button to export it as a Standard MIDI File. A standard file selector will appear. Select the target device and directory, then touch Save. A dialog box will appear, letting you assign a name to the file.

This operation will create, in the selected device, an SMF format 0 (Zero), containing all the MIDI data included in the selected Style or Pad, with each Chord Variation starting from a different marker (named as per the naming convention explained in the Import section above).

Each Chord Variation will include, at the very beginning (tick 0), the following informations:

Time Signature

Control Change bundle #00-32 (Bank Select MSB/LSB)

Program Change

Control Change #11 (Expression)

Converting a MIDI Song to a Style |319

24 Converting a MIDI Song to a Style

the Style Creator Bot

You can convert any commercially or freely available MIDI Song (in Standard MIDI File format) into a complete Pa4X Style. While Pa4X includes a state-of- the-art converter of this type, and will most of the times result in a careful recreation of the original song, the quality of results may vary depending on the source song.

1 Press the RECORD button to open the Record/Edit Menu dialog.

2 Choose the Style > Creator Bot option and touch OK to open the file selec- tor.

3 Select the source MIDI Song (.mid file), and confirm by touching Select.

320| Customizing, recording and editing the Styles and Pads

4 When the conversion is complete, you are asked to write the new Style into a Style location. See the procedure in the next page.

5 After writing, the new Style is automatically selected. Fine-tune it with the functions seen in this part of the manual.

In the end, you will get a Style including all the Style Elements, the four Pads, the four Keyboard Sets and a Chord Sequence containing the chords recog- nized in the source MIDI Song.

Writing the new/edited Style or Pad |321

25 Writing the new/edited Style or Pad

Writing the Styles

Styles can be saved into a Style memory location (usually, Favorite, User or Direct). When saving a Style, its Style Settings are automatically saved.

1 While in Style Record mode, choose the Write Style command from the page menu to open the Write Style dialog.

Style name

Style bank

Style location Touch to open the Style Select window

2 You may change the name of the Style. Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name.

When done editing the name, confirm by touching the OK button under the virtual keyboard.

3 When back to the Write Style dialog, if you want to save onto a different location touch the Select button and open the Style Select window. Choose

322| Customizing, recording and editing the Styles and Pads

a location as if you were choosing a Style. Blank locations are shown as a series of dashes ().

4 When back at the Write Style dialog, confirm the Write operation by touch- ing the OK button.

Creating the Favorite Style banks

You can create the Favorite Style banks in one of the following ways.

Load Styles into the Favorite Style locations

While in the Media > Load page, you can load any Style into the Favorite banks.

Copy & paste onto Favorite Style locations

While in the Style Select window, choose the Copy and Paste com- mand from the page menu, to copy & paste any Style into the Favorite banks.

Save a recorded or edited Style into a Favorite Style location

While in Style Record, choose the Write Style command from the page menu, and write the new or edited Style onto the Favorite banks.

Writing the new/edited Style or Pad |323

Writing the Pads

Pads can be saved into a Pad memory location. After saving the Pads, assign up to four of them to a Style or SongBook Entry, that will recall them.

1 While in Pad Record mode, choose the Write Pad command from the page menu to open the Write Pad dialog.

Pad name

Pad bank

Pad location Touch to open the Pad Select window

2 You may change the name of the Pad. Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name.

When done editing the name, confirm by touching the OK button under the virtual keyboard.

3 When back to the Write Pad dialog, if you want to save onto a different lo- cation touch the Select button and open the Pad Select window. Choose a location as if you were choosing a Style. Blank locations are shown as a series of dashes ().

4 When back at the Write Pad dialog, confirm the Write operation by touching the OK button.

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|325

Part VI: CUStOMIZING, rECOrDING aND EDItING tHE SONGS

326| Customizing, recording and editing the Songs

Customizing the Songs |327

26 Customizing the Songs

How to play a Song Song Play vs. Sequencer mode

The Players are just that players. So, to prevent undesired changes to the file, no changes made in Song Play mode can be saved. To save changes to a MIDI Song, load and edit it in Sequencer mode.

However, you can do on-the-fly edits to the MIDI Song Sounds exactly as you would with the Keyboard Sounds. See the Customizing and editing the Sound sets section for more information.

In the following pages, you will find quick information on how to set the Sound volume and the play/mute status of the Song tracks.

328| Customizing, recording and editing the Songs

Special tracks (Melody, Drum & Bass), Fast Play

Choosing the Melody track

You might want to define a Players track as the Melody track. You will then be able to mute it by using the Song Melody - Mute function, that you can assign to a switch, footswitch or EC5 switch. See the Controllers part for information on how to program the controllers.

1 Go to the Global > Mode Preferences > Song & Seq page.

2 Use the SMF Melody Track pop-up menu to choose one of the Song tracks to be used as the Melody track.

Choosing the Drum & Bass tracks

You can define two MIDI Songs tracks as the Drum and Bass tracks. These tracks will play when selecting the Drum&Bass function, that you can assign to a switch, footswitch or EC5 switch. See the Controllers part for informa- tion on how to program the controllers.

1 Go to the Global > Mode Preferences > Song & Seq page.

2 Use the Drum & Bass Mode - Drum pop-up menu to choose one of the Song tracks to be used as the Drum track.

Customizing the Songs |329

3 Use the Drum & Bass Mode - Bass pop-up menu to choose one of the Song tracks to be used as the Bass track.

Letting a MIDI Song start immediately

MIDI Songs (MID and KAR files) may contain a silent setup measure at the beginning. You can skip this measure and let the Song start immediately.

1 Go to the Global > Mode Preferences > Song & Seq page.

2 Select the Fast Play checkbox to let the MIDI Songs ignore the silent setup measure at the beginning.

While the beats are skipped, setup data they may contain are read and con- sidered.

Please note that MP3 Songs, being audio data, are not affected by this op- tion.

330| Customizing, recording and editing the Songs

Mixing the Song Sounds

Adjusting the volume of the individual MIDI Song Sounds

As you can do with the Keyboard Sounds, you can adjust the volume of the individual MIDI Song Sounds. However, since MIDI Songs are already dynami- cally mixed by the original creators, their volume may automatically change during playback.

The volume of the MIDI Song tracks will be reset when choosing a different Song.

Adjust the Sound volume levels from the control panel

1 While in any page of the Song Play mode, be sure the lighted SLIDER MODE indicator is VOLUME.

2 Use the X-FADER slider to select the active Player.

3 Be sure one of the SLIDER indicators under the sliders (18 or 916) is turned on, otherwise press the TRACK SELECT button to turn it on.

4 Use the sliders to adjust the volume of the corresponding Sounds.

5 Keep the SHIFT button pressed, and move any of the sliders to proportion- ally change the volume of all the MIDI Song Sounds.

6 When done, press the TRACK SELECT button again to switch back to con- trolling the Keyboard Sounds.

Customizing the Songs |331

Adjust the Sound volume levels from the display

1 While in the main page of the Song Play mode, touch the Volume tab to se- lect the Volume pane.

Here, you can adjust the volume of the Keyboard Sounds.

2 Use the X-FADER slider to select the active Player.

3 Press the TRACK SELECT button to switch to Song tracks 1-8. Press it again to see Song track 9-16.

Song tracks

4 Touch the mixer channel whose volume level you want to change.

5 Keep the virtual volume slider held on the screen, and drag it to the desired level.

As an alternative, use the VALUE controls to change the volume level of the selected channel. Also note that, while in these pages, the physical sliders will continue to work as usual.

6 When done, press the TRACK SELECT button again to switch back to the main page.

332| Customizing, recording and editing the Songs

Muting the individual MIDI Song Sounds

As you can do with the Keyboard Sounds, you can mute/unmute the indi- vidual MIDI Song Sounds. Mute the Song track that you will want to play or sing live (the melody track in a MIDI Song is usually #04).

See the Song tracks

While in the Main page, touch the Volume tab to select the Volume pane, then press the TRACK SELECT button a first time to switch to Song tracks 1-8, a second time for Song tracks 9-16.

Song tracks

Mute/unmute the Song tracks

Touch the Play ( ) or Mute ( ) icon in the mixer channel to turn the Sounds on or off.

Return to the Main page

When done, press the TRACK SELECT button again to switch back to the Main page and see the Keyboard Sounds.

Memorize the track status

Write the Song Play Settings.

Customizing the Songs |333

Soloing a MIDI Song Sound

You can solo a MIDI Song Sound exactly as you would do with a Keyboard Sound.

While the Volume pane is shown, or while in any page where the digital mixer appears, keep the SHIFT button pressed, and touch the mixer channel that you want to listen in solo.

As an alternative, while in any page where the name of the Sound or the mixer channel appears, select it and choose the Solo Track command from the page menu.

334| Customizing, recording and editing the Songs

Changing the Sounds of the MIDI Song tracks

Changing the MIDI Song Sounds

You can assign different Sounds to the current MIDI Song. These Sounds will be reset when choosing a different Song.

Choose a different Sound for a Song track

1 While in the main page of the Song Play mode, touch the Volume tab to se- lect the Volume pane.

2 Press the TRACK SELECT button to switch to Song tracks 1-8. Press it again to see Song track 9-16.

3 Touch the name of the Song track whose Sound you want to change.

Sounds

4 Touch a Sound icon to select the corresponding track.

5 Touch it again, to open the Sound Select window, then choose a Sound.

Transposing the MIDI Song Sounds

If needed, set the Octave Transpose for each track.

1 Go to the Mixer/Tuning > Tuning page.

You can go to this page by keeping the SHIFT button pressed, and pressing one of the UPPER OCTAVE buttons.

2 Use the Oct. Transpose knobs to set the octave.

Savinging the Song Play Settings |335

27 Savinging the Song Play Settings

Saving the default Players settings

When you choose a different Song, switch to a different mode or turn the instrument off, all changes to the Song will be reset. If you want to pre- serve the current configuration for all the subsequent MIDI Songs, save it to memory.

Save the Song Play Settings

Go to the Global > Mode Preferences > Song & Seq. page, and touch the Save Track & FX button.

The following parameters will be saved:

Play/Mute status of the Song tracks

Internal/External status of the Song tracks

Default FX A Group effect settings

EQ settings for the Song tracks

When loading MIDI Songs created on a KORG Pa-Series instrument (or the HAVIAN 30 digital ensemble piano), these settings might be changed by the special data they contain.

336| Customizing, recording and editing the Songs

28 Listening the MIDI Songs in Sequencer mode

Loading and listening a MIDI Song

Listening MIDI Songs in the Sequencer mode is especially useful when you want to check the results of any editing carried on on the Song tracks, with- out having to switch to the Song Play mode.

Loading a MIDI Song

1 Press the SEQUENCER button to go to the main page of the Sequencer mode.

Song name and parameters

Track info

Sounds and Octave transposition

Mixer

Beat counter and Tempo

Listening the MIDI Songs in Sequencer mode |337

2 Touch the name of the Song to open the Song Selection window.

Device

Current path

3 Browse through the files and folders. When you see the MIDI Song (.mid, .kar) you want to load, touch it, then touch the Load button to load it.

Importing a MIDI Song without initializing the current settings

While in the Sequencer mode, you can import a MIDI Song without initializing the current Sequencer settings. This is useful when you are, for example, programming a Song on an external sequencer, and at the same time edit- ing the Sounds, Effects, EQ, Volume Levels, Pan values, Drum Family pa- rameters, etc., right on the Pa4X. Importing the MID file will not reset these settings.

1 Press the SEQUENCER button to go to the main page of the Sequencer mode.

2 Choose the Import command from the page menu, and open the Song Selection window.

3 Browse through the files and folders. When you see the MIDI Song (.mid, .kar) you want to import, touch it, then touch the Select button to import it.

338| Customizing, recording and editing the Songs

Playing the MIDI Song

The main page of the Sequencer mode shows the Song playback controls.

Name of the MIDI Song Beat counter and Tempo

Tempo ModeAlternative starting point

Transport controls

While in the main page of the Sequencer mode, use the PLAYER 1 sections PLAY/STOP ( ), HOME ( ), FAST FORWARD ( ) and REWIND ( ) controls.

Alternative starting position

1 Set the Start from measure number to choose the alternative starting posi- tion from where to start playback.

2 Select the Start from measure checkbox to activate the alternative starting position.

When pressing the HOME ( ) button, or using the REWIND ( ) button to go back to the beginning, the Song will return to this point.

Choosing the Tempo mode

Use the Tempo pop-up menu to choose a Tempo mode.

tempo Mode Meaning

Manual In this mode, you can change the Tempo value by using the TEMPO buttons, or by touching it and using the VALUE controls or the nu- meric keypad. The Song will be played back using the manually se- lected Tempo.

Auto The Tempo recorded in the Song will be used.

Recording MIDI Songs |339

29 recording MIDI Songs

Multitrack Song recording

In Multitrack Sequencer mode, you will record a MIDI Song by playing live over up to 16 MIDI tracks.

Accessing Multitrack Sequencer Recording

1 Press the RECORD button to open the Record/Edit Menu dialog.

2 Choose either the Song > Edit or the Song > New option:

Choose Song > Edit to edit the MIDI Song already in memory.

Choose Song > New to create a new, blank MIDI Song.

340| Customizing, recording and editing the Songs

Record parameters

Track info

Sounds and Octave transposition

Mixer

Measure and Beat counter

Setting the recording parameters

When you enter the Multitrack Sequencer mode, you could simply start re- cording. However, there are some additional settings that you might want to do.

Select the recording mode

Use the Rec Mode pop-up menu to choose the Overdub or Overwrite record- ing mode.

recording Mode Meaning

Overdub The newly recorded events will be mixed to any existing events.

Overwrite The newly recorded events will replace any existing events.

Auto Punch Recording will automatically begin at the Start position, and stop at the End position.

The Auto Punch function will not work on an empty Song. At least one track must already be recorded.

Pedal Punch Recording will begin when pressing a pedal set to the Punch In/Out function, and will finish when pressing the same pedal again.

The Pedal Punch function will not work on an empty Song. At least one track must already be recorded.

Recording MIDI Songs |341

Set a starting point (left locator)

Set the Start from measure number to choose the alternative starting posi- tion from where to start playback.

Select the Start from measure checkbox to activate the alternative starting position.

When pressing the HOME ( ) button, or using the REWIND ( ) button to go back to the beginning, the Song will return to this point.

Choose a quantize resolution for recording

Set the recording Resolution.

resolution Meaning

High No quantization applied

(1/32) (1/8) Grid resolution, in musical values. 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. A 3 after the quanti- zation value means triplet.

No quantization

1/16

1/8

Set the Tempo and Meter

Change the Tempo value. Use the Tempo pop-up menu to choose the way Tempo events will be recorded.

tempo Mode Meaning

Manual Manual reading. 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 when you want to record the Song at a much slower speed than the actual Tempo.

Auto Auto reading. The Sequencer plays back all the recorded Tempo events. No Tempo change events are recorded.

Record All Tempo changes made during recording will be recorded to the Master Track. Tempo is always recorded in overwrite mode (old data is replaced by the new data).

Use the Meter parameter to set the basic meter (or time signature) of the Song. You can edit this parameter only when the Song is empty, that is, be-

342| Customizing, recording and editing the Songs

fore you begin recording anything. To insert a meter change in the middle of the Song, use the Sequencer > Song Edit > Insert Measure function.

Choosing the Sounds and transpose

You choose the Sounds in the dedicated Sound area of the Record page.

Octave Transpose

Sound icon

Choose a Sound

1 Touch a Sound icon to select the corresponding track.

2 Touch it again, to open the Sound Select window and choose the Sound for the corresponding Song track.

Set the octave transposition

1 Go to the Mixer/Tuning > Tuning page.

You can go to this page by keeping the SHIFT button pressed, and pressing one of the UPPER OCTAVE buttons.

2 Use the Oct. Transpose knobs to set the octave.

Recording MIDI Songs |343

Recording

Turn on the metronome

Press the METRONOME ( ) button to turn the metronome on or off while recording.

Select the track to record

1 Use the TRACK SELECT button to switch between Song Tracks 1-8 and Song Tracks 9-16.

2 Touch the track to record to select it. The Record icon ( ) will appear.

Record

1 Press the PLAY/STOP ( ) button to begin recording.

A 1-measure precount will play before the recording actually begins. When it begins, record freely.

2 When finished recording, press the PLAY/STOP ( ) button to stop the sequencer.

3 Select a different track, and go on recording the whole Song.

While recording, you can see the current measure and current beat in the header. You can also check the free memory available for recording.

BeatMeasureFree memory

Exit from Record

1 When finished recording, choose the Exit from Record command from the page menu, or press the RECORD button to go to the main page of the Sequencer mode.

2 While in the main page of the Sequencer mode, press the PLAY/STOP ( ) button to listen to the recorded Song.

3 Save the Song to a storage device, to avoid losing it when the instrument enters standby. This is explained later in this section.

344| Customizing, recording and editing the Songs

Second-take recording

You may want to record additional events, or replace a previously recorded track. If so, repeat recording.

Prepare to record

1 Press the RECORD button to enter Record mode again. When the Record/ Edit Menu dialog appears, select Song > Edit again.

2 Select the track to record.

3 Choose the Overwrite Rec Mode if you want to replace recorded data, Overdub if you want to add events to the same track.

Overdub is useful, for example, when recording different percussive instru- ments in subsequent cycles.

Record

1 Set the Start from measure number to choose the alternative starting posi- tion from where to start playback.

Select the Start from checkbox to activate the alternative starting position.

2 Press the PLAY/STOP ( ) button to start recording the selected track.

3 After recording, press the PLAY/STOP ( ) button to stop recording.

4 Repeat the same procedure for any additional track or event to record.

Exit from Record

When finished recording, choose the Exit from Record command from the page menu, or press the RECORD button to go to the main page of the Sequencer mode.

Punch-Recording

Punch recording allows for automatic or on-the-fly start and stop of record- ing. The Punch function will not work on an empty Song. At least one track must already having been recorded.

Auto Punch Recording

You can let the sequencer start and stop recording for you.

1 While in the Multitrack Sequencer page, use the Rec Mode parameter to choose the Auto Punch recording mode.

Recording MIDI Songs |345

2 Use the Start and End locators to choose the start and end points for re- cording.

3 Touch a track to record to select it. The Record icon ( ) will appear.

4 Press the PLAY/STOP ( ) button to start playing back the selected track.

Recording will automatically begin and end at the Start and End points.

5 Press the PLAY/STOP ( ) button to stop recording.

PedalPunch Recording

You can use a footswitch or an EC5 switch to start and stop recording.

Program the footswitch or EC5 switch for Pedal Punch

Go to the Global > Controllers > Foot Controllers page, or the Global > Controllers > EC5 page, and assign the Punch In/Out function to the foot- switch or EC5 switch.

Record

1 While back to the Multitrack Sequencer page, use the Rec Mode parameter to choose the Pedal Punch recording mode.

2 Touch the track to be recorded to select it. The Record icon ( ) will appear.

3 Press the PLAY/STOP ( ) button to start playing back the selected track.

4 When you want to start recording, press the footswitch.

5 When you want to end recording, press the footswitch again.

6 Press the PLAY/STOP ( ) button to stop recording.

Saving the Song

When finished recording the new Song, go to the main page of the Sequencer mode and choose the Save Song command from the page menu to save the Song.

More details are later in this section.

346| Customizing, recording and editing the Songs

Step recording a Song

Step Recording allows you to create a new Song by entering single notes or chords into each track. This is very useful when transcribing an existing score, or in need for a higher grade of detail, and is particularly suitable to create drum and percussion tracks.

In Overdub Step Recording mode you will add to existing events, while in Overwrite Step Recording mode you will overwrite all existing events.

Accessing Step Recording

1 While in the Multitrack Sequencer pages, touch a mixer channel to select the track to edit.

2 Choose either the Step Record Overdub or Step Record Overwrite com- mand from the page menu, to access the Step Record mode.

Current position

Event list

Recording

Position the input pointer

The Position parameter shows the current position. This is where you will insert the next event.

If you do not want to insert a note or chord at the current position, insert a rest instead, as shown below.

To jump to the next measure, filling the remaining beats with rests, touch the Next M. button.

Recording MIDI Songs |347

Choose a step value

Use the Step Time values to choose the step value.

Choose the relative note duration

Use the Duration parameter to set the relative note duration. The percent- age is always referred to the step value.

Duration Meaning

50% Staccato

85% Ordinary articulation

100% Legato

Choose the note velocity

Use the Velocity parameter to set the velocity or playing strength of the event to be inserted.

Velocity Meaning

Kbd Keyboard. Select this parameter by turning the VALUE controls com- pletely counter-clockwise. When this option is selected, the playing strength of the played note is recognized and recorded.

1 127 Velocity value. The event will be inserted with this velocity value, and the actual playing strength of the note played on the keyboard will be ignored.

Insert a note or rest at the current position

To insert a single note, play it on the keyboard. The inserted note length will match the step length. You may change the velocity and relative duration of the note, by editing the Duration and Velocity parameters.

To insert a rest, touch the Rest button. Its length will match the step value.

To tie the note to be inserted to the previous one, touch the Tie button. A note will be inserted, tied to the previous one.

Insert a chord

Play a chord instead of a single note. The event name will be the first note of the chord you pressed, followed by the indicator.

348| Customizing, recording and editing the Songs

Insert a chord made of notes with different velocity values

You can make the upper or lower note of a chord, for example, louder than the remaining ones, to let the most important note stand out from the chord.

1 Edit the first notes Velocity value.

2 Press the first note and keep it pressed.

3 Edit the second notes Velocity value.

4 Press the second note and keep it pressed.

5 Edit the third notes Velocity value.

6 Press the third note, then release all notes.

Insert a second voice

You can insert phrases where one note is kept pressed, while another voice moves freely.

A few examples:

Step Time =

Step Time =

On

Press E and C

On

Press G

Off

Off

Release G and C

Release E (continue holding C)

Recording MIDI Songs |349

Step Time = Step Time = Step Time =

Press F and C Press G

(continue holding C)

OffOn On Release F

(continue holding C)

Step Time = Step Time =

Press E

(continue holding C)

OffOn Release E and C

Step Time = Step Time =

Press D

(continue holding C)

Off On Release G

(continue holding C)

Step Time =

Off Release D

(continue holding C)

Step Time = Step Time =

On

Press C

On

Press G (continue holding C)

Off

Release G and C

Tie

Go back

If you want to go back, touch the Back button. This will delete the previously inserted event, and set the step in edit again.

350| Customizing, recording and editing the Songs

Exit from Record

1 When finished recording, touch the Done button to exit the Step Record mode. A dialog box will appear, asking you to either cancel, discard or save the changes.

2 Touch Cancel to continue editing, No to exit from the Step Record without saving, or Yes to save and exit Step Record.

Saving the Song

When finished recording the new Song, go to the main page of the Sequencer mode and choose the Save Song command from the page menu to save the Song.

More details are later in this section.

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Quick recording a Song

What is the Quick Record?

MIDI Songs are made of up to sixteen tracks that is, separate parts, each one with a different Sound. Usually, MIDI Songs are recorded one track at a time: the drums first, then the bass, then the accompaniment guitar, then the strings

Quick Record makes this much easier and faster: you just record your live performance on the keyboard accompanied by the Styles. After saving, this quick song will be converted into an ordinary sixteen-tracks MIDI Song, that you can play with the Players.

Choosing the Style and Sounds

Before accessing the Record mode, prepare the Style and Sounds with which to record your Song.

1 Go to the Style Play mode.

2 Choose a Style.

3 Choose a Keyboard Set.

352| Customizing, recording and editing the Songs

Accessing the Quick Record mode

1 Press the RECORD button to open the Record/Edit Menu dialog.

2 Choose the Quick Record option to access the Quick Record page.

Style Record parameters

Keyboard Set

Track info

Edit panes

Measure and Beat counter

Song name

Setting the recording parameters

When you enter the Quick Record mode, the latest selected Style and Sounds are already selected, and all recorders tracks are armed and ready to re- cord. You could simply start recording as if you were playing with the Styles. However, there are some additional settings that you might want to do.

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Choose the Style

Touch the Style name (or press one of the STYLE buttons on the control panel) to open the Style Select window, and choose a different Style.

Choose the Sounds

Touch the Keyboard Set name (or use the KEYBOARD SET LIBRARY but- tons) to open the Keyboard Set Select window, and choose a different set of Sounds for the keyboard. You can also use the KEYBOARD SET buttons under the display.

Choose a quantize resolution for recording

Set the recording Resolution.

resolution Meaning

High No quantization applied

(1/32) (1/8) Grid resolution, in musical values. 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. A 3 after the quanti- zation value means triplet.

No quantization

1/16

1/8

You cannot change the Meter (or Time Signature), because it has to match the Styles Meter.

Set the Tempo

Change the Tempo. The Tempo value memorized in the Style is already se- lected, but you are free to change it.

354| Customizing, recording and editing the Songs

Recording

Turn on the metronome

Press the METRO ( ) button to turn the metronome on or off while record- ing. The metronome click will not be recorded with the Song.

Select the tracks to record

Set the status of the Quick Songs grouped tracks (Kbd Set/Pad and Chord/ Acc).

track status Meaning

Rec The Quick Songs grouped track is in record. All previously recorded data will be deleted. After pressing the PLAY/STOP

( ) button to start recording, the track will receive notes from the keyboard.

Play The Quick Songs track is set to play. If there are recorded data, they will be heard while recording the other Quick Songs grouped track.

Mute The Quick Songs grouped track is muted. If this track has already been recorded, it will not be heard during recording of the other Quick Songs track.

The Chord/Acc Quick Song track groups all the Style tracks, together with recognized chords and Style controls and Style Elements selection.

The Kbd Set/Pad Quick Song track contains the four Keyboard Sounds and the Pads.

Record

1 Select the Style Element you want to use before starting to play. Select any of the Variations before starting to record. Select one of the Intros to start with an introduction.

2 Start recording.

Press the START/STOP button to start recording with the automatic accom- paniment.

Press the PLAYER 1 > PLAY/STOP ( ) button to start recording without the automatic accompaniment. You will later be able to start the accompani- ment by pressing the START/STOP button.

A 1-measure precount will play before the recording actually begins. When it begins, record freely.

Recording MIDI Songs |355

3 Play as if you were performing live with the Styles.

During recording, select any Style Element (Intro, Variation, Fill, Break, Ending) you like. While recording in Quick Record mode, you cannot use the Synchro, Tap Tempo, Manual Bass, Balance controls.

If you want to stop the accompaniment, press the START/STOP or one of the ENDING buttons; restart by pressing the START/STOP button again.

4 When finished recording your Song, press the PLAYER 1 > PLAY/STOP ( ) button to exit recording, and go to the main page of the Sequencer mode.

If you are recording the accompaniment, and you want to stop it, press the START/STOP or one of the ENDING buttons; restart by pressing the START/ STOP button again. When finished recording, press the PLAY/STOP ( ) button to exit recording, and go to the main page of the Sequencer mode.

5 While in the main page of the Sequencer mode, press the PLAYER 1 > PLAY/ STOP ( ) button to listen to the recorded Song.

356| Customizing, recording and editing the Songs

Quick Songs and MIDI Songs

After finishing recording, the Quick Song will be converted to an ordinary MIDI Song. Grouped tracks will be converted to Song tracks 9-16, as shown in the following table:

Grouped Quick Song track Keyboard/Style track Song track/Channel

Kbd/Pad Upper 1 1

Upper 2 2

Upper 3 3

Lower 4

Pad 1 5

Pad 2 6

Pad 3 7

Pad 4 8

Chord/Acc Bass 9

Drum 10

Percussion 11

Accompaniment 1 12

Accompaniment 2 13

Accompaniment 3 14

Accompaniment 4 15

Accompaniment 5 16

Recording MIDI Songs |357

Second-take recording (Overdubbing)

You may want to record an additional grouped track, or replace a previously recorded track. A good idea may be to record all chords and Style Element changes during the first take, then record Keyboard track during the second take.

1 Press the RECORD button to enter Record mode again. When the Record/ Edit Menu dialog appears, select Quick Record again.

2 If you are recording just one of the grouped tracks, set to Play the track to be preserved. For example, if you only want to record the Keyboard track again, set the Kbd Set/Pad track to Rec, and the Chord/Acc track to Play.

3 Press the START/STOP or PLAYER 1 > PLAY/STOP ( ) button to start recording the selected track. With the above example, chords will play as recorded; you can record what you play on the keyboard.

If you are recording the accompaniment, and you want to stop it, press the START/STOP or one of the ENDING buttons; restart by pressing the START/ STOP button again.

4 When finished recording, press the PLAYER 1 > PLAY/STOP ( ) button to exit recording, and go to the main page of the Sequencer mode.

5 While in the main page of the Sequencer mode, press the PLAYER 1 > PLAY/ STOP ( ) button to listen to the recorded Song.

6 Save the Song to a storage device, to avoid losing it when the instrument enters standby.

358| Customizing, recording and editing the Songs

Using the KAOSS effects while recording

While recording, you can use the KAOSS effects as if you were using them live.

1 While in the Quick Record page, touch the KAOSS tab to access the KAOSS page.

2 Choose one of the KAOSS Preset by using the Preset menu or the Favorite buttons.

3 Start recording.

4 If you want to see the Record parameters, choose one of the pages contain- ing them (for example, the Kbd Set or Volume page).

5 End recording.

Saving the Song

When finished recording the new Song, go to the main page of the Sequencer mode and choose the Save Song command from the page menu to save the Song.

More details are later in this section.

Recording MIDI Songs |359

Quick Step recording a Song

The Step Quick Record mode allows you to enter single chords, to create or edit the Style (Chord/Acc) part of a Song. This mode lets you enter chords even if you are not a keyboard player, or fix any error made playing chords or selecting Style controls, during a Quick Record recording.

In this mode, you can only edit Songs created using the Quick Record record- ing mode. When saving a Song created using the Quick Record recording mode, all Chord/Acc data is preserved, and can be loaded later, to be edited again by using the Step Quick Record mode.

Accessing the Step Quick Record mode

1 Press the RECORD button to open the Record/Edit Menu dialog.

2 Choose the Step Quick Record option to access the Step Quick Record page.

Event list

Step controls

Position indicator

360| Customizing, recording and editing the Songs

Recording

While in edit, the events at the current position are shown by the right-point- ing arrowheads ( ) on the left of the event.

1 Use the Measure parameter to go to the desired position in the Song, by us- ing the VALUE controls.

As an alternatively, you can move the locator by using the step controls in the lower area of the display.

Step control Meaning

Event Use these buttons to move to the previous or next recorded event.

Step Use these buttons to go to the previous or next step (1/8, or 192 ticks). If an event is located before the previous or next step, the locator stops on that event. For example, if you are positioned on M001.01.000, and no event exists before M001.01.192, the > button moves to the M001.01.192 location. If an event exists on M001.01.010, the > button stops to the M001.01.010 location.

Measure Use these buttons to move to the previous or following measure.

2 Select a parameter type (Style, Keyboard Set, Tempo) to insert, edit or delete at the current position.

3 Use the VALUE controls to modify the selected event. Delete it by touching the Delete button next to the event. When editing a parameter without the arrowhead ( ) next to it, a new event is inserted at the current position.

4 When finished editing, touch the Done button to exit from the Step Quick Record recording mode.

5 While in the main page of the Sequencer mode, press the PLAY/STOP ( ) button to listen to the recorded Song.

Recording MIDI Songs |361

Event types

These are the events you can enter or edit.

Event type Meaning

Style Latest selected Style. To insert a Style change at the current posi- tion, touch the Style name to open the Style Select window.

Any Style Change inserted after the beginning of the measure (i.e., to a position other than Mxxx.01.000) will be effective at the follow- ing measure. For example, if a Style Change event has been inserted at M004.03.000, the selected Style will be effectively selected at M005.01.000. (This works exactly as in Style Play mode).

When inserting a Style Change, you may also insert a Tempo Change at the same position. A Style Change will not automatically insert the Styles Tempo.

Keyboard Set Latest selected Keyboard Set. To insert a Keyboard Set change at the current position, touch the Keyboard Set name to open the Keyboard Set Select window, or follow the standard selecting procedure using the KEYBOARD SET LIBRARY section.

Tempo This is the Tempo Change parameter. To insert a Tempo Change event at the current position, select this parameter and use the VALUE controls to change its value.

Chord The chord parameter is divided in three separate parts:

Name Type Extension

Select one of the parts, then use the VALUE controls to modify it. As an alternative, you can play a chord, and it will be automatically rec- ognized. While recognizing a chord, the status of the Bass Inversion parameter will be considered.

The lack of a chord (--) means that the accompaniment will not play at the current position (apart for the Drum and Percussion tracks). To select the -- option, select the Name part of the Chord parame- ter, then use VALUE controls to select the very last value (CB, Off).

If you replace a chord with a different one, please remember that the Keyboard track (if recorded) will not be automatically changed, and may cause a dissonance against the accompaniment.

Style Element This is the Style Element (i.e., a Variation, Fill, Intro, or Ending). The length of the selected Style Element is always shown by the Length parameter (see below).

Off means that the accompaniment will not play at the selected po- sition only Keyboard and Pad tracks will play.

Hint: Insert a Style Element Off event exactly where the automatic accompaniment must stop (at the end of the Song).

Length This parameter will let you know where to place the following Style Element Change. For example, if you inserted an Intro event lasting for 4 measures, you can insert 4 empty measure after this event, and a Variation event at the end of the Intro, beginning at the 4th empty measure.

362| Customizing, recording and editing the Songs

Inserting measures

Choose the Insert Measures command from the page menu, to insert an empty measure starting from the current measure.

All Chord/Acc events contained in the current measure will be moved to the following measure. The event at the Mxxx.01.000 position (i.e., exactly at the beginning of the measure, like a Time Signature or Style change) will not be moved.

Cutting out measures

Choose the Cut Measure command from the page menu, to delete the cur- rent measure.

All Chord/Acc event contained in the following measures will be moved one measure back.

Deleting everything from the current position

Choose the Delete All from Selected command from the page menu, to de- lete events of all types, starting from the current position.

The events on the very first tick (M001.01.000), like Style, Tempo, Chord, Style Element selection, will not be deleted, since they are the setting pa- rameters of the Song.

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Deleting selected types of events

To delete all events of a specified type starting at the current position, choose from the page menu the Delete All from Selected command cor- responding to the type of event to delete (Styles, Style Elements, Chords, Tempos).

To delete all the events of the same type from the whole Song, go back to the M001.01.000 position, and select one of these commands.

The events on the very first tick (M001.01.000), like Perf, Style, Tempo, Chord, Style Element selection, will not be deleted, since they are the setting parameters of the Song.

Deleting single events

Delete a single event by touching the Del (Delete) button next to it.

Exiting from record

1 When finished recording, touch the Done button to exit the Step Record mode. A dialog box will appear, asking you to either cancel, discard or save the changes.

2 Touch Cancel to continue editing, No to exit from the Step Record without saving, or Yes to save and exit Step Record.

Saving the Song

When finished recording the new Song, go to the main page of the Sequencer mode and choose the Save Song command from the page menu to save the Song.

More details are later in this section.

364| Customizing, recording and editing the Songs

30 Editing the MIDI Songs

Editing the Song tracks

You can edit the Song data in the Sequencer > Song Edit section.

After modifying something, press the PLAY/STOP ( ) button to listen to the edited Song. Use the transport controls to move through the Song.

Quantizing

The quantize function may be used to correct any timing mistake after re- cording, or to give the pattern a groovy feeling.

1 Go to the Sequencer > Song Edit > Quantize page.

2 Select the Track to edit.

track Meaning

All All tracks selected

Track 1 16 Selected track

Editing the MIDI Songs |365

3 Use the Resolution pop-up menu to choose the quantize resolution.

resolution Meaning

(1/32) (1/8) Grid resolution after recording, in musical values. 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. A bf character added after the value means swing-quantization. A 3 after the quantization value means triplet.

No quantization

1/16

1/8

4 Use the Start Tick and End Tick parameters to set the beginning and ending of the phrase to be quantized.

If a phrase is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.

5 Use the Bottom Note and Top Note parameters to set key range to quantize.

These parameters are only available when a Drum or Percussion track is selected. If you select the same note as the Bottom and Top parameters, you can select a single percussive instrument in a Drum Kit.

6 After having set the various parameters, touch Execute.

366| Customizing, recording and editing the Songs

Transposing

The transpose function may be used to transpose the selected track(s).

1 Go to the Sequencer > Song Edit > Transpose page.

2 Select the Track to edit.

track Meaning

All All tracks selected, apart for the tracks set in Drum mode (like the Drum and Percussion tracks).

Track 1 16 Selected track.

3 Use the Value parameter to choose the transpose value.

Value Meaning

-127 127 Transpose value (in semitones)

4 Use the Start Tick and End Tick parameters to set the beginning and ending of the phrase to be transposed.

If a phrase is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.

5 Use the Bottom Note and Top Note parameters to set key range to trans- pose.

If you select the same note as the Bottom and Top parameters, you can se- lect a single percussive instrument in a Drum Kit. Since in a Drum Kit each instrument is assigned to a different note of the scale, transposing a percus- sive instrument means assigning the part to a different instrument.

Selective transpose can also be used to avoid transposing RX Noises (trans- posing only notes under C7).

Editing the MIDI Songs |367

6 Select the Include chords checkbox if you want to also transpose the Chord events, for example those recorded with a Quick Song.

The Chord events will be shown in the Lyrics and Score pages, so we suggest to transpose them to match the notes and the chord abbreviations shown. However, be very careful if you want to read the resulting Standard MIDI File with a dedicated player, because saving the Chord events would change their format, and make them no longer compatible with some devices.

7 After having set the various parameters, touch Execute.

Editing Velocity data

You can change the velocity (dynamics) value of notes in the selected track(s).

When an RX Sound is assigned to the track being edited, the resulting sound may change, since this kind of Sounds is made of several different layers triggered by different velocity values.

Also, a fade-out may result in the level jumping up next to the zero, since a higher-level layer may be selected by low velocity values.

1 Go to the Sequencer > Song Edit > Velocity page.

2 Select the Track to edit.

track Meaning

All All tracks selected. The velocity for all notes will be changed.

Track 1 16 Selected track.

3 Use the Velocity Value parameter to choose the velocity change value.

Value Meaning

-127 127 Velocity change value (in MIDI value)

368| Customizing, recording and editing the Songs

4 If you want to use the advanced parameters, allowing you to select a velocity curve and create fade-ins or fade-outs, select the Advanced checkbox.

When this parameter is selected, the Intensity, Curve, Start Velocity Value and End Velocity Value parameters become accessible.

Use the Intensity parameter to specify the degree to which the velocity data will be adjusted toward the curve you specify with Curve.

Intensity Meaning

0 100% Intensity value. With a setting of 0%, the velocity will not change. With a setting of 100%, the velocity will be changed the most.

Use the Curve parameter to select one of the six curves, and specify how the velocity will change over time.

Start Value

Curve 1

Velocity

Start Value = 0%, End Value = 100%

127

1 End Value

Start Value

Curve 2

Velocity

127

1 End Value

Start Value

Curve 3

Velocity

127

1 End Value

Start Value

Curve 4

Velocity

127

1 End Value

Start Value

Curve 5

Velocity

127

1 End Value

Start Value

Curve 6

Velocity RANDOM

127

1 End Value

Use the Start Vel. Value and End Vel. Value to change the velocity value at the starting and ending of the selected curve.

Intensity Meaning

0 100% Velocity change in percentage

5 Use the Start Tick and End Tick parameters to set the beginning and ending of the phrase to be edited.

If a phrase is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.

6 Use the Bottom Note and Top Note parameters to set key range to change.

If you select the same note as the Bottom and Top parameters, you can se- lect a single percussive instrument in a Drum Kit. Selecting a range can also be used to only edit RX Noises (from C7) or ordinary notes (under C7).

7 After having set the various parameters, touch Execute.

Editing the MIDI Songs |369

Cutting or inserting measures

You can delete a selected measure (or a series of measures), or insert new ones in the middle of the Song.

1 Go to the Sequencer > Song Edit > Cut/Insert page.

2 Use the Start parameter to select the first measure to be cut or inserted.

3 Use the Length parameter to choose the number of measures to be cut or inserted.

4 Use the Meter parameter to set the meter (time signature) of the measure to be inserted.

5 After having set the various parameters, touch Execute.

Deleting data from measures

The Delete page is where you delete MIDI events out of the Song. This func- tion does not remove measures from the Song. To remove whole measures, use the Cut function instead.

1 Go to the Sequencer > Song Edit > Delete page.

370| Customizing, recording and editing the Songs

2 Select the Track to edit.

track Meaning

All All tracks selected

Track 1 16 Selected track

Master Master track. This is where the Tempo, Scale and Effect events are recorded.

3 Use the Event pop-up menu to choose the type of event to delete.

Event Meaning

All All events. The measures are not removed from the Song.

Note All notes in the selected range.

Dup.Note All duplicate notes. When two notes with the same pitch are encoun- tered on the same tick, the one with the lowest velocity is deleted.

After Touch After Touch events.

Pitch Bend Pitch Bend events.

Prog.Change Program Change events, excluding the bundled Control Change #00 (Bank Select MSB) and #32 (Bank Select LSB).

Ctl.Change All Control Change events, for example Bank Select, Modulation, Damper, Soft Pedal

CC00/32 CC127 Single Control Change events. Double Control Change numbers (like 00/32) are MSB/LSB bundles.

4 Use the Start Tick and End Tick parameters to set the beginning and ending of the phrase to be deleted.

If a phrase is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.

5 Use the Bottom Note and Top Note parameters to set key range to delete.

These parameters are available only when the All or Note option is selected. If you select the same note as the Bottom and Top parameters, you can se- lect a single percussive instrument in a Drum Kit. Selecting a range can also be used to only edit RX Noises (from C7) or ordinary notes (under C7).

6 After having set the various parameters, touch Execute.

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Copying data

You can copy tracks or phrases.

1 Go to the Sequencer > Song Edit > Copy page.

2 Use the Mode parameter to choose a Copy mode.

Copy Mode Meaning

Merge Copied data are merged with the data at the target position.

Overwrite Copied data replace all data at the target position.

3 Use the From Track parameter to choose the source track, and the To Track parameter to choose the target.

track Meaning

All All tracks will be copied. The target track cannot be selected.

Track 1 16 Selected track.

4 Use the Start Measure and End Measure parameters to set the beginning and ending of the phrase to be copied.

5 Use the To Measure parameter to choose the first of the target measures.

6 Use the Repeat Times parameter to choose the number of times the copy must be repeated consecutively.

7 After having set the various parameters, touch Execute.

372| Customizing, recording and editing the Songs

Moving data

You can shift a track forward or backward by just a few ticks or whole mea- sures.

1 Go to the Sequencer > Song Edit > Move page.

2 Use the Track parameter to choose the track to edit.

track Meaning

All All tracks will be moved.

Track 1 16 Selected track.

3 Use the Start Tick and End Tick parameters to set the beginning and ending of the phrase to be moved.

If a phrase is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.

Use the To Tick parameter to choose the point where the data will be moved.

4 After having set the various parameters, touch Execute.

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Converting notes to RX Noises

You can go to the Utility page to convert notes of a Standard MIDI File into RX Noises, and vice-versa. This will help programming Songs on an external sequencer.

1 Go to the Sequencer > Song Edit > Utility page.

2 Edit the parameters, and choose the commands.

Use the Track parameter to choose a track, then use the Velocity parameter to set the volume level of the RX Noises in the selected track(s). When done, touch the Execute button.

track Meaning

All All tracks.

Track 1 16 Selected track.

Touch the Execute button next to the Add to Guitar Tracks parameter to automatically analyze the Standard MIDI File, and add RX Noises to Guitar tracks.

This command scans the whole Standard MIDI File, looking for guitar strum- ming played by nylon, steel or electric guitars. After scanning, a suitable Guitar sound will be automatically assigned to the relevant tracks, and RX Noises automatically added where needed.

Touch the Execute button next to the Convert to MIDI Notes parameter to convert the RX Noises to ordinary MIDI Notes.

Touch the Execute button next to the Convert from MIDI Notes parameter to convert all the relevant MIDI Notes to RX Noises.

374| Customizing, recording and editing the Songs

Converting MIDI Songs notes to chords

The Detect Chord function scans the MIDI Songs tracks to detect chords, and then saves them as Chords events, to be seen in the Lyrics or Score page.

1 Go to the Sequencer > Song Edit > Utility page.

2 Touch the Execute button next to the Detect Chords parameter to automati- cally analyze the Standard MIDI File, and find chords.

This command scans the whole Standard MIDI File, looking for chords. After scanning, chords will be automatically saved in the file as Chords events.

Editing the MIDI Songs |375

Editing the MIDI events

The Event Edit is the page where you can edit each single MIDI event of the selected track. You can, for example, replace a note with a different one, or change its playing strength (that is, velocity value).

The Event Edit page

Go to the Sequencer > Event Edit > Event Edit page.

a. Touch here to choose the

track to edit

b. Edit the events

The Event Edit procedure

Here is the general procedure to follow for the event editing.

Load the Song and access editing

1 Press the SEQUENCER button to go to the Sequencer mode.

2 Either record a new Song, or load an existing MIDI Song by choosing the Load Song command from the page menu.

3 Go to the Sequencer > Event Edit > Event Edit page.

376| Customizing, recording and editing the Songs

Filtering the events shown

Go to the Sequencer > Event Edit > Filter page to select the events to hide.

Filter Meaning

Note/RX Noise Notes and RX Noise events

Program Change Program Change events

Control Change Control Change events

Tempo/Meter Tempo and Meter (time signature) changes (Master Track only)

Aftertouch Mono (Channel) Aftertouch events

Poly Aftertouch Polyphonic Aftertouch events

Pitch Bend Pitch Bend events

Pa Controls Messages exclusive to KORG Pa-Series instruments (and the HAVIAN 30 digital ensemble piano).

Edit the events

1 Go back to the Sequencer > Event Edit > Event Edit page.

2 Use the Track pop-up menu to select the track to edit.

The list of events contained in the selected track will appear in the display. Some events on the beginning of the track, as well as the EndOfTrk event (marking its ending point) cannot be edited, and appear dimmed.

3 Scroll though the various events by using the scrollbar.

4 Touch the event to be edited, and edit it.

Measure/Position Type Value 1 Value 2 Duration/Length

Editing the MIDI Songs |377

Select the M (Measure), and use the VALUE controls to change events posi- tion.

Select the Type parameter, and use the VALUE to change the event type.

Select the Value 1 and Value 2 parameters, and use the VALUE controls to edit them. In case of numeric values, you can also touch them twice to open the numeric keypad.

Event type Value 1 Value 2

Ordinary tracks (1-16)

Note Note name Velocity

RX Noise Note name Velocity

Prog Program Change number

Ctrl Control Change number Control Change value

Bend Bending value

Aftt Mono (Channel) Aftertouch value

PAft Note to which the Aftertouch is applied

Poly Aftertouch value

Master track

Tempo Tempo change

Volume Master Volume value

Meter Meter (time signature) change(a)

KeySign Key Signature(b)

Scale One of the available preset Scales

Root note for the selected Scale

UScale (User Scale) Altered note Note alteration(c)

QT (Quarter Tone) Altered note Note alteration (0, 50)(c)

QT Clear (Quarter Tone Clearing)

Reset of all Quarter Tone (QT) changes

(a). Meter changes cant be edited or inserted separately from a measure. To insert a Meter change, use the Insert function in the Edit section and insert a series of measures with the new meter. Existing data can then be copied or entered to these measures

(b). This is the key signature shown in the Score. If this event is missing, the Score will be shown as if it was in the key of C Major.

(c). To edit User Scale and Quarter Tone settings, select the first value, then select the scales degree to edit. Edit the second value to change the tuning of the selected note of the scale.

If a Note event is selected, select the D (Duration/Length) parameter, and use the VALUE controls to change the events length.

378| Customizing, recording and editing the Songs

Jump to a different measure

1 Touch the Go/Catch button to go to a different measure. The Go To Measure dialog will appear:

2 Enter a target measure and touch OK to confirm The first event available in the target measure will be selected.

Insert events

Touch the Insert button to insert an event at the current Position (M). A Note event with default values will be inserted.

Delete events

Select an event, then touch the Delete button to delete it.

Edit other tracks

When editing is complete, select a different track to edit.

Exit Event Edit

When finished editing the Song, press the EXIT button to go back to the main page of the Sequencer mode, and listen to the Song.

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31 Saving MIDI Songs

Saving the MIDI Song

The Song will be lost when the instrument is turned off, or you switch to a different mode. Save it after recording.

1 While in the main page of the Sequencer mode, choose the Save Song com- mand from the page menu. The Save Song window will appear.

Storage device

Current path

This window is very similar to the Media > Save page. Files are filtered, so that can only see MIDI Song files (.mid, .kar).

2 Use the Device pop-up menu to select a storage device, then choose a folder where to save your Song.

Use the Open and Close buttons to browse through the folders.

Use the scrollbar to see all Songs in the list. Keep the SHIFT button pressed and touch the Up/Down arrows to scroll to the next/previous alphabetic sec- tion. As an alternative, use the VALUE controls to scroll the list.

3 Choose an existing file, or create a new file.

To overwrite an existing Song, select it. In any case, you can change the name of the Song while saving, and the original file will not be overwritten.

If you select a .kar file, a file with the same name, but the .mid extension, will be created. The older file will not be overwritten.

380| Customizing, recording and editing the Songs

If no Song is selected, a new Song file will be created on the target device. To deselect a selected Song, touch anywhere else in the Song list, or select the same storage device again.

At this point, press the EXIT button if you prefer to exit without saving the Song.

4 Touch the Save button to save the Song into the current folder. The Save Song dialog box will appear.

5 You may change the name of the Song. Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name. When done editing the name, confirm by touching the OK button under the virtual keyboard.

If you started from an existing file, changing the name will create a new file and will not overwrite the existing file.

6 When back to the Save Song dialog, touch the OK button to save the Song.

A Standard MIDI File format 0 (Zero) will be created in the target storage device. The file will have a .mid extension.

A setup measure, containing various Song initialization parameters, will be inserted at the beginning of the Song.

Recording MP3 Songs |381

32 recording MP3 Songs

recording and saving an MP3 Song

Recording an MP3 Song

Prepare for recording

Either choose a Style or Song, if you want to record them in the new Song. You can choose either MIDI or MP3 Songs.

Choose a Keyboard Set to assign Sounds to the keyboard.

Choose a Voice Preset to add effects to your voice.

1 Press the RECORD button to open the Record/Edit Menu dialog.

2 Choose the MP3 option to access the MP3 Record page.

382| Customizing, recording and editing the Songs

Set the recording parameters

Use the Quality pop-up menu to choose the preferred MP3 audio quality.

The higher the sound quality, the larger the MP3 file that will be generated.

Please note that MP3 files recorded with lower sampling rates might not sound as good as expected. With MP3 files there is always a trade-off be- tween higher quality and smaller file size.

Quality Meaning

Highest 256 kbps

High 192 kbps

Medium 128 kbps

Use the Device pop-up menu to choose a location where to temporary store the recorded MP3 file.

This is not the final destination of your file, since you will be able to choose a different location after recording. However, be sure there is enough space for the temporary file, by checking the Free space parameter. The current file size is always shown by the File length parameter.

Record the MP3 Song

1 Touch the Rec button in the display to start recording.

The Rec button will change to Stop, and the Recording label will appear.

2 Start playing your song.

During recording, use the MP3 Record dialog to check the Recording time, File length and the Free space on the storage device.

Exit the MP3 Record dialog without stopping recording

If you like, press the EXIT button to exit the MP3 Record dialog and navigate through the Style Play and Song Play pages, without stopping to record.

Recording MP3 Songs |383

If you exit from the MP3 Record dialog while recording, a red Record icon will continue flashing in the display.

To access the MP3 Record dialog again, and see the file length or stop re- cording, keep the RECORD button pressed for about one second again.

Stop recording

Touch the Stop button in the display to stop recording.

As an alternative, press the RECORD button.

What can you record into an MP3 Song?

Everything you sing in the mic or play on the keyboard, the Styles and the MIDI or MP3 Songs performed by the Players, the events generated by the KAOSS effects, will be recorded.

Saving the MP3 Song

Save the MP3 Song

After having stopped recording, the MP3 Record dialog will allow you to choose a location for saving the MP3 file.

1 Touch the Text Edit ( ) icon to give the MP3 file a name.

2 Touch the Browse button to select a storage device and folder where to save the file.

3 Touch the Save button to save the MP3 file.

After saving, you can listen to the MP3 Song in Song Play mode. The MP3 file can also be moved to a personal computer for listening or further editing.

384| Customizing, recording and editing the Songs

Overdubbing MP3 Songs

MP3 Songs are compressed audio. Compression replaces the original au- dio stream with encoded audio, taking less space while preserving high sound quality. Overdubbing is the process of recording audio over existing audio.

When overdubbing an MP3 Song in MP3 Record mode, you recompress a compressed file, and artifacts will be amplified. If you transpose the MP3 Song, pitch-shifting artifacts will be added and further degrade the result- ing audio.

It is suggested to compose using the internal Sounds and MIDI Songs. You can transpose and overdub MIDI Songs without any audio degradation. When done with your song, you can record it as an MP3 file.

Creating text files (lyrics) |385

33 Creating text files (lyrics)

Creating text files on a personal computer

Choosing the right language

Pa4X supports lyrics text in various languages. This however requires that you choose the right language in Pa4X, and save the TXT file with the cor- rect text encoding from a personal computer.

To save a TXT file with the correct encoding, you can use a Windows PC or Mac with an advanced text editor. The two free applications we suggest you use are Don Hos Notepad++ for Windows and Bare Bones BBEdit for Mac.

Language Text Encoding

Please find in the following table the text encodings corresponding to the various languages supported by Pa4X.

Language Encoding (Notepad++) Encoding (textWrangler)

Dutch Western European > Windows-1252 Western (Windows Latin 1)

English Western European > Windows-1252 Western (Windows Latin 1)

Estonian Baltic > Windows-1257 Baltic (Windows)

French Western European > Windows-1252 Western (Windows Latin 1)

German Western European > Windows-1252 Western (Windows Latin 1)

Greek Greek > Windows-1253 Greek (Windows)

Italian Western European > Windows-1252 Western (Windows Latin 1)

Polish Central European > Windows-1250 Central European (Windows Latin 2)

Russian Cyrillic > Windows-1251 Cyrillic (Windows)

Spanish Western European > Windows-1252 Western (Windows Latin 1)

Turkish Turkish > Windows-1254 Turkish (Windows Latin 5)

386| Customizing, recording and editing the Songs

Setting the language on the Pa

To correctly read text on your Pa, be sure to set the Language parameter to your language. This can be done in the Global > General Controls > Interface page.

1 Since the instrument must be restarted at the end of this procedure, be sure to first save any unsaved data.

2 While in the Interface page, select a language from the popup menu.

3 The Change command will start flashing. Touch it.

4 A message will ask you to reboot the instrument. Touch OK to close the mes- sage window.

5 Turn the instrument off, then on again.

Editing the TXT file on a Windows PC

1 Launch Notepad++.

2 Open the original TXT file.

3 Choose File > New to open a new tabbed window containing the new TXT file.

4 Choose Encoding > Character sets > [Your Language] > [Encoding].

5 Click on the tab containing the original TXT file.

Creating text files (lyrics) |387

6 Select all and copy the selected text.

7 Click on the tab containing the new TXT file.

8 Paste the copied text.

9 Save and assign a name to the new TXT file.

10 Load the file into your instrument, and check it.

Editing the TXT file on a Mac

1 Launch BBEdit.

2 Open the original TXT file.

3 In the status bar (in the lower part of the window) find the Text Encoding parameter (it usually defaults to Unicode or Western ISO). Click it to open the popup menu, and choose Other.

388| Customizing, recording and editing the Songs

4 While in the dialog, choose your language encoding.

5 Next to it in the status bar, find the Line Break Type parameter, usually de- faulting to Unix (LF). Click it to open the popup menu, and choose Windows (CRLF).

6 Save a copy of the file by choosing File > Save As. Give the new file a name, and be sure that the Save As dialog box shows the correct Line breaks and Encoding.

7 Load the file into your instrument, and check it.

Formatting text for the Pa-Series instruments

While in a text editor, text files must be formatted with non-proportional fonts (like Courier, Courier New, Letter Gothic, Lucida Sans, Menlo, Monaco, Vera Sans, or any other monospaced font). Up to 41 characters can fit a single line of text when using the smaller font size in the Pa, 24 when using the bigger font size.

Creating text files (lyrics) |389

Small font in a text editor and the Pa:

Big font in a text editor and the Pa:

Using imported text as a memo

Importing text files may be useful not only to load Lyrics, but also to load notes on the show. Please find below an example of playlist and gig outline.

390| Customizing, recording and editing the Songs

|391

Part VII: CUStOMIZING aND EDItING tHE SOUNDS

392| Customizing and editing the Sounds

Listening and customizing the Sounds |393

34 Listening and customizing the Sounds

accessing the Sound mode

Press the SOUND button in the MODE section of the control panel. The main page of the Sound mode will appear.

Sound name, bank, Octave Transpose,

Program Change

Quick edit data Voice Mode

Effects

394| Customizing and editing the Sounds

Listening to individual Sounds

While in the Sound mode, the selected Sound can always play across the full keyboard range. The split point will be ignored.

Choosing a Sound

1 While in the main page of the Sound mode, touch the name of the Sound to open the Sound Selection window.

2 Browse through the Sounds, and touch the Sound to select.

Choosing a Sound while in other modes

While in a different mode, you can easily send a Sound to the Sound mode.

Select the track/channel the Sound to be edited is assigned to, then keep the SHIFT button pressed and press the SOUND button.

Playing via MIDI

In Sound mode, Pa4X receives and transmits on the same channel as the Upper 1 part. If the Global channel is assigned to a MIDI channel, notes can also be received on this channel.

MIDI channels can be programmed in the Global > MIDI > MIDI IN Channels page.

Listening and customizing the Sounds |395

Customizing the Sound

While in the main page of the Sound mode, you can edit some Sound pa- rameters in realtime. This is useful both for on-the-fly adjustments, and for realtime sound manipulation.

Using the Realtime Controls

Use the Realtime Controls to edit the main parameters of the Sound.

All values are offset of the original values memorized in the Sound (they are added to or subtracted from the original values). The position of these con- trols is reset after you write the Sound, or choose a different Sound.

396| Customizing and editing the Sounds

realtime Control Meaning

Attack Attack time. This is the time during which the sound goes from the Start level (at the moment when you press a key) to the Attack level.

Decay Decay time. Time to go from the final Attack level to the beginning of the Sustain.

Release Release time. This is the time during which the sound goes from the sustaining phase, to zero. The Release is triggered by releasing a key.

Note-on

Note-off

Attack Time

Decay Time

Release Time

Attack Level

Sustain Level

Time

Break Point

Start Level

Slope Time

Amplier EG

Volume

Cutoff Filter cutoff. This sets the sound brightness.

Frequency

Level

Low Pass

12dB/oct

24dB/oct

This is a lter that cuts the high-frequency region above the cutoff frequency. This is the most common type of lter, and is used to cut part of the overtone components, making an originally bright timbre sound more mellow (darker). When the Filter Type is Low Pass Resonance, the cutoff will have a steeper slope.

Resonance Use the Filter Resonance to boost the part of the sound spectrum around the cutoff frequency.

LFO Depth Intensity of the Vibrato (LFO).

LFO Speed Speed of the Vibrato (LFO).

LFO Delay Delay time before the Vibrato (LFO) begins, after the sound starts.

Listening and customizing the Sounds |397

Setting the Voice mode

Use the Poly and Mono radio buttons to choose whether the Sound will play polyphonically (playing chords) or monophonically (one voice at a time).

Use the Legato checkbox to activate legato to a mono voice.

Legato will make the second notes attack smoother. Envelope and LFO will not be retriggered. This is particularly effective with wind instrument and analog synth-type sounds.

Turn on the Hold parameter to keep the notes sustained even after releasing the keys.

Mixing the effects

Sounds are sent to two Master FX processors (MFX 1 and MFX 2). The first one is usually a reverb, the second a modulating effect.

Use the On/Off switch to turn on or off the corresponding effect.

Use the Send knob to adjust the level of the dry sound sent to the corre- sponding effect.

Use the Amount knob to mix between the dry and effected signal.

Writing the Sound

When finished editing the Sound parameters in the main page of the Sound mode, choose the Write Sound command from the page menu to save the Sound. More details on writing Sounds at the end of this section.

398| Customizing and editing the Sounds

35 Editing the Sounds

You can edit each single parameter of a Sound. Pa4X is, at its core, a power- ful sample-based synthesizer, with advanced analogue-like sound shaping features.

Sound generation

At the base of each Sound there are Samples, that are recordings of real sounds.

Each Sample is assigned to a separate zone of the keyboard together with other Samples to create a Multisample. One or two Multisamples are as- signed to each Oscillator.

Up to twenty-four Oscillators can be put together to make a Sound. In a Sound, Oscillators are balanced, layered, and processed by the Effects.

Sounds are the basic unit of the Pa4Xs timbre, and can be combined in Sound sets called Keyboard Sets. They can also be assigned to Style and Song tracks.

Accessing Sound editing

1 Press the SOUND button in the MODE section of the control panel to go to the corresponding mode.

2 Press the MENU button and touch any of the buttons in the edit menu to choose the Sound Edit section.

Editing the Sounds |399

Choosing the oscillators (OSC)

While in an edit page requiring an oscillator to be selected for editing, use the vertical row of buttons on the right (124 max) to select one of the available oscillators. The number of available oscillators depends on the Oscillators Count parameter (in the Sound > Basic > Sound page).

Oscillators

If you cannot see the desired oscillator, touch the scroll arrow, until the hid- den oscillator is shown in the display.

When oscillators cannot be select, since the parameter contained in the current page are global and valid for the whole Sound, these buttons are dimmed, and cannot be selected.

Sounds, Drum Kits, Digital Drawbars

Pa4X features different types of Sounds:

Ordinary Sounds. These are normal instrument Sounds, like pianos, strings, basses.

Drum Kits. These are drum and percussion kits, where each note (key) of the keyboard is a different percussive instrument. You can find Drum Kits in the Drum & SFX and User DK banks.

Digital Drawbars. These are Sounds simulating electromechanical or- gans. Their complex structure, and the special usage, require their set- tings to be saved into a Keyboard Set.

Before pressing the MENU button to access the edit pages, you should select a Sound of the type you wish to edit or create.

400| Customizing and editing the Sounds

Setting the Sounds basic parameters

Before editing the oscillators, choose the number of oscillators in the Sound, the Sounds mono/poly mode, and the transpose and legato ranges.

Go to the Sound > Basic > Sound page.

Setting the oscillators

The Oscillator Count section is where you choose how many voices will be used by a single Sound.

Choosing the number of oscillators

Use the Oscillators Count parameter to choose the number of oscillators (up to 24) the Sound is based on.

The total polyphony varies depending on the number of oscillators used by the Sound (a maximum of 128 with only 1 oscillator per voice).

Editing the Sounds |401

Limiting the number of oscillators when polyphony is low

Use the Low priority parameter to allow the highest-numbered oscillators to be turned off when the instrument is short on voices. Keep in mind that, with a dense polyphony, missing oscillators might not even be heard.

Low Priority Meaning

0 No oscillator will be turned off in any case.

1 The highest-numbered oscillator will be turned off, if needed.

2 The two highest-numbered oscillators can be turned off, one after the other, if needed.

[n]24 The n-numbered oscillators (up to 24) can be turned off, one after the other, if needed.

Limiting transpose to a defined key range

Some parts of the Sound, in a keyboard range containing special effects, can fall out of the Transpose Range.

Use the Transpose Range (Top Key and Bottom Key) parameters to limit transposition to a defined key range. Notes will only be transposed if falling inside this range.

This is useful to avoid RX Sounds to be transposed (therefore reassigned do different sounds) when transposing a Sound. Set these values so that all RX Noises assigned to any oscillator will fall out of the Transpose Range. For example, if you assigned an RX Noise to a G7 on OSC1, and an RX Noise to an A7 on OSC2, set the Top Key value no higher than F#7 (just below the lowest RX Noise).

402| Customizing and editing the Sounds

Polyphony, triggering, legato

The Voice Assign Mode section is where you choose polyphony, triggering and legato.

Choosing the mono/poly mode

Use the Poly and Mono radio buttons to choose whether the Sound will play polyphonically (playing chords) or monophonically (one voice at a time).

Choosing triggering mode

When the selected mode is Poly, use the Single Trigger checkbox to choose the triggering mode.

Single trigger Meaning

On When the same note is played repeatedly, the previous note will be silenced before the next note is sounded, so that the notes do not overlap.

Off When the same note is played repeatedly, the previous note will not be silenced before the next note is sounded.

Activating Legato

When the selected mode is Mono, use the Legato pop-up menu to choose the type of Legato.

Legato Meaning

Legato Off Legato phrasing will produce the same sound as detached playing.

Legato Legato will make the second notes attack smoother. Envelope and LFO will not be retriggered. This is particularly effective analog synth-type sounds.

Legato Offset When you play legato, the second and subsequent notes will restart with- out playing the attack part of the sample. This is particularly effective with real sounds, like wind instruments.

The resulting effect depends on the selected multisample.

Editing the Sounds |403

Choosing the Mono note priority

When the selected mode is Mono, use the Priority pop-up menu to specify which note will be given priority when two or more notes are played simul- taneously.

Priority Meaning

Low The lowest note will take priority.

High The highest note will take priority.

Last The last note will take priority.

Holding notes

Select the Hold checkbox to let the notes play even after releasing the keys.

This is especially useful for percussive sounds, that you will trigger and let alone sounding.

Setting the Sound Controllers Mode

You can use the assignable switches, footswitch, EC5 switches and the joy- stick as DNC Sound Controllers. Depending on the Sound, these controllers can book or toggle a DNC function.

You can program four controllers:

Sound Controller Meaning

SC1/2 Two functions that can be assigned to an assignable switch, foot- switch, or EC5 switch.

Y- Backward joystick movement (pull).

Y+ Forward joystick movement (push).

404| Customizing and editing the Sounds

The controller can work in two ways:

Sound Controller Mode

Meaning

Booking Activate the controller to book its function, then play. The control- ler will be automatically deactivated.

Toggle Use the controller to toggle its function between activated and de- activated.

The assigned controller type and status is shown by the indicators on the assignable switches.

Indicator status Meaning

Off No DNC function assigned.

Red steady Booking DNC function available.

Red blinking Booking DNC function waiting to be executed. Then, it will return steady.

Green steady Toggle DNC function available.

Green blinking Toggle activated. Press it again to disable it.

Editing the Sounds |405

Detecting Legato

Two notes can be considered legato when there is very little or no time be- tween them (and they can even be overlapping). You can adjust the instru- ments sensitivity to detect legato.

Legato can be used as an oscillator trigger, when you assign one of the Legato triggers to the OSC Trigger Mode parameter (in the Sound Edit > Basic > OSC Basic page).

Adjusting the time gap

Use the Max Time parameter to set the delay between notes (1999 ms), to consider them legato, even if there is a very small gap before them.

This is useful to avoid some notes in a chord are played legato, and some oth- ers staccato. Notes played with a small gap are still considered legato notes. A value of approx. 15 ms is usually considered effective when playing chords.

Adjusting the key note gap

Use the Max Range parameter to set the range (1127 semitones) within which notes can be considered legato. If you play a wider interval, the notes are always considered staccato.

This is typical of some acoustic instruments, where legato is only possible within a small interval, but not on wider ones.

As an example, please try the Jazz Sax DN2 sound, where the Max Range is 9 semitones. Play legato with intervals smaller than 9 semitones, and you will hear how smoother legato notes will become. Play legato with wider in- tervals, and legato smoothing will be lost.

406| Customizing and editing the Sounds

Setting the oscillators basic parameters

Each of the oscillators can play one or two different multisamples (High and Low layers), separated by a velocity switch.

Go to the Sound > Basic > OSC page.

The multisamples

The OSC Multisample section contains the basic parameters of the assigned multisamples.

Editing the Sounds |407

Choosing and setting the multisamples

Use the High and Low pop-up menus to choose the multisamples bank (ROM or RAM).

Use the numeric field next to the multisample name to choose the multi- sample inside the selected bank.

Bank Meaning

ROM Factory multisamples, supplied by KORG as standard.

RAM User multisamples, loaded when loading some User Sounds.

The High multisample will be triggered by velocities equal or higher than the Velocity SW L>H value. If you do not want to use velocity switching, set the switch to a value of 001, and only assign the High multisample.

If you create a new Sound based on RAM samples, the RAM samples must be loaded from the internal drive or from a device connected to the USB HOST ports. In case samples are not loaded, no sound will be heard, even if the Sound or multisample can be selected and its name appears in the display.

Use the Offset parameters to specify the point where the multisample(s) will start to play. With some multisamples this parameter is not available.

Offset Meaning

Off The sound will start from the beginning of the multisample wave- form.

1st6th The sound will begin from the offset location predetermined for each sample.

No Attack The initial portion of the multisample is ignored.

AMS Activates the Alternate Modulation Source (see below).

PseudoRandom (Only works when more than a single Offset point is available in the multisample). Randomly selects one of the available Offset points.

Select the Reverse checkbox to reverse the samples in the multisample (reading starts from the end). This can only be activated on some multi- samples.

Use the Level parameters to specify the volume level of each multisample.

Depending on the multisample, high settings of this parameter may cause the sound to distort when a chord is played. If this occurs, lower the level.

408| Customizing and editing the Sounds

Setting octave and fine tuning

Use the Oct(ave) parameter to adjust the pitch of the selected oscillator in octave units (-2+1). The normal octave is 0 (Zero).

Use the Transpose parameter to adjust the pitch of the selected oscillator over a range of 1 octave (-12+12 semitones).

Use the Tune parameter to adjust the pitch of the sample over a range of 1 octave (-1200+1200 cents of a semitone) .

Setting the velocity switch between the Low and High layers

Use the Vel SW L>H parameter to set the velocity value dividing the High and Low multisamples for the selected oscillator. Notes struck at this value or harder will be played by the High multisample.

Choosing an AMS (Alternate Modulation Source)

When the AMS option is assigned to the Offset parameter, the Offset Intensity by AMS and AMS parameters become available. A list of AMS sources can be found in the Appendix.

When the Offset Intensity by AMS parameter has a positive value, the se- lected Offset point will depend by the AMS value. For example, with the Velocity AMS, playing softly will select the Off or 1st Offset, while playing loudly will select the 6th or No Attack Offset.

When the Offset Intensity by AMS parameter has a negative value, the se- lection will happen in reverse (higher-numbered Offsets will be selected be- fore the lowest-numbered ones).

Editing the Sounds |409

Oscillator triggering

Triggering Mode is how the oscillator will start after pressing a key or a controller.

Choosing the oscillator triggering mode

Use the first OSC Trigger Mode > Mode pop-up menu to choose the event triggering the selected oscillator.

trigger Mode (What) Meaning

Note On The oscillator starts playing when a note is played.

Note Off (VOn) The oscillator starts playing when a note is released. Note On Velocity is considered.

This is useful to create sounds such as the click that is heard when a harpsichord note is released. In this case, set the Sustain parameter to 0 (see the Amp > Amp EG page).

Note Off (VOff) As the above, but Note Off Velocity is not considered.

Last Note Off (VOn) The oscillator starts playing only when the last note of a chord or legato sequence is released. Note On Velocity is considered.

Last Note Off (VOff) As the above, but Note Off Velocity is not considered.

Natural Release The oscillator starts playing when a note is released. Its amplitude starts from the current amplitude level. If the sounds volume is al- ready at zero, this oscillator is not retriggered.

After Touch The oscillator starts playing when an After Touch message with a value of at least 90 is received. The Velocity value is the same as the latest Note On message. The oscillator will stop playing when the After Touch value falls back to zero.

Hint: This (like the following Triggers) is especially useful to trigger harmonics or growls when a note is already playing.

Joystick Y+ As the above, but with the joystick, assigned as the Sound Controller, pushed at least half-way forward (value 64). This control is equiva- lent to a CC#01 (Modulation) Control Change message.

Joystick Y- As the above, but with the joystick, assigned as the Sound Controller, pulled at least half-way back (value 64). This control is equivalent to a CC#02 (Breath Controller) Control Change message.

410| Customizing and editing the Sounds

Use the second OSC Trigger Mode > Mode pop-up menu to choose an ad- ditional condition before triggering the selected oscillator. For example, a Normal-triggered oscillator will always play, while a Legato-triggered oscilla- tor will only play when a note is played legato.

trigger Mode (How) Meaning

Normal The oscillator always plays when a key, or another triggering control chosen in the first menu, is pressed.

Legato The oscillator only plays when the note is played legato. The delay and pitch interval from the previous note are also to be considered, as set in the Sound > Basic > Sound page (Legato as OSC Trigger parameter).

Legato Up Like Legato, but this is only activated when the second note is out of the Max Range value (as set in the Sound > Basic > Sound page) and it is higher than the first one.

Legato Down Like Legato, but this is only activated when the second note is out of the Max Range value (as set in the Sound > Basic > Sound page) and it is lower than the first one.

Not Legato The oscillator only plays when the note is NOT played legato (it is the opposite of the above choice). This only works if at least an oscillator is set to Legato; if there isnt, this behaves as a Normal trigger.

Sound Controller 1 The oscillator only plays when a CC#80 (Sound Controller 1) mes- sage is received. Press and release the corresponding physical con- troller, and the next note will also trigger the selected oscillator. If you keep it pressed, the oscillator will continue to be triggered until you release the controller.

Note: In Sequencer and Sound mode, the Assignable Switch 1 is auto- matically assigned to Sound Controller 1.

Hint: This (like the following Sound Controllers) is especially useful to enable a different nuance to the following note(s).

Sound Controller 2 As the above, but with the CC#81 (Sound Controller 2) message.

Note: In Sequencer and Sound mode, the Assignable Switch 2 is au- tomatically assigned to Sound Controller 2.

Sound Controller Y+ As the above, but with the joystick, assigned as the Sound Controller, pushed at least half-way forward (value 64). The controller is turned off when the joystick is released. This control is equivalent to a CC#01 (Modulation) Control Change message.

Sound Controller Y- As the above, but with the joystick, assigned as the Sound Controller, pulled at least half-way back (value 64). The controller is turned off when the joystick is released. This control is equivalent to a CC#02 (Breath Controller) Control Change message.

Cycle 1 All oscillators with this same trigger mode assigned will play in cycle. For example, if Oscillators 1, 2 and 4 are assigned the Cycle 1 trigger mode, the following note will trigger Oscillator 1, then 2, then 4, then 1 again.

Hint: This is especially useful to trigger different sound nuances or create vector-like sound sequences.

Editing the Sounds |411

trigger Mode (How) Meaning

Cycle 2 As the above, for use with a different (and parallel) group of oscilla- tors. Having two Cycle Trigger Modes allows for cycling stereo mul- tisamples.

Random As the above, but with a random selection of oscillators within the assigned group.

Choosing a delay before note start

Use the Delay parameter to set a lapse (05000ms) between pressing a key (or in general triggering the oscillator) and hearing the beginning of the sound.

Reversing the controllers

Select the OSC Off when Sound Controllers are On checkbox to reverse the way Sound Controllers work. With this parameter checked, the current oscillator will not play when one of the Sound Controllers (Sound Controller 1, Sound Controller 2, Sound Controller Y+, Sound Controller Y-) is activated.

It should be applied to oscillators with the After Touch, Joystick Y+, Joystick Y-, Normal, Legato, Legato Up, Legato Down, Not Legato, Cycle 1, Cycle 2, and Random trigger modes, that can be turned off by using a switch, foot- switch or the joystick programmed as a Sound Controller.

412| Customizing and editing the Sounds

Setting the velocity and key zone

You can limit the selected oscillator to play inside a defined velocity zone and key range. This will allow for creating different key and velocity layers.

Go to the Sound > Basic > Velocity/Range page.

Setting a velocity zone

Use the Velocity Zone (Top and Bottom) parameters (0127) to specify the velocity zone for the selected oscillator.

Setting a key range

Use the Keyboard Range (Top Key and Bottom Key) parameters (C-1G9) to specify the note range for the selected oscillator.

Scaling the received velocity values

Use the Scaled Velocity (Top and Bottom) parameters (0127) to scale the velocity values received by the oscillator. By using the Velocity Zone, an os- cillator may be limited to a restricted range (say, 10 to 20), that may result in weak dynamics when the associated sample is triggered.

By assigning a different value to these parameters, the restricted range will be expanded to a wider range (for example, the lowest range value of 10 may be converted to a Scaled Velocity value of 0, and the highest range value of 20 may be converted to a Scaled Velocity value of 127). All values included between the minimum and maximum value are scaled accordingly.

As a consequence, you can create an RX Sound of guitar, by assigning the guitar fret noise to the 10~20 velocity range. When a dynamics value between 10~20 is received, the real velocity value is scaled to the Scaled Velocity values, and will play louder.

Editing the Sounds |413

Programming the Damper pedal

Programming the pedal

Pa4X carefully recreates the way an acoustic piano Damper pedal works.

Go to the Sound > Basic > Damper Mode page.

Choosing a Damper pedal mode

Use the Damper Mode pop-up menu to choose how the Damper pedal will work on the selected oscillator.

Damper Mode Meaning

Normal The Damper pedal works as usual: by keeping it pressed, the note decay is lengthened, to simulate the longer note decay of an acoustic piano.

Damper Off The Damper pedal is deactivated for the selected oscillator.

Choose Damper Off, if you plan to use the selected oscillator in the Basic > Damper Trigger page to trigger sounds.

Resonance/Halo The Damper pedal enables a multisample, normally used for the Piano Resonance/Halo effect. If the pedal is pressed when the note is already playing, the speed at which the multisample appears and disappears, and the volume it can reach, depend on the Resonance/ Halo parameters programmed below.

Hint: This Damper mode is much more realistic than the Normal mode, but also steals more notes from the overall polyphony, and is especially suggested for solo piano playing.

Note: Half-pedaling, as well as Damper messages received via MIDI (as Control Change #64), control the level of the Resonance/Halo effect.

414| Customizing and editing the Sounds

Damper Mode Meaning

Repedaling This mode acts as the Normal mode, but also enables the Damper pedal effect when the pedal is pressed after the note has been re- leased (Note Off). In this case, the Damper effect starts from the current Release level, and decays slowly.

Do not use Repedaling in Sounds used by Style tracks.

Programming the Resonance/Halo

You can program the Resonance/Halo effect that is enabled by the Resonance/Halo Damper Mode (see above). These parameters only affect the Resonance/Halo that is enabled when pressing the Damper pedal down when a note is already playing.

Use the Attack Time parameter to set the time needed to the Resonance/ Halo to reach the maximum level after the Damper pedal has been pressed. Values (099) are relative to the current Amp Env Attack value.

Use the Release Time parameter to set the time needed to the Resonance/ Halo to fade out after the Damper pedal has been released. Values (099) are relative to the current Amp Env Release value.

Use the Volume Scaling parameter to set the volume of the Resonance/Halo effect. Values (0100%) are relative to the current level of the sound, as de- termined by the sum of the Multisample Volume, Velocity value and current Amp Env value. 0% is no volume at all.

Setting a key range without dampers

In an acoustic piano, the felt dampers can only dampen strings up to a cer- tain note. Starting from that note (usually G6), it is as if the Damper pedal was always pressed down, and the dampers removed from the strings.

When the Damper is in Normal mode (see above), use the No Note Off Range > From Note parameter to choose the note (C#-1G9) starting from which notes are never dampened.

This parameter has no effect on the Resonance/Halo mode.

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Triggering notes when pressing or releasing the Damper pedal

Special effects can be achieved by triggering notes with the Damper pedal.

Go to the Sound > Basic > Damper Trigger page.

The parameters in this page apply to the Sound as a whole, and not to a single oscillator.

As warned by the message on the lower area of the display, triggered notes must fall out of the Transpose Range programmed in the Sound > Basic > Sound page. Please either choose a note out of that range, or edit the Transpose Range, so that the note is either higher or lower than that range.

Damper Trigger Sample

Transpose Range

Playing a note when pressing the Damper pedal

The Damper On Trigger parameters allow to play a note when pressing the Damper pedal (Damper On).

This is useful when a special sample is assigned to a particular note (for ex- ample, pedal down squeaking in the Sound Grand Piano Demo, breathing in the Harmonica 1 DNC Sound ).

Choose a Note, and set its Velocity.

Select the Note Off on Damper Off checkbox to make the sound stop when the Damper pedal is released.

416| Customizing and editing the Sounds

Playing a note when releasing the Damper pedal

The Damper Off Trigger parameters allow to play a note when releasing the Damper pedal (Damper Off).

Releasing the Damper pedal can play a special sample assigned to a particu- lar note (for example, Damper pedal release noise in the Grand Piano Demo Sound).

Choose a Note, and set its Velocity.

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Equalizing the Sound

You can use a three-band, semi-parametric equalizer on each oscillator.

Go to the Sound > Basic > EQ page.

Activating the EQ

Select the Enable checkbox to activate the equalizer on the selected oscil- lator.

Trimming and programming the EQ

Use the Trim knob to limit the level of the signal passing through the equal- izer (099). Extreme equalization values can overload the audio circuits and lead to distortion. This control lets you set equalization as desired, and at the same time avoid overloading.

Use the EQ controls to create the equalization curve.

EQ Control Meaning Value

Low Gain Low frequencies equalization. This is a shelving curve filter.

-18+18dB

Mid (Middle) Gain Middle frequencies equalization. This is a bell curve filter.

-18+18dB

Mid (Middle) Freq Centre frequency of the middle frequencies equalization.

0.10010kHz

Hi (High) Gain High frequencies equalization. This is a shelving curve filter.

-18+18dB

418| Customizing and editing the Sounds

Setting the Drum Kits basic parameters

When editing a Drum Kit, you first choose and set the percussive samples assigned to each key and velocity layer.

Go to the Sound > DrumKit > DrumKit page.

Selecting and setting a key

The key can be selected and programmed in the KEY section.

Choosing the key to edit

Use the KEY parameter to select a key. As an alternative, select it by press- ing a key on the keyboard.

Choosing the number of layers per key

Each key can have a variable number of velocity zones (layers). This allows for assigning different samples to different playing velocity strengths.

Use the Layers pop-up menu to choose the number of layers assigned to the selected key. Depending on the number of selected layers, a different number of velocity switches will become available.

Turning the key on or off

Use the Assign checkbox to turn the selected key on/off. When a key is not assigned, the next assigned key on the right will extend over it.

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Selecting the dry or ambient portion of the sound

You can separately listen to the dry or ambient portion of the percussive samples while editing.

Use the Dry+Amb menu to choose the dry and/or ambient portion of the sound.

Layer and velocity switch

After having selected a key to edit, choose the velocity layer.

Choosing the layer to edit

Use the radio buttons in the Layer Selector & Velocity Sample Switch area to select the layer to edit. The available number of layers depend on the Layers pop-up menu above.

Editing the velocity switches

Each of the velocity switch values in the Layer Selector & Velocity Sample Switch area separates two adjacent layers of the selected key. Notes strick- en harder than a velocity switch will be played by the layer on the right, while notes stricken softer are played by the layer on the left.

The first and last values are not editable, and are always 001 and 127 (re- spectively).

Choosing and setting the drum samples

Use the Drum Sample section to assign a percussive sample to the selected velocity layer inside the selected key.

The available parameters depend on the selected sample.

420| Customizing and editing the Sounds

Choosing a drum sample

Use the Drum Sample parameters to assign a different drum sample to each layer. You can use velocity to switch between the available samples. Offset and Level can be adjusted independently for the various drum samples.

Use the pop-up menus to choose the bank (ROM or RAM).

Use the numeric field next to the sample name to choose the sample inside the selected bank.

Bank Meaning

ROM Factory samples, supplied by KORG as standard.

RAM User samples, loaded when loading some User Drum Kits.

The sample you select for the current layer will be triggered by velocities higher than the value of the velocity switches. If you do not wish to use veloc- ity switching, assign just one layer to the selected key, and assign a sample only to layer 1.

If you create a new Drum Kit based on RAM samples, the RAM samples must be loaded from the internal drive or from a device connected to the USB HOST ports. In case samples are not loaded, no sound will be heard, even if the Drum Kit can be selected and its name appears in the display.

Select the Rev (Reverse) checkbox to play the sample in reverse (if this is al- lowed by the sample). In the case of samples that were originally specified to loop, the sample will be played back in one-shot reverse mode. If the sample was originally set to reverse, it will playback without change.

Setting a sample start offset

Use the Ofs (Offset) parameter to specify the point where the sample will start to play.

Offset Meaning

Off The sound will start from the beginning of the sample.

1st6th The sound will begin from the offset location pre-determined for each sample.

NoAtk The initial portion of the multisample is ignored.

AMS Activates the Alternate Modulation Source (see below).

PseudoRandom (Only works when more than one Offset point is available in the mul- tisample). Randomly selects one of the available Offset points.

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Use the AMS and Int(ensity) parameters to choose the AMS modulation source and its intensity.

When the Intensity parameter has a positive value, the selected Offset point will depend on the AMS value. For example, with the Velocity AMS, playing softly will select the Off or 1st Offset, while playing loudly will select the 6th or No Attack Offset.

When the Intensity parameter has a negative value, the selection will hap- pen in reverse (higher-numbered Offsets will be selected before the lowest- numbered ones).

Setting the sample level

Use the Level parameter to specify the level of the sample.

Programming the sample envelope

Use the Attack and Decay parameters to offset the selected samples EG Attack and Decay segments.

Programming the filter

Use the Cutoff and Resonance parameters to set the cutoff frequency and resonance for the filter applied to the selected sample.

Setting transpose and fine tuning

Use the Transpose parameter (-64+63 semitones) to transpose the select- ed sample. Use it to change the pitch of the selected key.

Use the Tune parameter (-99+99 cents of a semitone) to fine-tune the as- signed sample.

Adjusting the ambient level and time

Use the Amb Level / Time parameters to adjust the ambient level and pan.

These parameters are only available if the selected Drum sample is of the Ambient type. When these parameters are available, Level controls the vol- ume of the direct (dry) sounds, while Amb. Level and Time control the vol- ume and length of the ambience respectively.

422| Customizing and editing the Sounds

Equalizing the Drum Kit

Each of the drum samples can be processed with a three-band, semi-para- metric equalizer.

Go to the Sound > DrumKit > EQ page.

Choosing the key to edit

Use the Key parameter to select a key. As an alternative, select it by pressing a key on the keyboard.

The Layers and Assign parameters are the same of the Sample Setup page.

Trimming and programming the EQ

Select the Enable checkbox to activate the equalizer on the selected layer.

Use the Trim knob to limit the level of the signal passing through the equal- izer (099). Extreme equalization values can overload the audio circuits and lead to distortion. This control lets you set equalization as desired, and at the same time avoid overloading.

Editing the Sounds |423

Use the EQ controls to create the equalization curve.

EQ Control Meaning Value

Low Gain Low frequencies equalization. This is a shelving curve filter.

-18+18dB

Mid (Middle) Gain Middle frequencies equalization. This is a bell curve filter.

-18+18dB

Mid (Middle) Freq Centre frequency of the middle frequencies equalization.

0.10010kHz

Hi (High) Gain High frequencies equalization. This is a shelving curve filter.

-18+18dB

424| Customizing and editing the Sounds

Mixing the Drum Kit layers

You can see all the drum samples, dry/ambient levels, and velocity switches of the available layers in a single page. While in this page, you can see which layer is playing.

Go to the Sound > DrumKit > Velocity Switch Levels page.

View which layer is playing

Play a note on the keyboard. Depending on the velocity, an indicator will turn on on the extreme right of the page, next to the layer that is playing.

Choose the drum sample

Use the ROM/RAM parameter to choose the bank (ROM or RAM).

Use the drum sample name parameter to assign a different drum sample to each layer.

Adjust the dry/ambient level

Use the Dry Level and Amb Level parameters to adjust the level of the dry and ambient portion of the sound.

Adjust the velocity switch

Use the Vel parameter to adjust the velocity switch between the layers.

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Mixing and retriggering the drum samples

You can choose a triggering mode, and mix the key (usually a percussive sound with its different velocity layers) with the other keys. All layers of the selected key will get the same settings.

Go to the Sound > DrumKit > Voice/Mixer page.

Choosing the key to edit

Use the Key parameter to select a key. As an alternative, select it by pressing a key on the keyboard.

The Layers and Assign parameters are the same of the Sample Setup page.

Choosing polyphony, retriggering and legato

Use the Single Trigger checkbox to choose the triggering mode.

Single trigger Meaning

On When the same key (note) is played repeatedly, the previous note will be stopped before the new note is triggered, so that they will not overlap.

Off When the same key (note) is played repeatedly, the previous note will not be stopped before the new note is triggered.

426| Customizing and editing the Sounds

Creating exclusive groups

Exclusive Groups are sets of mutually exclusive keys, stopping each other. For example, if the Open Hi-Hat and Closed Hi-Hat are assigned the same Exclusive Group, playing an Open Hi-Hat will stop the Closed Hi-Hat playing.

Exclusive Group Meaning

None No Exclusive Group assigned. The selected key will not be stopped by any other key.

1127 Exclusive Groups assigned to the selected key. When you play this key, all other keys assigned to the same Exclusive Group will be stopped, and this key will be stopped by other keys assigned to the same Exclusive Group.

Enabling Note On and Note Off

Select the Enable Note On Receive checkbox to enable reception of the Note On (Key On) message.

If this parameter is not selected, the key will not play.

Select the Enable Note Off Receive checkbox to enable reception of the Note Off (Key Off) message.

If this parameter is not selected, the sample will continue to play to the end of the sample.

Setting the Level, Pan and FX Send mixing parameters

Use the Level parameter to set the level of the selected key.

Use the Pan parameter to set the position of the selected key in the stereo panorama.

Use the Send to MFX1 and Send to MFX2 parameters to set the MFX1 or MFX2 send level for the selected key.

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Modulating pitch

Pitch can change depending on the note and the activated controllers. Pa4X also includes LFO generators that can modulate the pitch.

Go to the Sound > Pitch > Pitch Mod page.

Controlling pitch

The oscillators pitch can follow the natural scale, or a different pitch slope.

Setting the Pitch Slope

Use the Pitch Slope parameter (-1.0+2.0) to change pitch depending on the note position on the keyboard.

Normally you will leave this parameter at +1.0. Positive (+) values will cause the pitch to raise as you play higher notes, and negative () values will cause the pitch to fall as you play higher notes.

With a value of 0, there will be no change in pitch, and the C4 pitch will sound regardless of the keyboard location you play.

428| Customizing and editing the Sounds

The diagram shows how the Pitch Slope and pitch are related:

Pitch

Key

2oct 1oct 1oct

C4 C5

+2

+1

0

1

Controlling the pitch with physical controllers

Use the Pitch Mode pop-up menu to set the Pitch Bend direction.

Pitch Mode Meaning

Normal Linear bending.

Fixed Scale When this parameter is turned on on an oscillator, Pitch Bend and Sub Scale have no effect on its tuning. The relevant parameters are greyed out and non-selectable.

Highest Pitch Bend only

On this oscillator, Pitch Bend is only activated on the highest note currently playing on the keyboard.

Lowest Pitch Bend only

On this oscillator, Pitch Bend is only activated on the lowest note cur- rently playing on the keyboard.

Use the Ribbon to Pitch parameter to set the Pitch Bend range (-120+12 semitones) controlled by the Ribbon Controller message (CC#16). The Ribbon Controller message can be received from MIDI or contained in a Standard MIDI File.

Use the JS (+X) parameter to specify how the pitch will change when the joystick is moved all the way to the right (-60+12 semitones). A setting of 12 produces 1 octave of change.

For example if you set this to +12 and move the joystick all the way to the right, the pitch will rise one octave above the original pitch.

Use the JS (-X) parameter to specify how the pitch will change when the joystick is moved all the way to the left (-60+12 semitones). A setting of 12 produces 1 octave of change.

For example, if you set this to -60 and move the joystick all the way to the left, the pitch will fall five octaves below the original pitch. This can be used to simulate the downward swoops that a guitarist produces using the trem- olo arm.

Editing the Sounds |429

Choosing a pitch modulation source

Use the Pitch > AMS (Alternate Modulation Source) pop-up menu to select a modulation source for the pitch of the selected oscillator. A list of the avail- able AMS sources is in the Appendix.

The Intensity parameter (-12.00+12.00) specifies the depth and direction of the effect produced by the AMS. With a setting of 0, no modulation will be applied. With a setting of 12.00, the pitch will change up to one octave.

For example, if you choose the JS (-Y) AMS and move the joystick down- wards, the pitch will rise if this parameter is set to a positive (+) value, or fall if this parameter is set to a negative () value. The range is a maximum of one octave.

Controlling the Pitch EG (Envelope Generator)

Use the Pitch EG parameters to controls the Pitch EG unique to all oscilla- tors.

Linking pitch to the envelope

The Velocity Intensity parameter (-12.00+12.00) specifies the depth and direction of the Pitch EG modulation. With a setting of 12.00, the pitch will change a maximum of 1 octave.

Linking pitch to an AMS modulation

Use the Pitch EG > AMS parameter to select a modulation source for the pitch EG of the selected oscillator. A list of the available AMS sources is in the Appendix.

Use the Pitch EG > Intensity parameter to specify the depth and direction of the AMS. For example, if you choose the Velocity AMS and set this value to +12.00, the velocity will control the range of pitch change produced by the pitch EG in a range of 1 octave. As you play more softly, the pitch change will draw closer to the pitch EG levels.

430| Customizing and editing the Sounds

The Pitch EG > AMS and Pitch EG > Intensity will be summed to determine the depth and direction of the pitch modulation applied by the pitch EG.

Pitch change (level)

Softly played (Intensity (Pitch EG) setting)

Strongly played with a negative () value

Strongly played with a positive (+) value

Note-on Note-off

Note-on Note-off

Note-on Note-off

Programming Portamento

Portamento adds a slide between notes (a smooth change in pitch from one note to the next).

Select the Enable checkbox to activate the portamento effect.

Portamento will also be switched on or off when the CC#65 (Portamento SW) message is received.

Use the Mode pop-up menu to choose the Portamento mode.

Mode Meaning

Rate Portamento will take a particular time to glide a given distance in pitch for instance, one second per octave. Put another way, gliding several octaves will take much longer than gliding a half-step.

Time Portamento will always take the same amount of time to glide from one note to another, regardless of the difference in pitch. This is especially useful when playing chords, since it ensures that each note in the chord will end its glide at the same time.

Use the Time parameter to set the portamento time (000127). Increasing the value will produce a slower change in pitch.

Use the AMS and Intensity parameters to choose the AMS modulation source and its intensity for the Time parameter.

The Intensity parameter controls the depth and direction of the Portamento Time AMS modulation.

Editing the Sounds |431

Select the Fingered checkbox to make portamento restart when playing a note.

When Fingered is enabled, playing legato will turn Portamento on, while playing detached will turn it off again.

Controlling the LFO

Use the LFO 1/2 parameters to controls the LFO (Low Frequency Oscillation) on the selected oscillators. LFO generators are programmed in the Sound Edit > LFO > LFO 1 and LFO 2 pages.

Use the LFO 1/2 Int parameter to set the intensity (-120+12) of the cor- responding LFO. Negative values will invert the LFO shape.

Use the JS+Y parameter to set the intensity (-120+12) of the correspond- ing LFO when the joystick is pushed forward. Negative values will invert the LFO shape.

Use the AMS and Intensity parameters to choose an AMS to modulate the corresponding LFO, and the intensity of the modulation.

432| Customizing and editing the Sounds

Programming the pitch envelope (Pitch EG)

Pa4X includes a pitch envelope generator (Pitch EG) that can vary the pitch over time.

Go to the Sound > Pitch > EG page.

You can see the shape of the envelope in the diagram on top of the page.

Setting the Pitch EG levels and times

Pitch EG can be programmed by setting the Level and Time parameters of the envelope segments.

Note-on Note-off

Attack Time

Decay Time

Start Level Release Level

Release Time

Attack Level+99 = approximately 1 octave

99 = approximately 1 octave

0 = pitch when key is held (sustained)

Time

Time-varying pitch settings (when Pitch EG Intensity = +12.00)

Use the Level parameters (-99+99) to specify the amount of pitch change.

EG Level Meaning

Start Amount of pitch change at note start.

Attack Amount of pitch change when the attack time has elapsed.

Release Amount of pitch change when the release time has elapsed.

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The actual amount of pitch change will depend on the Pitch EG > Intensity parameters (see the Sound > Pitch > Pitch Mod page). For example, with an Intensity setting of +12.00, a Level setting of +99 would raise the pitch one octave, and a Level setting of 99 would lower the pitch one octave.

Use the Time parameters (099) to specify the time over which the pitch change will occur.

EG time Meaning

Attack Time over which the pitch will change from note-on until it reaches the pitch specified as the attack level.

Decay Time over which the pitch will change after reaching the attack level until it reaches the normal pitch.

Release Time over which the pitch will change from note-off until it reaches the pitch specified as the release level.

Modulating the Pitch EG

Modulating the Pitch EG levels

Use the Level Modulation > AMS 1/2 parameters to select a modulation source for the Pitch EG > Level parameters.

Use the Level Modulation > Intensity parameters (-99+99) to specify the depth and direction of the modulation generated by AMS1 or AMS2. With a setting of 0, the levels specified by the Level parameter will be used.

For example, if you choose the Joystick Y+ the AMS, moving the Joystick in the upper direction to turn it on will change the Level parameters of the Pitch EG. As the absolute value of Intensity is increased, the Pitch EG levels will change more when the Joystick is released. The direction of the change is specified by St (Start Level Swing) and At (Attack Level Swing). When the Joystick is released, the Pitch EG levels will return to their own settings.

If you choose the Velocity AMS, increasing the absolute value of Intensity will produce increasingly wider change in Pitch EG levels for strongly-played notes. The direction of the change is specified by St (Start Level Swing) and At (Attack Level Swing). As you play more softly, the pitch change will draw closer to the Pitch EG levels.

Use the St (Start Level Swing) and the At (Attack Level Swing) parameters to specify the direction of change in Level > Start and Level > Attack caused by the AMS.

434| Customizing and editing the Sounds

If the Intensity is a positive (+) value, a setting of + will increase the EG level, and a setting of will decrease it. With a setting of 0 there will be no change.

Pitch EG change (level) (AMS=JS-Y/Velocity, Intensity= positive (+) value

Note-on Note-off

Note-on Note-off

Note-on Note-off

A note played softly with Start Level Swing set at 0, Attack Level Swing set to +, the Joystick pulled on

A note played strongly with Start Level Swing set to 0, Attack Level Swing set to +, the Joystick pulled on

A note played strongly with Start Level Swing set to 0, Attack Level Swing set to , the Joystick pulled on

Modulating the Pitch EG times

Use the Time Modulation > AMS parameter to select a modulation source for the Pitch EG > Time parameters.

Use the Time Modulation > Intensity parameters (-99+99) to specify the depth and direction of the effect that AMS will have on the Time parameters. With a setting of 0, the pitch EG times will be just as specified by the Time settings.

The alternate modulation value at the moment that the EG reaches each point will determine the actual value of the EG time that comes next.

For example, the decay time will be determined by the alternate modulation value at the moment that the attack level is reached.

When this parameter is set to values of 16, 33, 49, 66, 82, or 99, the specified EG times will speed up as much as 2, 4, 8, 16, 32, or 64 times respectively (or slowed down to 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 of the original time).

For example, with the Velocity AMS, increasing the absolute value of Intensity will allow strongly-played notes to increase the changes in pitch EG Time val- ues. The direction of the change is specified by At (Attack Time Swing) and Dc (Decay Time Swing). As you play more softly, the pitch EG times will more closely approach the actual settings of the pitch EG.

Use the At (Attack Time Swing) and the Dc (Decay Time Swing) parameters to specify the direction in which AMS will affect the Time > Attack and Decay parameter. With positive (+) values of Intensity, a setting of + will cause the

Editing the Sounds |435

time to be lengthened, and a setting of will cause the time to be shortened. With a setting of 0 there will be no change.

Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value)

Note-on Note-off

Note-on Note-off

Note-on Note-off

A note played softly with Attack Time Swing set to + and Decay Time Swing set to +

A note played strongly with Attack Time Swing set to + and Decay Time Swing set to +

A note played strongly with Attack Time Swing set to and Decay Time Swing set to

436| Customizing and editing the Sounds

Programming the filters

As in a subtractive analogue synthesizer, filters are the main agents of the sounds timbre quality. Envelope and modulation allow for timbral shift over time, making the sound alive.

Choosing the filters

You can choose one of two filters for the selected oscillator.

Go to the Sound > Filter > Filter Type page.

Choosing the filter type

Use the Filter Type radio buttons to choose the type of filter for the selected oscillator.

Filter type Meaning

Low Pass Resonance This is a 24db/oct filter. When the Low Pass filter type is selected, only filter A will be activated.

Low Pass & High Pass These are two 12dB/oct filters in series. When the Low Pass & High Pass filter type is selected, the filter B will be activated.

Editing the Sounds |437

Trimming the filter input

Use the Trim parameter (0099) to adjust the level at which the audio signal generated by the selected oscillator is input to filter A.

If this value is too high, the sound may distort when Resonance is set to a high value, or when you play a chord.

Programming the filters

Programming filter A

Use the Filter A > Frequency parameter to set the cutoff frequency of filter A (0099).

Frequency

Level

Low Pass

12dB/oct

24dB/oct

This is a lter that cuts the high-frequency region above the cutoff frequency. This is the most common type of lter, and is used to cut part of the overtone components, making an originally bright timbre sound more mellow (darker). When the Filter Type is Low Pass Resonance, the cutoff will have a steeper slope.

Use the Filter A > Resonance parameter to set the resonance of filter A (0099).

The resonance emphasizes the overtone components that lie in the region of the cutoff frequency specified by Frequency, producing a more distinctive sound. Increasing this value will produce a stronger effect.

Use the Res. Mod. by AMS parameter to choose a modulation source for the Resonance parameter.

The effect of resonance

Low Pass Level

Low resonance value High resonance value

Use the Intensity parameter (-99+99) to specify the depth and direction of the effect that Res. Mod. by AMS will have on the resonance level specified by Resonance.

For example if Velocity has been selected, changes in keyboard velocity will affect the resonance.

438| Customizing and editing the Sounds

With positive (+) values, the resonance will increase as you play more strong- ly, and as you play more softly the resonance will approach the level speci- fied by the Resonance setting.

With negative () values, the resonance will decrease as you play more strongly, and as you play more softly the resonance will approach the level specified by the Resonance setting.

The resonance level is determined by summing the Resonance and Intensity values.

Programming filter B

When both filters are activated, you can also program filter B.

Use the Filter B > Frequency parameter to set the cutoff frequency of filter B (0099).

This parameter is only available when the selected filter type is Low Pass & High Pass.

Level

Frequency

High Pass

This lter cuts the low-frequency range that lies below the cutoff frequency. By cutting the lower overtones, it lightens the tone.

12dB/oct

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Modulating the filters

You can modulate the filter cutoff frequency of the selected oscillator. Modulation will add dynamic timbre variation.

Programming realtime filter modulation

Go to the Sound > Filter > Modulation page.

When the filter type is Low Pass Resonance, the parameters for filter B will not be editable (dimmed).

Tracking the cutoff frequency across the keyboard

Keyboard Tracking changes the timbre quality across the keyboard.

Use the Key Low/High parameters (C1G9) to change the filter cutoff fre- quency across the keyboard for the selected oscillator.

Keyboard Tracking varies the cutoff frequency according to the position of the key on the keyboard. How the cutoff frequency is affected by the key- board location can be specified by the Key Low, Key High, Ramp Low, Ramp High, and the Intensity to A/B parameters.

Keyboard tracking will apply to the range below the specified Low note num- ber, and above the specified High note number.

440| Customizing and editing the Sounds

Use the Ramp Low/High parameters to specify the slope of the keyboard tracking (-99+99).

Cutoff frequency

Key

Low Ramp=+99

Low Ramp=+43

Low Ramp=0

Low Ramp=62

Low Ramp=99

High Ramp=+99

High Ramp=+62

High Ramp=0

High Ramp=43

High Ramp=99

Low Key High Key

Set the Intensity to A and Intensity to B parameters (-99+99) to specify the depth and direction of the changes applied to filters A and B.

For the range of notes between Key Low and Key High, the cutoff frequency will change according to the keyboard location (pitch).

Modulating the Filter EG (Envelope Generator)

The filter envelope can be controlled while playing.

Use the Velocity to A/B parameter (99+99) to specify the depth and direc- tion of the effect that velocity will have on the time-varying changes created by the filter EG (as set on Filter > Filter EG) to control the filter A/B cutoff frequency.

With positive (+) values, playing more strongly will cause the filter EG to pro- duce greater changes in cutoff frequency. With negative () values, playing more strongly will also cause the filter EG to produce greater changes in cutoff frequency, but with the polarity of the EG inverted.

Use the Int to A/B parameters (-99+99) to specify the depth and direction of the effect that the time-varying changes created by the filter EG will have on the filter A/B cutoff frequency.

With positive (+) settings, the sound will become brighter when the EG levels set by Filter EG Level and Time parameters are in the + area, and darker when they are in the area.

With negative () settings, the sound will become darker when the EG levels set by Filter EG Level and Time parameters are in the + area, and brighter when they are in the area.

Editing the Sounds |441

Use the AMS pop-up menu to select a modulation source for the filter EG applied to the cutoff frequency of filters A and B.

Use the Int to A/B parameters (-99+99) to specify the depth and direction of the effect that the AMS will have on filter A/B.

The sum of the settings for Velocity to A/B, Intensity to A/B, and (AMS) Intensity to A/B will determine the depth and direction of the effect pro- duced by the filter EG.

Changes in cutoff frequency

Softly played Strongly played Setting to

Strongly played Setting to +

Note-on Note-off

Note-on Note-off

Note-on Note-off

Modulating the filters cutoff frequency

You can control the filters with a modulation source.

Use the AMS 1/2 parameters to select a modulation source for the filter A/B cutoff frequency.

Use the Intensity (AMS 1/2) parameters to specify the depth and direction of the AMS 1/2.

When AMS1 is JS X, a positive (+) value for this parameter will cause the cutoff frequency to rise when the joystick is moved toward the right, and fall when the joystick is moved toward the left. With a negative () value for this parameter, the opposite will occur.

This value is summed to the setting of the Filter A/B Frequency.

442| Customizing and editing the Sounds

Applying LFO to the filters

You can use LFO to apply cyclic modulation to the cutoff frequency of the filters. This will create cyclical changes in tone on the selected oscillator.

Go to the Sound > Filter > LFO Mod page.

Modulating the filters with the LFOs

Use the LFO 1/2 > Intensity to A/B parameters (-99+99) to specify the depth and direction of the modulation that LFO 1/2 (set on Sound Edit > LFO > LFO 1 or LFO 2) will have on the cutoff frequency of filter A/B. Negative () settings will invert the phase.

Change in cutoff

Low setting High setting

Use the JS (Joystick) Y Intensity to A/B parameters (-99+99) to modu- late LFO with the joystick pulled back.

By moving the joystick in the Y direction (toward yourself), you can control the depth at which LFO 1/2 modulates the cutoff frequency of filter A/B. This parameter specifies the depth and direction of the control.

Higher settings of this parameter will produce greater increases in the effect of LFO 1/2 on the filter when the joystick is moved toward yourself.

Use the LFO 1/2 > AMS pop-up menus to select a modulation source for the cutoff frequency of both filters A and B.

The Intensity to A/B parameters (-99+99) set the depth and direction of the effect that the AMS will have on filter A/B.

Editing the Sounds |443

For example if the AMS is Joystick Y+, higher settings of this parameter will allow greater change to be applied to LFO 1/2 when you move the Joystick up in the Y axis.

444| Customizing and editing the Sounds

Programming the filter envelope (Filter EG)

You can create an envelope to vary over time the cutoff frequency of the filters on the selected oscillator.

Go to the Sound > Filter > EG page.

You can see the shape of the envelope in the diagram on top of the page.

Setting the Filter EG levels and times

Filter EG can be programmed by setting the Level and Time parameters of the envelope segments.

The result will depend on the filter type. For example, with the Low Pass Resonance filter, positive (+) values of EG Intensity will cause the tone to be brightened by positive (+) levels, and darkened by negative () levels.

Also, the effect of these settings on the filter cutoff frequency depends by the Velocity and Intensity parameters of the Filter > Modulation page.

Note-on

Note-off

Attack Time

Start Level Decay

Time Release Time

Release Level

Attack Level

The specied cutoff frequency

Sustain Level

Time

Break Point Level

Slope Time

Editing the Sounds |445

Use the Level parameters (-99+99) to specify the amount of cutoff fre- quency change.

EG Level Meaning

Start Change in cutoff frequency at the time of note-on.

Attack Change in cutoff frequency after the attack time has elapsed.

Break (Break Point) Change in cutoff frequency after the decay time has elapsed.

Sustain Change in cutoff frequency that will be maintained from after the slope time has elapsed until note-off occur.

Release Change in cutoff frequency that will occur when the release time has elapsed.

Use the Time parameters (099) to specify the time over which the cutoff frequency change will occur.

EG time Meaning

Attack Time over which the level will change from note-on until the attack level is reached.

Decay Time over which the level will change from the attack level to the break point level.

Slope Time over which the level will change after the decay time has elapsed until the sustain level is reached.

Release Time over which the level will change after note-on occurs until the release level is reached.

446| Customizing and editing the Sounds

Modulating the Filter EG

Modulating the Filter EG levels

Use the Level Modulation > AMS parameter to select the source that will control the Level parameters of the filter EG.

Use the Level Modulation > Intensity parameters (-99+99) to specify the depth and direction of the AMS. With a setting of 0, the levels specified by the Frequency parameter will be used.

For example, if AMS is Velocity, and you set St (Start Level Swing), At (Attack Level Swing) and Br (Break Level Swing) to + and set Intensity to a positive (+) value, the EG levels will rise as you play more strongly. If Intensity is set to a negative () value, the EG levels will fall as you play harder.

Use the St (Start Level Swing), At (Attack Level Swing) and Br (Break Level Swing) parameters to specify the direction in which AMS will affect the Start, Attack and Break Point.

When Intensity has a positive (+) value, a setting of + for this parameter will allow the AMS to raise the EG level, and a setting of will allow AMS to lower the EG level. With a setting of 0 there will be no change.

Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value)

Note-on Note-off

Note-on Note-off

Note-on Note-off

Softly played note with Start Level Swing, Attack Level Swing, and Break Level Swing set to +

Strongly played note with Start Level Swing, Attack Level Swing, and Break Level Swing set to +

Strongly played note with Start Level Swing, Attack Level Swing, and Break Level Swing set to

Editing the Sounds |447

Modulating the Filter EG times

Use the Time Modulation > AMS 1/2 parameters to select a modulation source for the Time parameters of the filter EG.

Use the Time Modulation > Intensity parameters (-99+99) to specify the depth and direction of the effect that the AMS will have on the Time param- eters. With a setting of 0, the filter EG times will be just as specified by the Time settings.

For example, if the AMS is set to FltKTr +/+, the EG Time parameters will be controlled by the Keyboard Tracking settings. With positive (+) values of this parameter, positive (+) values of Ramp Low/High will lengthen the EG times, and negative () values of Ramp Low/High will shorten the EG times. The direction of change is specified by At (Attack Time Swing), Dc (Decay Time Swing), Sl (Slope Time Swing), and Rl (Release Time Swing).

With a setting of 0, the times specified by the Frequency parameter will be used.

If the AMS is set to Velocity, positive (+) values of this parameter will cause EG times to lengthen as you play more strongly, and negative () values will cause EG times to shorten as you play more strongly.

Use the At (Attack Time Swing), Dc (Decay Time Swing), Sl (Slope Time Swing) and Rl (Release Time Swing) parameters to specify the direction in which the AMS will affect the Time > Attack, Decay, Slope and Release parameters.

With positive (+) values of Intensity, a setting of + will cause the time to be lengthened, and a setting of will cause the time to be shortened. With a set- ting of 0 there will be no change.

Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)

Note-on Note-off

Note-on Note-off

Note-on Note-off

Softly played note with Attack, Decay, Slope and Release Level Swings set to +

Strongly played note with Attack, Decay, Slope and Release Level Swings set to +

Strongly played note with Attack, Decay, Slope and Release Level Swings set to

448| Customizing and editing the Sounds

Programming amplitude and pan

You can program the amplitude and pan of each oscillator. Amplitude is the volume of the oscillators. Pan is the position of the oscillators in the stereo panorama. With amplitude envelope you can make the sound volume vary over time.

Setting the basic amplitude and pan values

You can set the basic volume and pan values of the selected oscillator.

Go to the Sound > Amp > Level/Pan page.

Setting the amplitudes basic level

Use the Amp Level parameter (0127) to set the volume of the selected oscillator.

The volume of a Sound can be controlled by CC#7 (Volume) and #11 (Expression). The resulting level is determined by multiplying the values of CC#7 and #11. The Global MIDI channel is used for control.

Editing the Sounds |449

Setting the pans basic position

Use the Pan parameter to set the stereo position (panorama) of the selected oscillator.

This parameter is not available when editing a Drum Kit. Use the individual Pan control for each key instead.

Pan Meaning

Random The sound will be heard from a different location at each note-on.

L-63C00R+63 Sound placed from Left (L) to Right (R). A value of C00 is Center (C).

The pan of a Sound can be controlled by CC#10 (Pan). A CC#10 value of 0 or 1 will place the sound at the far left, a value of 64 will place the sound at the location specified by the Pan setting for each oscillator, and a value of 127 will place the sound at the far right.

Modulating the pan position

Modulating the pan position makes the sound live between the stereo chan- nels.

Use the AMS pop-up menu to choose the modulation source that will modify the pan. This change will be relative to the Pan setting.

The Intensity parameter (-99+99) specifies the depth of the effect pro- duced by AMS. For example, if Pan is set to C064 and AMS is Note Number, positive (+) values of this parameter will cause the sound to move toward the right as the note numbers increase beyond the C4 note (i.e., as you play higher), and toward the left as the note numbers decrease (i.e., as you play lower). Negative () values of this parameter will have the opposite effect.

450| Customizing and editing the Sounds

Modulating amplitude

Modulating the amplitude level of each oscillator makes the sound alive and ever-changing.

Go to the Sound > Amp > Modulation page.

Tracking the amplitude across the keyboard

Use the Keyboard Track parameters to adjust the volume of the selected oscillator across the keyboard.

Use the Key Low/High parameters (C1G9) to specify keyboard tracking for the note number at which keyboard tracking will begin to apply. The volume will not change between Key Low and Key High.

Keyboard tracking will apply to the range below the specified Low note num- ber, and above the specified High note number.

Use the Ramp Low/High parameters to specify the slope of the keyboard tracking (-99+99).

With positive (+) values of the Ramp Low parameter, the volume will increase as you play notes below the Key Low note number. With negative () values, the volume will decrease.

With positive (+) values of the Ramp High parameter, the volume will increase as you play notes above the Key High note number. With negative () values, the volume will decrease.

Editing the Sounds |451

Here is an example of volume changes produced by keyboard location and Ramp settings:

Volume

Key

Ramp Low=+99

Ramp Low=0

Ramp Low=99

Ramp High=+99

Ramp High=0

Ramp High=99

Key Low Key High

Modulating amplitude

Use the Amp Modulation parameters to specify how the volume of the se- lected oscillator will be affected by velocity.

Use the Velocity Intensity parameter (-99+99) to link velocity and volume.

With positive (+) values, the volume will increase as you play more strongly. With negative () values, the volume will decrease as you play more strongly.

Volume change (with positive (+) values of this parameter)

Softly played Strongly played

Note-on Note-off

Note-on Note-off

Use the AMS pop-up to select a modulation source for the volume of the amp for the selected oscillator. Velocity cannot be selected as a source.

The Intensity parameter (-99+99) specifies the depth and direction of the AMS. The actual volume will be determined by multiplying the value of the changes produced by the amp EG with the values of Alternate Modulation etc., and if the levels of the amp EG are low, the modulation applied by Alternate Modulation will also be less.

For example, if AMS is set to Joystick Y+, positive (+) values of this parameter will cause the volume to increase when you move the Joystick up in the Y

452| Customizing and editing the Sounds

axis. However if the EG settings etc. have already raised the volume to its maximum level, the volume cannot be increased further.

With negative () values of this parameter, the volume will decrease when pressure is applied to the keyboard.

Modulating amplitude with the LFOs

LFO is a cyclic modulation. Applied to the amplitude it produces an effect usually called tremolo.

Go to the Sound > Amp > LFO page.

Use the LFO 1/2 > Intensity parameters (-99+99) to adjusts the effect of the cyclic modulation that LFO 1/2 (set in the LFO > LFO 1 and LFO 2 pages) will apply on the amp EG. Negative () settings will invert the phase.

Change in cutoff

Low setting High setting

Use the AMS pop-up to select a modulation source for the LFO Intensity vol- ume of the amp for the selected oscillator.

The Intensity parameter (-99+99) specifies the depth and direction of the AMS.

Editing the Sounds |453

Programming the amplitude envelope (amp EG)

You can create time-varying changes in the volume of the selected oscillator.

Go to the Sound > Amp > EG page.

The diagram on top of the page shows the Amplitude envelope line.

Setting the Amp EG levels and times

Amp EG can be programmed by setting the Level and Time parameters of the envelope segments.

Note-on

Note-off

Attack Time

Decay Time

Release Time

Attack Level

Sustain Level

Time

Break Point

Start Level

Slope Time

Amplier EG

Volume

Use the Level parameters (-99+99) to specify the volume level that will be reached at the end of the segment.

EG Level Meaning

Start Volume level at note-on. If you want the note to begin at a loud level, set this to a high value.

Attack Volume level that will be reached after the attack time has elapsed.

Break (Break Point) Volume level that will be reached after the decay time has elapsed.

Sustain Volume level that will be maintained from after the slope time has elapsed until note-off occur.

454| Customizing and editing the Sounds

Use the Time parameters (099) to specify the time over which the volume level is reached.

EG time Meaning

Attack Time over which the volume will change after note-on until it reaches the attack level. If the start level is 0, this will be the rise time of the sound.

Decay Time over which the volume will change from when it reaches the attack level until it reaches the break point level.

Slope Time over which the volume will change from when it reaches the break point level until it reaches the sustain level.

Release Time over which the volume will change after note-off until it reach- es 0.

Modulating the Amp EG

Modulating the Amp EG levels

Use the Level Modulation > AMS parameter to select a modulation source for the Level parameters of the Amp EG.

Use the Level Modulation > Intensity parameters (-99+99) to specify the depth and direction of the AMS.

For example, if the AMS is Velocity, setting St (Start Level Swing), At (Attack Level Swing) and Br (Break Point Level Swing) parameters to + and setting Intensity to a positive (+) value, will cause the amp EG volume levels to in- crease as you play more strongly. Setting Intensity to a negative () values will cause the amp EG volume levels to decrease as you play more strongly. With a setting of 0, the levels will be as specified on Amp > Amp EG.

Use the St (Start Level Swing), At (Attack Level Swing) and Br (Break Level Swing) parameters to specify the direction in which AMS will affect the Level > Start, Attack and Break Point levels.

Editing the Sounds |455

When Intensity has a positive (+) value, a setting of + for this parameter will allow the AMS to raise the EG level, and a setting of will allow AMS to lower the EG level. With a setting of 0 there will be no change.

Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value)

Note-on Note-off

Note-on Note-off

Note-on Note-off

Softly played note when Start Level Swing=0 and Attack Level Swing and Break Level Swing are set to +

Strongly played note when Start Level Swing=0 and Attack Level Swing and Break Level Swing are set to +

Strongly played note when Start Level Swing=0 and Attack Level Swing and Break Level Swing are set to +

Modulating the Amp EG times

Use the Time Modulation > AMS 1/2 parameters to select a modulation source for the Time parameters of the Amp EG.

Use the Time Modulation > Intensity parameters (-99+99) to specify the depth and direction of the effect that the AMS will have on the Time param- eters. With a setting of 0, the Amp EG times will be just as specified by the Time settings.

For example, if the AMS is Amp KTrk +/+, the (Amp) Keyboard Track settings (in the Edit Sound > Amp > Amp Mod page) will control the EG Time param- eters. With positive (+) values of this parameter, positive (+) values of Ramp (Ramp Setting) will cause EG times to be lengthened, and negative () values of Ramp (Ramp Setting) will cause EG times to be shortened. The direction of the change is specified by the At (Attack Time Swing), Dc (Decay Time Swing), Sl (Slope Time Swing), and Rl (Release Time) parameters.

If the AMS is set to Velocity, positive (+) values of this parameter will cause EG times to lengthen as you play more strongly, and negative () values will cause EG times to shorten as you play more strongly. With a setting of 0, the EG times will be as specified by the Level parameters.

Use the At (Attack Time Swing), Dc (Decay Time Swing), Sl (Slope Time Swing) and Rl (Release Time Swing) parameters to specify the direction in which the AMS will affect the Time > Attack, Decay, Slope and Release parameters.

456| Customizing and editing the Sounds

With positive (+) values of Intensity, a setting of + will cause the time to be lengthened, and a setting of will cause the time to be shortened. With a set- ting of 0 there will be no change.

Amp 1 EG changes ( Time) (AMS= Velocity, Intensity= a positive (+) value)

Amp 1 EG changes ( Time) (AMS=Amp K Trk +/+, Intensity = a positive (+) value) (When Amp Keyboard Track Low Ramp= a positive (+) value, and High Ramp = a positive (+) value)

Note-on Note-off

Note-on Note-off

Note-on Note-off

Note-on Note-off

Note-on Note-off

Note-on Note-off

Low-pitched note played with Attack, Decay, Slope, and Release Time Swing at +

Softly played note with Attack, Decay, Slope and Release Time Swing at +

High -pitched note played with Attack, Decay, Slope, and Release Time Swing at

Strongly played note with Attack, Decay, Slope and Release Time Swing at +

Strongly played note with Attack, Decay, Slope and Release Time Swing at

Editing the Sounds |457

Programming the LFO

LFO (Low Frequency Oscillation) can be used to cyclically modulate the Pitch, Filter, and Amp of each oscillator. There are two LFO units for each oscillator (LFO 1 and LFO 2).

Go to the Sound > LFO > LFO 1 or LFO 2 page, depending on the LFO to pro- gram.

Choosing the LFO waveform and settings

You can choose the LFO waveform, program it and synchronize it.

458| Customizing and editing the Sounds

Choosing the LFO waveform and frequency

Use the Waveform parameter to choose the LFO waveform. The numbers appearing on the right of some of the LFO waveforms indicate the phase at which the waveform will begin.

Triangle wave

Phase will change randomly at each key-in

Sawtooth down

Square wave

Sine wave

Guitar vibrato

Triangle 0

Triangle 90

Triangle Random

Saw 0

Saw 180

Square

Sine

Guitar

Exponential Triangle

Exponential Saw Down

Exponential Saw Up

Step Triangle 4

Step Triangle 6

Step Saw 4

Step Saw 6

Random1 (S/H): Conventional sample & hold (S/H) in which the level changes randomly at xed intervals of time Random2 (S/H): Both the levels and the time intervals will change randomly. Random3 (S/H): The maximum level and minimum level will alternate at random intervals of time (i.e., a square wave with random period).

Random4 (Vector) Random5 (Vector) Random6 (Vector) These types cause Random 13 to change smoothly. They can be used to simulate the instability of acoustic instruments etc.

Use the Frequency parameter to set the LFO frequency (0099). This pa- rameters adjusts the speed of the vibrato.

Use the Offset parameter to specify the central value of the LFO waveform.

For example, with a setting of 0 as shown in the following diagram, the vi- brato that is applied will be centered on the note-on pitch. With a setting of +99, the vibrato will only raise the pitch above the note-on pitch, in the way in which vibrato is applied on a guitar.

When the Waveform is Guitar, the modulation will occur only in the positive (+) direction even if you set the Offset to 0.

Here are offset settings and pitch change produced by vibrato:

offset = 99 offset = 0 offset = +99Pitch

Pitch at note-on

Editing the Sounds |459

Synchronizing the LFO with the key strokes

Select the Key Sync checkbox to synchronize the LFO to the key strokes.

Key Sync Meaning

On The LFO will restart each time you play a note, and an independent LFO will operate for each note.

Off The LFO effect that was started by the first-played note will continue to be applied to each newly-played note. (In this case, Delay and Fade will be applied only to the LFO when it is first started).

Fading the LFO

Use the Fade parameter (0099) to specify the time elapsed from the LFO start to its maximum amplitude. When Key Sync is Off, the fade will apply only when the LFO is first started.

Here is how Fade affects the LFO (when Key Sync is On):

Note-on Note-off Fade

Delay

Delaying the LFO

Use the Delay parameter (099) to specify the time elapsed from note-on to the LFO starting to apply. When Key Sync is Off, the delay will apply only when the LFO is first started.

Fading vibrato is typical of wind instruments, where vibrato enters gradually.

460| Customizing and editing the Sounds

Modulating LFO frequency

Use the Frequency Modulation parameters to set the two alternate modula- tion sources to adjust the speed of the LFO for the selected oscillator.

Use the AMS 1/2 pop-up to choose the modulation sources that will adjust the frequency of the selected oscillators LFO. LFO 1 can be modulated by LFO 2.

Use the Intensity parameters (-99+99) to set the modulation depth and direction.

This parameter specifies the depth and direction of the effect that the AMS will have. When this parameter is set to a value of 16, 33, 49, 66, 82, or 99, the LFO frequency being can be increased by a maximum of 2, 4, 8, 16, 32, or 64 times respectively (or decreased by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 respectively).

For example, if the AMS is Note Number, positive (+) values of this parameter will cause the oscillator LFO to speed up as you play higher notes. Negative () values will cause the oscillator LFO to slow down as you play higher notes. This change will be centered on the C4 note.

If the AMS is set to JS +Y, raising the value of this parameter will cause the oscillator LFO 1 speed to increase as the joystick is moved away from your- self. With a setting of +99, moving the joystick all the way away from yourself will increase the LFO speed by approximately 64 times.

Editing the Sounds |461

Synchronizing the LFOs

Use the Frequency MIDI/Tempo Sync parameters to synchronize the LFO to the Players Tempo.

Select the MIDI/Tempo Sync checkbox to synchronize the LFO to the Players Tempo. The values specified in Frequency and Frequency Modulation will be ignored.

Use the Base Note pop-up menu to choose a note length, and the Times pa- rameter to choose a multiple of it. This will be the LFO frequency.

For example if Base Note is (quarter note) and Times is 04, the LFO will perform one cycle every four beats.

These parameters are not available when editing a Drum Kit.

462| Customizing and editing the Sounds

adding effects to the Sound

You can send the Sound to the effects of the FX B Group (usually reserved to the Keyboard Sounds).

Go to the Sound > Effects > FX B page.

Activating and choosing the insert effects

Each Sound can go into an insert effect processor.

Activate the insert effects

Use the Insert FX > On/Off button to turn on or off the insert effect.

Choose the insert effect

1 Touch the name of the selected effect type, or the x symbol under the On/ Off button, to open the FX Edit page.

Selected FX

FX edit parameters

FX mix and modulation

2 Use the pop-up menu on top of the page to choose an effect.

3 If needed, edit the effect parameters, as described in the part of the manual dedicated to the Effects.

Editing the Sounds |463

You can adjust the Wet/Dry mix of the insert effects, but we suggest not to touch it, unless you are editing the effects.

4 When finished editing, press the EXIT button to return to the previous page.

Activating and choosing the master effects

Each Sound can send its audio signal to two master effects.

Activate the master effects

Use the Master Effects > On/Off buttons to turn on or off the master effects.

Choose the master effects

1 Touch the name of the assigned effects to open the FX Edit page.

Selected FX

FX edit parameters

FX mix and modulation

2 Use the pop-up menu on top of the page to choose an effect.

3 If needed, edit the effect parameters, as described in the part of the manual dedicated to the Effects.

You can adjust the Wet/Dry mix of the master effects, but we suggest not to touch it, unless you are editing the effects. To set the amount of effect, use the individual channels send level instead (as explained below).

4 When finished editing, press the EXIT button to return to the previous page.

Setting the effect parameters

All the parameters in this page are the same seen for the Sound sets. Please check the Customizing and editing the Sound sets section.

Use the Send controls (0127) to set the level of the Sound signal going to the Master FXs.

Select the Dry > On checkbox to add the dry signal to the effected signal. If this is not selected, only the effected signal will be heard.

464| Customizing and editing the Sounds

Sound Edit utilities

Listening to a single oscillator

Choose the Solo Oscillator command from the page menu to solo the se- lected oscillator, and mute the other oscillators.

Choose it again to unmute all oscillators.

When this function is activated, the Solo OSC [n] indicator (n = oscillator number) blinks on the page header. While in this situation, you can select a different oscillator to be soloed.

Swapping the LFOs

Choose the Swap LFO command from the page menu to replace LFO 1 with LFO 2, and vice-versa.

Copying the oscillators

You can copy all the settings of an oscillator onto the other oscillators.

1 Choose the Copy Oscillator command from the page menu. The Copy Oscillator dialog will appear.

2 Touch the From Sound button to open the Sound Select window, and choose the source Sound.

3 Use the From Oscillator parameter to choose the source oscillator to copy from.

4 Use the To Oscillator parameter to choose the target oscillator where to copy the source settings onto.

5 Touch the OK button to confirm.

Editing the Sounds |465

Copying Drum Kits

You can copy the Drum Kit from a different Drum Kit.

1 Choose the Copy Drum Kit command from the page menu. The Copy Drum Kit dialog will appear.

2 Touch the From Drum Kit button to open the Sound Select window, and choose the source Drum Kit.

3 Use the From Key parameters to choose the range of keys to copy from.

4 Use the To Key parameter to choose the key from which to start copying.

5 Touch the OK button to confirm.

Copying the effects

To speed up programming, you can copy a single effect, or both effects, to a different Sound. The procedure is the same explained for the Sound sets.

Initializing a Sound

Choose the Initialize Sound command from the page menu to delete all pa- rameters, and reset them to a default value.

Comparing with the original Sound

You can compare the Sound you are editing with the original Sound.

Check the Compare item in the page menu to listen to the original Sound.

Uncheck this item to recall the Sound in edit.

While this function is on, the Compare indicator blinks on the page header. You cannot edit the Sound while you are in Compare mode.

466| Customizing and editing the Sounds

aMS (alternate Modulation Sources)

When the AMS abbreviation is encountered, an Alternate Modulation can be applied to the corresponding parameter. Alternate Modulation allows for realtime control of the effect. The following table shows the available modu- lation sources.

aMS Description Note

Off Do not use Alternate Modulation

Pitch EG Pitch EG

Filter EG Filter EG within the same oscillator

Amp EG Amp EG within the same oscillator

LFO1 LFO1 within the same oscillator

LFO2 LFO2 within the same oscillator

Flt KTrk +/+ (Filter Keyboard Track +/+)

Filter keyboard tracking within the same oscillator

+/+ The direction of the effect will be determined by the sign (positive or negative) of the Ramp Low or Ramp High setting.

+/ The direction of the effect will be determined by the sign of the Ramp Low setting, and by the opposite sign of the Ramp High setting (50 for a set- ting of +50, and +50 for a setting of 50).

0/+ Ramp Low will have no AMS ef- fect. The sign of the Ramp High set- ting will determine the direction of its effect.

+/0 The sign of the Ramp Low setting will determine the direction of its ef- fect. Ramp High will have no AMS ef- fect.

Flt KTrk +/ (Filter Keyboard Track +/)

Flt KTrk 0/+ (Filter Keyboard Track 0/+)

Flt KTrk +/0 (Filter Keyboard Track +/0)

Amp KTrk +/+ (Amp Keyboard Track +/+)

Amp keyboard tracking within the same oscillator

Amp KTrk +/ (Amp Keyboard Track +/)

Amp KTrk 0/+ (Amp Keyboard Track 0/+)

Amp KTrk +/0 (Amp Keyboard Track +/0)

Note Number Note number

Velocity Velocity

Poly AT (Poly After Touch)

Polyphonic After Touch (received/transmitted via MIDI or contained in Standard MIDI Files)

Channel AT (Channel After Touch)

After Touch (Channel After Touch)

Joystick X Joystick X (horizontal) axis

Joystick +Y Joystick +Y (vertical upward) direction (CC#01)

Joystick Y Joystick Y (vertical downward) direction (CC#02)

Editing the Sounds |467

aMS Description Note

JS+Y & AT/2 (Joy Stick +Y & After Touch/2)

Joystick +Y (vertical up- ward) direction and After Touch

The effect will be controlled by the joystick +Y (vertically upward) and by after touch. In this case, the effect of after touch will be only half of the specified intensity.

JSY & AT/2 (Joy Stick Y & After Touch/2)

Joystick Y (vertical down- ward) direction and After Touch

The effect will be controlled by the joystick Y (vertically downward) and by after touch. In this case, the effect of after touch will be only half of the specified intensity.

Assign. Pedal Assignable foot pedal (CC#04)

Ribbon Ctl. Ribbon controller (CC#16)

CC#18 CC#18

CC#17 CC#17

CC#19 CC#19

CC#20 CC#20

CC#21 CC#21

CC#17 [+] CC#17 positive values only

CC#19 [+] CC#19 positive values only

CC#20 [+] CC#20 positive values only

CC#21 [+] CC#21 positive values only

Damper Damper pedal (CC#64)

CC#65 Portamento switch (CC#65)

Sostenuto Sostenuto pedal (CC#66)

CC#80 Sound Controller 1 (CC#80)

CC#81 Sound Controller 2 (CC#81)

CC#82 General Purpose #7 (CC#82)

CC#83 General Purpose #8 (CC#83)

Tempo Tempo value from Player 1 or external MIDI clock

Velocity Plus Key On and Key Off Velocity are used

Velocity Exp Velocity with Exponential curve (higher velocity notes are even louder)

Velocity Log Velocity with Logarithmic curve (higher velocity notes are weaker than with the linear Velocity)

468| Customizing and editing the Sounds

Diagrams of the AmpKTrk sources follow.

Note Number

Amp

Key Low Key High

AMS = Amp K Trk +/+ AMS Intensity = positive (+) value

Ramp Low = +50

Ramp High = +50

Depth and direction of modulation

zero

+ max

- max

example of Amp Keyboard Track settings

AMS = Amp K Trk +/ AMS Intensity = positive (+) value

Depth and direction of modulation

zero

+ max

- max

AMS = Amp K Trk 0/+ AMS Intensity = positive (+) value

Depth and direction of modulation

zero

+ max

- max

AMS = Amp K Trk +/0 AMS Intensity = positive (+) value

Depth and direction of modulation

zero

+ max

- max

Writing the Sounds |469

36 Writing the Sounds

Writing the edited Sound

After editing, you can save all the edited parameters into a User Sound loca- tion in memory.

Note: Changes can only be saved onto User Sounds.

1 While in Sound Edit mode, choose the Write Sound command from the page menu to open the Write Sound dialog.

Sound name

Sound bank

Sound location Touch to open the Sound Select window

2 You may change the name of the Sound. Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name.

When done editing the name, confirm by touching the OK button under the virtual keyboard.

3 When back to the Write Sound dialog, if you want to save onto a different lo- cation touch the Select button and open the Sound Select window. Choose a location as if you were choosing a Sound. Blank locations are shown as a series of dashes ().

4 When back at the Write Sound dialog, confirm the Write operation by touch- ing the OK button.

Some notes about writing the Sounds

If you write over an existing Sound, the existing Sound will be deleted. Please save on a storage device any User Sound you dont want to lose.

Ordinary Sounds cannot be written over Drum Kit locations. Drum Kits can- not be written over standard Sound locations.

470| Customizing and editing the Sounds

To save over a Factory Sound location, deselect the Protect > Factory check- box in the Global > Mode Preferences > Media page.

When replacing a Factory Sound, please be warned that all Keyboard Sets, Styles and Songs making use of it will be modified as well. Use this feature with great care!

To restore the original data, please use the Factory Restore command in the Media > Utility page.

Making new sounds with Sampling |471

37 Making new sounds with Sampling

Creating new Sounds or Audio Grooves

Pa4X includes a full-featured sampler, that allows you to create new Samples, new Multisamples and new synced Audio Grooves. In addition to recording, you can load Samples, Multisamples, Sounds and banks of Sounds from vari- ous formats.

Creating new ordinary or percussive Sounds

Sampling allows you to create new sounds, by recording from an external source (for example, a microphone or a CD player) connected to Pa4Xs au- dio inputs, or by loading files from a storage device.

To be used, Samples must then be assigned to a Multisample or a Drum Kit. A Multisample allows you to arrange samples into separate zones of the key- board. Drum Kits allows you to assign a different sample to each note of the keyboard, with up to six dynamic layers per note.

Multisamples can then be assigned to Sounds. Sounds created with this func- tion can be used as any ordinary Sound, and assigned to any part/track.

Creating Audio Grooves

Another powerful feature of the Sampling mode is the Time Slice, that lets you add realism to MIDI tracks by creating Audio Grooves. Cycling rhythm samples, usually named audio grooves, can be sliced into separate per- cussive instruments. Combined with MIDI tracks, the sliced audio groove can be kept in sync with the Tempo, and can play slower or faster than the original groove.

Accessing and exiting the Sampling mode

While in Sound mode, press the RECORD button to enter Sampling mode.

Please note that no sound will be heard when you first enter Sampling mode.

While in Sampling mode, choose the Exit from Record command from the page menu, or press the RECORD button to exit Sampling mode.

472| Customizing and editing the Sounds

Loading samples and multisamples

Loading samples

You can load samples in the following formats.

Sample format Meaning

KSF KORGs native sample format, used by the Trinity and Triton series of workstations, as well as the Pa-Series arrangers. File names must have the .ksf extension.

AIFF Apple Macs preferred format for audio. File names must have the .aif extension.

WAVE Microsoft Windows preferred format for audio. File names must have the .wav extension.

You can load samples (mono or stereo) in a 8 or 16-bit resolution, and a sampling frequency rate from 11,025 to 48,000Hz. Loaded samples always preserve their original resolution.

If the sample exceeds the maximum size allowed (1,048,576 samples, cor- responding to 1 Megasample, either mono or stereo), it will be truncated. A warning will appear in the display.

Please be aware that, by loading new samples, the sample currently in edit will be lost if not saved. Before loading, use the Write command to save the sample in edit, if not yet saved.

As an alternative to loading individual samples, you can import sounds or multisamples and their assigned samples, as described later in this chapter.

1 While in the Sample > Edit page, choose the Load Sample command from the page menu, to open the Load Sample window.

Making new sounds with Sampling |473

While in this window, you can press the SEARCH button, and use the Search function to find samples in the various media.

2 Browse through the files, then select the sample to load, and touch the Load button.

3 After loading a sample, you can edit it in the other pages of the Sample sec- tion, then add it to a multisample. If it is an Audio Groove, continue editing it with the Time Slice function.

Loading compressed User Samples

Pa4X can read and play compressed User Samples (in Pa4X, Pa1000, Pa700 or Pa3X format). Load compressed User Samples exactly as you load the other samples.

Loading copy-protected User Samples

To load copy-protected samples, be sure to install the protection key before loading the data. For detailed information see Protected musical resources on page 994.

Loading or recording other samples

To create an ordinary Sound, you need more samples to make a multisample. Load other samples, or record them (as described later).

Importing samples, multisamples and Sounds

You can import Sounds and multisamples (including the contained samples) in formats other than the native Pa-Series format.

You can import the following file formats.

File format Meaning

PCG KORGs native Program format, used by the Triton series of workstations. The file name has the .pcg extension. Note that Drum Kits cannot be im- ported.

KMP KORGs native multisample format, used by the Trinity and Triton series of workstations. The file name has the .kmp extension.

SF2 Sound bank format by Creative Labs. The file name has the .sf2 exten- sion. Multisample data are imported. Due to the deep differences with KORGs own format, some Instruments from the SF2 file could not be imported (for example, Instruments with overlapping zones).

474| Customizing and editing the Sounds

1 While in any of the Sample or Multisample pages, choose the Import com- mand from the page menu, to open the Load Sample window.

While in this window, you can press the SEARCH button, and use the Search function to find files in the various media.

2 Browse through the files, then select the one to load, and touch the Load button.

Imported Sounds, multisamples and sample are automatically stored in the internal memory, and will not be lost when turning the instrument off.

When importing a multisample, take note of its name; you will need it in Sound mode, when assigning the multisample to a new Sound.

Importing PCG files

When importing a PCG file, you can choose between a single Program or a whole bank:

Choose Program to choose a single Program (corresponding to a Pa-Series Sound); touch the Program number and dial in the corresponding number. Choose a target Sound location where to load the imported Program.

Choose Bank to import all the Programs from the selected bank. Touch the Sound Bank name to choose a target bank where to load the imported Programs.

Due to the differences between Pa4X and the older KORG instruments, some differences may arise during conversion. When reading a PCG file, Pa4X tries to use exactly the same multisamples as in Triton. If this is not possible, it looks for a similar multisample. If this is also not possible, an mul- tisample will be selected. Go to the Sound mode, and select a multisample suitable for the imported Program.

Not all Tritons PCG data are imported. Insert FX, EQ, Arpeggio, Combi, Global and Drum Kit data are not loaded.

Making new sounds with Sampling |475

Importing SF2 files

When importing an SF2 file, you can choose between a single multisample or the whole bank:

Choose MultiSample to choose a single Multisample (that is, SF2 Instruments); touch the multisample number and dial in the corresponding number.

Choose Complete bank to import all the multisamples from the selected bank.

Check Override Sample Names if you want to assign the sample names a progressive number. In this case, when importing a multisample whose name is, for example, Piano, you will have all samples renamed as Piano_001, Piano_002, and so on.

Freeing memory

If you get a messages warning there isnt enough memory to load all sam- ples or resources, return to the main Sampling page and choose the Delete command from the page menu to clean the User Sample memory, then retry. Please note that importing single multisamples is the safest way to avoid fill- ing the memory with unnecessary data.

As an alternative, you can compress some or all the samples in memory, as described later in this chapter.

476| Customizing and editing the Sounds

recording samples or audio grooves

Connecting the sources and setting the levels

Before starting to record, prepare the sources to be sampled.

Connecting the source and accessing Sampling

1 With its MASTER VOLUME control set to zero, connect the source to be sampled (for example, a microphone or a CD player) to the relevant audio input(s) on the rear of the instrument. When the source has been connected, move the MASTER VOLUME control to a position other than zero.

2 Go to the Global > Audio & Video > Audio In page to set the signal routing for the input source, and turn the phantom power on in case a condenser micro- phone has been connected.

3 Press the SOUND button to access Sound mode, then press the RECORD button to access Sampling mode.

4 Go to the Sample > Record page.

Enabling the source and adjusting the levels

1 Use the Source pop-up menu to choose the input source.

2 If you are recording from the line inputs, use the Record Mode pop-up menu to choose one or both stereo channels.

3 Adjust the sources volume. If you are recording with a microphone, use the MIC > GAIN knob of the back of the instrument. If you are sampling from a line source (like a CD player or another instrument), set the sources own output level. If possible, set the output level of the source to be sampled to the maximum.

Making new sounds with Sampling |477

Watch at the meters in the display to check the input level. Red means near distortion (signal clipping), so ideally, the meter bar should never go to red. When the Clip indicators turn red, the signal is too hot and is distorting.

Also, check the microphone level with the AUDIO IN indicator in the MIC/ VOICE section on the control panel. It should never go to red, and stay to orange (green means too low an input signal).

Recording

Next, youll record the sound or audio groove.

1 If you can, first start the source to be recorded, then touch the Record but- ton in the display to start recording.

As an alternative, touch the Record button in the display, and immediately start the source to be recorded.

Sampling will happen at 16 bit, 48 kHz.

2 Touch the Record button in the display again to stop recording. When the memory is full, the sampling automatically stops. A maximum of 21.8 sec- onds is allowed for each sample.

3 Select a page other than Record, and play the keyboard to listen to the sam- pled sound.

4 If you are not satisfied with the recorded sound, return to the Record page and touch the Record button again, to repeat recording. Touch Record again to stop recording. A new sample will be automatically created.

5 When finished sampling your sound, you can write it to the internal memory. If it is part of an ordinary Sound, write it and add it to a multisample (as de- scribed later). If it is an Audio Groove, continue editing it with the Time Slice function.

Recording more samples

To create an ordinary Sound, you need more samples to make a multisample. The best strategy is to record samples at a fixed distance, for example at each octave, diminished fifth, minor third, major second. It is common prac- tice to record the original note of an acoustic instrument near the highest note of the range (for example, A4 if the range is C4~C5).

1 Repeat the recording procedure to create other samples.

2 Save the samples.

3 When finished, go on creating a multisample.

478| Customizing and editing the Sounds

Editing the samples

After recording, loading or importing, you can edit the samples.

Go to the Sampling > Edit page.

This page allows you to cut, trim or normalize a sample, as well as edit the loop points. The sample can be played over the full keyboard.

Choosing the sample to edit

1 Touch the name of the sample on top of the page to open the Sample Select window.

Sample number

Compressed sample

Protected sample

Play from Preload Buffer enabled

Sample name

Making new sounds with Sampling |479

This window contains various information about the samples in memory.

Parameter Meaning

Sample number Progressive number of the sample.

Sample name Name of the sample.

Compressed sample When the checkmark appears, the sample is compressed. You can enable/disable compression when writing the sample (in the Write Sample dialog). Compressed samples cant be entirely loaded into memory, and are always read directly from disk.

Protected sample When the checkmark appears, the sample is copy protected. Be sure the protection key was inserted when turning the instru- ment on, or you will not be able to use the protected data. If you forgot to do it, insert the protection key and restart the instru- ment.

Play from Preload Buffer enabled

When the checkmark appears, the sample contains the Play from Preload Buffer flag, and will be entirely loaded into mem- ory. You can enable/disable this flag when writing the sample (in the Write Sample dialog). This type of sample cant be com- pressed.

2 Use the scrollbar or the VALUE dial to browse through the list of samples. When rotating the dial faster, the scrolling speed increases exponentially.

3 Touch the name of a sample to select it.

Reading the sample waveform diagram

The diagram shows the samples waveform evolving during time (x-axis), and its changing amplitude (y-axis). It also shows the Start, End and Loop points. The area included between the Start and End points appears highlighted.

Use the Zoom controls to change the size of the waveform shown in the diagram. When a button is greyed-out, it means the maximum or minimum value has been reached.

Increase the horizontal size

Increase the vertical size

Decrease the vertical size

Full zoom inFull zoom out

Decrease the horizontal size

480| Customizing and editing the Sounds

Changing the sample length

When recording, you may have included exceeding materials at the begin- ning and/or ending of the sample. You can cut them out of the sample.

Use the Start parameter to edit the samples start point (in samples). Match the start point with the actual attack of the sound you can see in the dia- gram.

If the Start point reaches the Loop Start point, this latter is also moved for- ward.

Use the End parameter to edit the sample and loop end point (in samples). Match this point to the actual end of the sound you can see in the diagram.

When writing the edited sample, the segments exceeding the Start and End points will be permanently removed.

Changing the loop start

The loop is the cycling segment at the end of a sample, allowing for playing long notes while still using short recordings.

Be sure the Loop On checkbox is selected in the Sampling > Loop page. Otherwise, moving the loop start point will have no effect.

When back to the Sampling > Edit page, use the Loop Start parameter to adjust the Loop Start point. When you adjust this parameter, an audible click may appear, due to a pitch and/or level mismatch between the starting and ending points of the loop. Move the Loop Start and Loop/Sample End point, so that the click can no longer be heard.

When editing audio grooves, the Loop Start should match the Sample Start point. This parameter usually differs from the Sample Start in ordinary sounds (that is, a guitar, a piano, a voice).

Forcing the use of zero points

When the Use Zero checkbox is selected, the Start, Loop Start and End points always fall on the nearest zero-crossing point (that is, a point where the waveform crosses the x-axis, and goes from negative to positive, or from positive to negative values). This will make loops more accurate, and will reduce the risk of clicks.

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Choosing the original note

Use the OrigNote (Original Note) parameter to choose the samples original pitch.

While this parameter has no immediate effect on the sound, it will be useful to identify the original pitch of the sample and when assigning a sample to the multisample.

For example, if you sample a C4, set this parameter to C4. When the sample will be assigned to a keyboard zone of the multisample, it will be transposed (if needed) according to this parameter, to avoid a change of the original pitch.

Normalizing the sample

Normalization automatically rescales the level of the selected sample. Peaks will be raised to -0dB (that is, maximum volume before clipping), while the remaining parts of the sample will be proportionally raised.

This helps optimizing the samples level relative to other samples, making all samples sound more uniformly. It also helps optimizing signal/noise ratio, by preventing further stages of amplification from increasing any residual noise.

While in any Sample editing page, choose the Normalize command from the page menu.

482| Customizing and editing the Sounds

Cutting away part of the sample

You can cut away the selected part of the sample.

1 While in the Edit page, use the Start and End points to choose the segment to cut away.

2 Choose the Cut command from the page menu.

Cutting away the unused parts of the sample (trimming/ cropping)

You can cut away the non-selected parts of the sample.

1 While in the Edit page, use the Start and End points to choose the segment to preserve.

2 Choose the Trim/Crop command from the page menu.

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Editing the loop

After editing the sample, you can fine-tune the loop.

Go to the Sampling > Loop page.

The loop is a cycling portion of a sampled sound. Looping is a technique used to reduce the sampling time, cycling a portion of the sound to create the sustaining phase of the sound. After the attack stage, most sounds repeat the same waveform during their sustain stage.

Reading the loop diagram

The diagram lets you fine tune the loop points, by watching at the Loop End (left half of the diagram) and Loop Start (right half of the diagram) points matching at the center of the diagram. A good-sounding loop is shown as a continuous, nonbreaking line.

Use the Zoom controls to change the size of the looping ends shown in the diagram. When a button is greyed-out, it means the maximum or minimum value has been reached.

Zoom out

Zoom in

Changing the loop points

Be sure the Loop On checkbox is selected.

Use the Loop Start parameter to adjust the Loop Start point.

Use the End parameter to adjust the Loop End point (always matching the Sample End point).

484| Customizing and editing the Sounds

Protecting the loop length

Use the Loop Lock to fix the length of the loop being edited. When it is closed, moving the Loop Start automatically moves the Loop/Sample End point, or vice versa.

This is convenient when you are creating a rhythm loop to match a specific tempo.

Using crossfade looping

When looping the pitched sample of a complex sound such as strings or woodwinds to make the sound sustain, it is necessary to create a long loop to preserve the rich character of the sound. Crossfade Loop can be used to minimize the difference in pitch and level between the beginning and ending of the loop region, to create a natural-sounding loop. In order to solve such problems, Crossfade Loop causes the sound to change gradually from the end to the beginning of the loop.

In practice, here is how it works. A specific length (the Crossfade Length value) of the waveform immediately before the beginning of the loop is taken and mixed with the end portion. At this time, the waveform level of the por- tion immediately before the end (the length specified by Crossfade Length) will gradually decrease, and the waveform level immediately before the be- ginning of the loop will gradually increase as the two are mixed.

When the Loop On checkbox is selected, and the Start and Loop S(tart) parameters have different values, the Crossfade button becomes available.

1 Touch the Crossfade button to open the Crossfade Loop dialog:

2 Use the Crossfade Length parameter to specify the length of the sample that you wish to crossfade. You can enter it either as the number of samples, or a percentage (%). If you set this as a percentage, the number of samples will be calculated automatically.

If you set this to 50%, crossfade will be performed on the second half of the region between loop start and loop end.

The Crossfade Length cannot be greater than the smaller length between the Sample Start Loop Start points, or the Loop Start Sample End points.

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3 Use the Curve radio buttons to specify how the volume will change in the crossfaded region.

Curve Meaning

Linear The volume will change linearly.

Power The volume will change non-linearly. Sometimes a setting of Linear will produce the impression that the volume has dropped in the mid- dle of the crossfade curve. In such cases, use Power.

486| Customizing and editing the Sounds

Getting information on the User Sample memory

In case you receive a message warning about not enough User Sample mem- ory available, you can check what is filling it up. You will then be able to de- lete some data or compress the samples.

Go to the Sampling > Sample Info page for information on the number of samples, drum samples and multisamples in the User Sample memory.

Sample Edit Info Meaning

Selected Samples Size of the selected sample (in samples).

Samples Total size of the samples in memory (in samples).

Sampling Frequency Sampling frequency of the selected sample (in Hertz).

Go to the Sampling > Memory Info page for information on the total and used space in the User Sample memory.

Pa4X can use up to 1.5 GB of User Sample Memory without compression. This is the maximum amount of non-compressed samples that can be loaded

Making new sounds with Sampling |487

or recorded. In case you need more User Sample memory, you can compress the samples and then load up to 3.0 GB of samples.

PCM Memory Usage Meaning

Samples Number of samples in memory.

Samples Size Size of the samples in memory.

Preload Buffer Size Amount of memory buffer reserved to preload samples from the virtual memory (on disk) to the RAM memory.

DrumSamples Number of drum samples in memory.

MultiSamples Number of multisamples in memory.

488| Customizing and editing the Sounds

Writing, exporting or deleting the samples

Writing the sample

If you are creating an ordinary Sound or Drum Kit, write the sample to the internal memory.

1 While in any page of Sample editing section, choose the Write command from the page menu to open the Write Sample dialog.

2 You may change the name of the sample. Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name.

When done editing the name, confirm by touching the OK button under the virtual keyboard.

3 If you are saving a percussive sample, use the Drum Sample family pop-up menu to choose a Drum Sample family.

4 Select an option to choose a location where to save the sample:

Choose Save as a new Sample to save to a new location.

Select Save to to overwrite an existing location. In this case, the existing sample will be deleted.

5 If you want to compress the sample, select the Compression checkbox.

Pa4X comes with 1.5 GB of User Sample memory. This is the maximum amount of non-compressed samples that can be loaded or recorded. In case you need more User Sample memory, you can compress the samples and then load up to 3.0 GB of samples.

6 Confirm the Write operation by touching the OK button.

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Compression, short loops, low volume

Loops shorter than 16 samples, and samples with volume too low (often re- sulting from sample slicing) cant be compressed. If you cant write a sample, disable the Compression option in the Write Sample dialog, then retry writ- ing.

Play from preload buffer

When the Play from preload buffer option in the Write Sample dialog is se- lected, the sample will be entirely loaded to the RAM memory the next time it is selected.

This option is normally not needed. You can however select it when you need the sample to play over the full pitch range, or if you plan to use the sample in reverse.

With some samples, you may not be able to transpose up enough, and high- er-pitched notes may sound at the wrong pitch. Since samples entirely read from RAM can be transposed higher than samples read direct-from-disk, if there are issues with higher-pitched notes, you may want to try with this op- tion checked.

Also, reversing User Samples is only allowed when the samples are fully loaded into the RAM memory.

Preload buffer and compression

Since compression cant be applied to samples loaded to RAM, when the Compression parameter is checked you cant select the Play from preload buffer parameter.

Compressed samples can be transposed more than non-compressed samples read direct-from-disk. They can be transposed less than non-compressed samples entirely read from RAM.

type of sample transposition

Non-compressed direct-from-disk Less

Compressed direct-from-disk Average

Non-compressed from RAM More

490| Customizing and editing the Sounds

Exporting samples

You can export the sample in edit in one of two popular computer audio file formats (WAVE and AIFF).

1 While in any page of the Sample section, choose the Export command from the page menu, to open the Export Sample window.

2 Choose a target location, then touch the Save button to make the Export Sample dialog appear:

3 You may change the name of the sample. Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name.

When done editing the name, confirm by touching the OK button under the virtual keyboard.

4 When back to the Export Multisample dialog, use the File Type pop-up menu to choose the export format.

5 Confirm saving by touching the OK button.

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Deleting samples

You can delete a sample, all the unused samples, or all the samples.

Accessing the Delete Sample dialog

While in any page of Sample editing section, choose the Delete command from the page menu to open the Delete Sample dialog.

Deleting a sample

Select the Selected option, choose the sample to be deleted, and touch OK to confirm.

Deleting all the unassigned samples

Select the Not assigned to any Multisample/Drumkit option, and touch OK to confirm.

This command deletes only samples not yet assigned to any Multisample or Drum Kit. Use this option with care, since you may delete samples you would like to preserve, but have not yet been assigned.

Deleting all the samples, multisamples and drum samples

Select the All Samples, Multisamples, Drum Samples option, and touch OK to confirm.

Select this command to delete all samples, multisamples and drum samples from the User Sample memory. This operation completely resets the User Sample memory, and may be used to clean-up any trouble with memory management.

492| Customizing and editing the Sounds

Compressing the User Samples

Pa4X can read and play compressed User Samples. It can compress User Samples when saving them, or in batch. Sample compression allows for dou- bling the available User Sample memory.

Compressed samples can no longer be decompressed. If you want to keep the original samples, please save a copy before compressing them.

Compressing User Samples when writing them

You can compress a User Sample while writing it to the internal memory.

1 While in any page of Sample editing section, choose the Write command from the page menu to open the Write Sample dialog.

2 While in this dialog, select the Compression checkbox, to reduce the size of the sample up to a half of its original size. Please note that compression may require a long time.

Compressed samples will have an asterisk (*) added to their name.

Compressing all User Samples in memory

You can compress all the User Samples contained in the User Sample mem- ory.

1 While in any page of Sample editing section, choose the Compress all sam- ples command from the page menu to run compression.

2 A message appears, warning about the long times needed to compress all the samples. Touch OK to confirm.

Please do not turn the instrument off while compression is going on.

When finished, compressed samples will appear with an asterisk (*) added to their name.

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What if youve got ghost samples?

How to identify ghost samples in memory

Ghost samples are items that only exist as names and pointers, but not as actual sample data. They are usually the result of corrupt data, maybe cre- ated by importing of malformed data.

You can identify them by going to a Sampling > Sample page, and touching the name of the selected sample to open the Sample Select window.

Protected sample

Ghost sample

A dimmed name, with the Prot(ected) checkmark shown means that the sample is protected, and the protection key has not been inserted at startup.

A dimmed name, without the Prot(edcted) checkmark shown means that this is a ghost sample.

How to remove ghost samples

To remove the ghost samples, you can do one of the following:

Load a single User Sound, or a bank of User Sounds, based on User Samples. In this case, the samples you are loading are merged with the ones already in the internal memory.

Load a SET folder containing User Sounds based on User Samples, or all the User Sounds from a SET folder. In this case, the samples you are loading will replace the existing ones in the internal memory.

When loading even a single User Sound or Drum Kit based on User Samples, Pa4X checks if there are ghost samples in the instruments memory. When these ghost samples are found, they are automatically removed from the internal memory.

494| Customizing and editing the Sounds

After loading, Pa4X also saves a as an UnlinkedPCMs.csv file in the root of the KORG DISK, listing all the data pointing to a ghost sample. You can open this file with any spreadsheet program, and check which data is affected.

How to delete Sounds and Drum Kits that were referring to ghost samples

By opening the automatically generated UnlinkedPCMs.csv file, you can see the name of the Sounds and Drum Kits that contain references to the deleted ghost samples.

At this point, you can go to the main page, open the Sound Select window and delete them. You can also find them by using the Search function.

How to delete multisamples that were referring to ghost samples

After having removed the ghost samples and the Sounds and Drum Kit that were referring to them, you can automatically remove the orphaned mul- tisamples.

1 Go to a Sampling > MultiSample page.

2 Choose the Delete command from the page menu to open the Delete Multisample dialog, and select the Not assigned to any Sound (+Samples/ Drum Samples) option.

3 Confirm deleting the orphaned multisamples from memory.

Save the cleaned data

After the ghost samples and all the referring data have been removed, go to the Media > Save page, and save the User Sounds into a SET folder, that will be cleaned of unwanted data. You can save the User Sounds alone, or do a Save All to entirely regenerate the SET folder.

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Creating multisamples

After having recorded, loaded or imported all the needed samples, you can create a multisample. The multisample is a way of organizing several sam- ples on the keyboard. Each sample is assigned to a Keyboard Zone (or Index), with a higher and a lower limit. Later, the multisample will be assigned to an oscillator in an ordinary Sound.

Go to the Sampling > Multisample > Edit page.

Sample Zone index

Multisample diagram

In this page you will assign the sample(s) to a multisample. Assign each sam- ple to a different keyboard zone.

Choosing the multisample to edit

1 Touch the name of the multisample on top of the page to open the Multisample Select window.

Multisample number

Multisample name

2 Touch the name of a multisample to select it.

496| Customizing and editing the Sounds

Reading the multisample diagram

The keyboard diagram shows the selected Index/Zone (highlighted), and its Original Note (in red). Use the big and + buttons on its side to scroll the diagram one octave lower or upper.

Assigning samples to the keyboard

Creating a new zone

By default, a new multisample contains a single zone.

Touch the Insert button to split the current zone in half, and create a new zone (Index) on the left of the selected one.

Touch the Add button to add a new zone (Index) after the last one.

Deleting a zone

You can delete zones, when no longer needed.

Touch the Delete button to delete the selected zone (Index). The zone on the right of the deleted one is automatically extended to fill the gap.

Selecting a zone

Play a note on the keyboard to select the corresponding zone (Index).

As an alternative, use the Index parameter to choose the corresponding zone.

The total number of zones in the multisample is shown by the second num- ber of the Index parameter.

Adjusting the zone range

Use the From To pair of parameters to adjust the range of the selected zone (Index).

The minimum size is one key. When reducing the range of a zone, the adja- cent one is automatically increased to fill the gap.

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Assigning a sample to the selected zone

A zone always corresponds to a single sample.

Use the Sample parameter to choose a sample.

To create a silent zone, create it and assign no sample to it.

Editing the selected sample

Touch the Edit Sample button to go to the Sampling > Sample > Edit page with the selected sample.

Setting the zone parameters

Use the Original Note parameter to automatically transpose the assigned sample on the keyboard. When you play this note, the sample will sound exactly as it was recorded.

By default, this parameter will match the OrigNote (Original Note) value as- signed when editing the sample in the Sampling > Sample > Edit page.

The note set with this parameter appears highlighted in the keyboard dia- gram.

Use the Level parameter to adjust the relative level of the selected zone. This value can only be a negative offset to the overall volume of the multisample.

Use the Pitch parameter to fine tune the selected sample in cents (1 cent = 1/100 of a semitone).

498| Customizing and editing the Sounds

Overview of the assigned samples and zones

You can see the overall map of the samples assigned to the zones, and edit their range on the keyboard.

Go to the Sampling > Multisample > Key Assign page.

Samples

Multisample diagram

Zones

Scroll the zones by using the list of samples on the left of the page. Use the big button with an arrow on top and to the bottom of the list to scroll the list up or down.

Edit the zone range, when needed, by using the low and high zone limits appearing on the left and the right of the keyboard diagrams. The Original Note is shown in red.

Making new sounds with Sampling |499

Writing, exporting or deleting the multisamples

Writing the multisample

Before creating a Sound, save the multisample organizing the samples on the keyboard to the internal memory.

1 While in any page of Multisample editing section, choose the Write com- mand from the page menu to open the Write Multisample dialog.

2 You may change the name of the multisample. Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name.

When done editing the name, confirm by touching the OK button under the virtual keyboard.

3 Select an option to choose a location where to save the multisample:

Choose Save as a new Multisample to save to a new location.

Select Save to to overwrite an existing location. In this case, the existing multisample will be deleted.

4 Confirm the Write operation by touching the OK button.

Exporting multisamples

You can export the multisample in edit, together with all the linked samples. The Export operation generates a KMP file (KORGs proprietary file format for multisamples), and a folder containing a series of KSF files (KORGs pro- prietary file format for samples) inside the same directory.

When exporting a stereo multisample, assign a different name to the Left and Right channel files, to avoid overwriting them. A -L and -R suffix is usu- ally added after the name of this kind of files.

1 While in any page of the Multisample section, choose the Export command from the page menu, to open the Export Multisample window.

500| Customizing and editing the Sounds

2 Choose a target location, then touch the Save button to make the Export MultiSample dialog appear:

3 You may change the name of the multisample. Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name.

When done editing the name, confirm by touching the OK button under the virtual keyboard.

4 When back to the Export Multisample dialog, confirm saving by touching the OK button.

Deleting multisamples

You can delete a multisample, the samples left unused after deleting the multisample, all the multisamples, or all the samples and multisamples.

Accessing the Delete Multisample dialog

While in any page of Multisample editing section, choose the Delete com- mand from the page menu to open the Delete Multisample dialog.

Deleting a multisample

Select the Selected option, choose the multisample to be deleted, and touch OK to confirm.

Making new sounds with Sampling |501

Select the Delete Unassigned Samples checkbox to also delete all the sam- ples left free after deleting the multisample, and not used by other multi- samples.

Use this option with care, since you may delete samples you would like to preserve, to be later used in new multisamples still to be created.

Deleting all the multisamples, samples and drum samples not assigned to

any Sound or Drum Kit

Select the Not assigned to any Sound (+Samples/Drum Samples), and touch OK to confirm.

Select this command to delete from the User Sample memory all the mul- tisamples, samples and drum samples that are not used by any Sound or Drum Kit. This will clean up the memory from all unlinked multisamples, samples and drum samples that have remained in memory after deleting some Sounds or Drum Kits.

If you want to only delete all the unlinked samples and drum samples, with- out deleting any multisample or drum kit, please use the Delete command that can be accessed from the page menu of the Sampling > Sample pages. Be sure to choose the Not assigned to any Multisample/DrumKit option in the Delete Sample dialog.

Deleting all the multisamples

Select the All Multisamples option, and touch OK to confirm.

Deleting all the samples, multisamples and drum samples

Select the All Samples, Multisamples, Drum Samples option, and touch OK to confirm.

Select this command to delete all samples, multisamples and drum samples from the User Sample memory. This operation completely resets the User Sample memory, and may be used to clean-up any trouble with memory management.

502| Customizing and editing the Sounds

Creating new Sounds from multisamples

You can create a new Sound while in Sound mode.

1 Go to the Sound mode.

2 Choose a Sound similar to the one you are going to create.

If you prefer to start from a blank, default situation, choose the Initialize Sound command from the page menu.

3 Go to the Sound > Basic > OSC page.

4 Select one of the available oscillators from the radio buttons on the right side of the page.

5 Use the parameters in the OSC Multisample section to assign the multisam- ple to the High or Low layer of the selected oscillator. Your new multisample can be found in the RAM bank of multisamples.

6 Go on editing the Sound, as shown in the pages dedicated to Sound editing.

Making new sounds with Sampling |503

Creating new Drum Kits from percussive samples

You can create a new Drum Kit while in Sound mode.

1 Go to the Sound mode.

2 Choose a Drum Kit similar to the one you are going to create.

If you prefer to start from a blank, default situation, choose the Initialize Sound command from the page menu.

3 Go to the Sound > DrumKit > DrumKit page.

4 Use the KEY parameter to select a key. As an alternative, select it by press- ing a key on the keyboard.

5 Select one of the available layers from the radio buttons under the keyboard diagram.

6 Use the parameters in the Drum Sample section to assign a sample to the current layer or the selected oscillator. Your new sample can be found in the RAM bank of samples.

7 Go on editing the Drum Kit, as shown in the pages dedicated to Sound edit- ing.

504| Customizing and editing the Sounds

assigning the new Sound or Drum Kit to a part/track

The new Sounds or Drum Kits are contained in the User banks. Assign them to the Keyboard, Accompaniment or Song tracks, as you would do with any other Sound or Drum Kit. Drum Kits are better suited for the Drum or Percussion track.

When done, save the Sound set (Keyboard Set, SongBook Entry, Style Settings, MIDI Song) to preserve your editing.

Making new sounds with Sampling |505

Creating audio Groove Slices with time Slicing

Creating separate samples from a sliced audio groove

After recording or loading an audio groove, you must slice it to create a se- ries of separate percussive samples, a multisample to organize them on the keyboard, and a MIDI Groove containing the original sequence converted to MIDI events. In the end, you will save it as a new Sound.

How it works

Time Slicing detects the attacks (that is, kick and snare shots) inside a rhythm audio groove, and automatically divides the audio groove into individual percussive samples. The sliced percussive samples will be automatically as- signed to different keys in a multisample, and the multisample to a Sound.

Within the generated multisample, a separate sample is assigned to a dif- ferent note on the keyboard, starting from C#3. By playing an ascending chromatic scale with this multisample, you could recreate the original audio groove.

A MIDI Groove will also be created, containing a sequence of notes trigger- ing the sliced percussive samples in the same order as in the original audio groove. When you will import this MIDI Groove to a Style or Pad track, this sequence will let you adjust the grooves tempo without affecting the pitch of the percussive samples.

In addition to changing the grooves tempo without affecting its pitch, this will let you change the order in which the samples are played, change the timing, and edit the pattern to freely recreate a new rhythm loop.

506| Customizing and editing the Sounds

Slicing

1 Go to the Sampling > Time Slice page.

2 Use the Meter parameter to specify the Meter of the original sample.

3 Use the Measure parameter to specify the number of measures of the origi- nal sample. Usually, you will load a groove 1- or 2-measures long.

4 The BPM (Beats Per Minute) parameter specifies the tempo (in Beats Per Minute) of the original sample. This value is automatically calculated, based on the Start, End, Meter and Measures parameters.

If you know these data, manually enter the Meter, Measures and BPM pa- rameters, to make the slicing more accurate. The BPM value can be only adjusted to values lower than the one automatically calculated. This can be useful, for example, when the actual sample is shorter than the entered Meter and Measures values.

Meas.1 Meas.2

In the example above, the actual groove lasts only up to the first half of Measure 2. The recognized tempo is 130, while the real tempo is 100. Set the BPM value to 100, and a rest will be added to the end of the groove, to allow it to loop seamlessly.

5 Touch the Slice button to slice the original audio groove.

Making new sounds with Sampling |507

The generated multisample

Each individual sample generated from slicing the audio groove will be as- signed to a different key.

Key assigned sample/pattern Speed %

C2 Full pattern cycling at half the speed 50%

C#2 Full pattern cycling at various speeds 53%

D2 56%

D#2 60%

E2 63%

F2 67%

F#2 71%

G2 75%

G#2 80%

A2 84%

A#2 89%

B2 94%

C3 Full pattern cycling at the original speed 100%

C#3 and above Separate sliced samples

The generated MIDI Groove

After slicing, a MIDI Groove with the original pattern will also be generated. The diagram will show the individual sliced samples separated by vertical lines:

508| Customizing and editing the Sounds

Testing the generated Drum Kit

To test the full pattern at different speed, play a note from C2 (half speed) to C3 (original speed). See table above.

To test the single sliced samples, play notes from C#3 and above. If you play a full chromatic scale, you can play the original pattern.

If too many samples have been generated, and the keyboard cant fit them all, use the UPPER OCTAVE buttons to transpose the keyboard, and also listen to the samples exceeding the upper limit.

Adjusting the slicing parameters

If the Slice procedure didnt produce satisfactory results, adjust the Release parameter, and touch the Slice button again.

Adjust the Release value changes the number of recognized attacks, by varying the speed needed to the Slice engine to start working again. For ex- ample, in the following example, if the Release value is too high (that is, too long), the second attack may be lost:

If this, again, does not produces good results, try to also adjust the Threshold parameter, and touch the Slice button again.

Since a Tempo value rounding happens during the Slice operation, and the loop may not be accurate, you may need to adjust both the Start and End parameters of the Sample > Edit page, to make the groove loop flawlessly. After editing these parameters, touch the Slice button again.

Go on experimenting different settings. Editing an audio groove is a pure matter of experimentation.

Making new sounds with Sampling |509

Extending the sample tails

When using the sliced grooves with a Tempo slower than the original, an annoying gap may be heard between a sample and the following one. The Extend function allows you to fix this problem by adding a tail to all sam- ples, making their decay smoother and more musical.

1 After slicing and testing the groove, use the Extend function if needed.

2 Go to the Sampling > Time Slice page.

3 Adjust the Extend > By parameter to set the length of the tail added to the samples (in percentage). A setting of 20-30% is usually suitable to most grooves.

Depending on the Tempo of the Style that will include this groove, use high or low values. If you will slow down the groove very much, assign higher val- ues to this parameter, otherwise you may assign lower values.

Be careful with the higher By values, because the Extend function may add audible artifacts.

510| Customizing and editing the Sounds

4 Use the Extend Mode pop-up menu to specify if the added tail must decay in a linear way, or sustain for a longer time and then fall suddenly. Choose the Extend method suitable for the processed materials.

Extend Mode Meaning Shape

Normal Most suitable for percussive sound with a short (but not immediate) decay. The tail envelope is linear, and the level decays fast.

Long Most suitable for cymbals, whose sound should be sus- tained up until the next note. The tail envelope is sus- tained and falls slowly, then falls suddenly next to the end.

5 Touch the Extend button.

6 After the Extend operation is complete, test the pattern.

To test the full pattern at different speed, play a note from C2 (half speed) to C3 (original speed). See table above.

To test the single sliced samples, play notes from C#3 and above. If you play a full chromatic scale, you can play the original pattern.

7 If the Extend operation didnt produce satisfactory results, change the set- tings and repeat it.

Making new sounds with Sampling |511

Writing the audio Groove Slices

When the Time Slicing procedure is completed, you can save the data as a new Sound, together with a series of separate percussive samples, a multi- sample arranging them on the keyboard. A MIDI Groove containing the origi- nal sequence converted to MIDI events will also be created.

1 While in the Sampling > Time Slice page, choose the Write command from the page menu.

Sound name

Sound bank

Sound location Touch to open the Sound Select window

2 You may change the name of the Sound. Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name.

When done editing the name, confirm by touching the OK button under the virtual keyboard.

3 When back to the Write Slice dialog, if you want to save onto a different lo- cation touch the Select button and open the Sound Select window. Choose a location as if you were choosing a Sound. Blank locations are shown as a series of dashes ().

4 When back at the Write Slice dialog, confirm the Write operation by touching the OK button.

Together with the Sound and the associated samples and multisample, a MIDI Groove with the same name will also be saved to the RAM memory. This memory will be deleted when turning the instrument off. Therefore, im- mediately convert the MIDI Groove to a Style or Pad pattern, as explained in the following pages.

512| Customizing and editing the Sounds

Using the audio Groove Slices in a Style or Pad

After generating the Audio Groove Slices, you can use them in a Style or Pad, by importing the MIDI Groove to a track, and assigning the corresponding Sound to the same track.

Imported grooves can play at different Tempo values. However, please re- member that they will not be transposed when playing different chords, since they are still audio data, that cannot be transposed by the Arranger.

Importing the MIDI Groove to a Style or Pad track

1 Go to the Style Play mode, and choose the User Style to which to assign the groove.

2 Press the RECORD button to access Style/Pad Record mode, and choose one of the Style or Pad recording options.

3 Go to the Style/Pad Record > Import/Export > Groove page.

4 Use the From pop-up menu to choose the MIDI Groove. (This menu only ap- pears if a MIDI Groove has been generated).

5 Use the To E/CV pop-up menu to choose a target Style Element and Chord Variation.

6 Use the To Track pop-up menu to choose a target track. We suggest the Percussion track, since the Drum track is still suitable for standard Drum Kit sounds (for count-ins, breaks, etc.).

7 Touch the Execute button to confirm.

Making new sounds with Sampling |513

Assigning the Sound to the Style or Pad track

After having imported the MIDI Groove, assign the Sound generated by the Time Slicing procedure to the track playing the MIDI Groove.

Assigning the Sound to a Style

1 Go to the Style Play mode, and choose the User Style to which to assign the Sound.

2 Go to the Style Play > Main page, and choose the Volume pane.

3 Use the TRACK SELECT button to see the accompaniment tracks (Style Tracks View).

4 Touch the icon of the track to which to assign the Sound (we suggest the Percussion track).

5 While the Sound Select window is open, choose the Sound (in the User bank).

6 Write the Style Settings.

Assigning the Sound to a Style Element track

1 Go to the Main page of the Style Record mode.

2 Select the track to which to assign the Sound (we suggest the Percussion track).

3 Touch the name of the Sound next to the Trk parameter.

4 While the Sound Select window is open, choose the Sound (in the User bank).

5 Write the Style.

Assigning the Sound to a Pad

1 Go to the Main page of the Pad Record mode.

2 Touch the name of the Sound next to the Pad Track parameter.

3 While the Sound Select window is open, choose the Sound (in the User bank).

4 Write the Pad.

514| Customizing and editing the Sounds

Using the audio Groove Slices in other Sounds

You can use the multisample and samples generated by a Time Slicing op- eration in other Sounds.

1 Go to the Sound mode, and choose a Sound similar to the one you want to assign the multisample to.

If you prefer to start from blank programming, choose the Initialize Sound command from the page menu.

2 Go to the Sound > Basic > OSC page, and select one of the oscillators.

3 Choose the new multisample from the RAM area, and assign it to one of the two layers (High or Low).

4 Choose the Write Sound command from the page menu, and save the Sound to an empty User location.

|515

Part VIII: aUDIO aND VIDEO CONNECtIONS

516| Audio and Video connections

Connecting an external display |517

38 Connecting an external display

You can connect Pa4X to a TV or video monitor, to read lyrics and chords with your fellow musicians or audience.

Connect the external video monitor

Use the VIDEO OUT connector to connect Pa4X to a TV set or video monitor.

Depending on the type of video monitor, you can use a cable of the RCA-to- RCA type (if the monitor is equipped with a Video Composite input), or the RCA-to-SCART type (if the monitor is equipped with a SCART connector). You can buy the needed cables at a store that sells television equipment.

Go to the Video Out page

1 If it is off, turn the instrument on.

2 Go to the Global > Audio & Video > Video Out page.

Select the video standard

Use the System menu to select the video standard.

System Meaning

PAL Used in most European, South American, Asian and African countries. This setting can be also used with SECAM TV sets (used in France, Russia, and some African countries); in this latter case, however, the picture is shown in black & white.

NTSC Used in North America, Central America and part of South America. It is also used in Japan, Korea, Taiwan, Philippines and Myanmar.

518| Audio and Video connections

Turn the external monitor on

Turn the video monitor on, and tune it on the correct AV input.

Set the colors

In the same page, use the Colors menu to choose the preferred set of colors for the lyrics and the background.

Colors Meaning

1...5 Color set. Try them to find the one you feel most comfortable with.

Choose what to display

In the same page, use the External Video menu to choose what to show in the video monitor.

Mode Meaning

Lyrics Only Lyrics and Chords (if any) are shown in the external display. (This is the default option at startup.)

Display Mirror The internal display is duplicated (mirrored) to the external display.

Setting the audio outputs and the final effects |519

39 Setting the audio outputs and the final effects

Connecting the audio outputs

Connect the audio outputs as described in Connecting the audio outputs on page 17. If installed, the (optional) PaAS amplification system will work in parallel with the main audio outputs.

520| Audio and Video connections

Choosing the audio outputs for the microphone and line audio inputs

You can send the signal entering the AUDIO INPUTS to the main outputs, or to the auxiliary sub-ouputs. By default, the main LEFT and RIGHT audio outputs are selected.

Go to the Global > Audio & Video > Audio In page, and use the Audio Out parameter to choose the audio output pairs.

audio Out Meaning

Left+Right Main LEFT and RIGHT outputs

Out1+2 Separate 1 and 2 sub-outputs

Sending the microphone or line audio input to the PaAS

To send the desired audio input signal to the PaAS do the following:

Use the Audio In parameter to select the audio input.

Use the Audio Out parameter to send the signal to the main Left+Right out- puts.

Setting the audio outputs and the final effects |521

Sending Sounds and Drum Kits to the audio outputs

Sounds from each part or track of the keyboard, the Style or MIDI Songs, as well as each Drum family, can be sent to a separate audio output. This rout- ing is global, and will not change when choosing a different Keyboard Set, Style or Song.

Choosing the audio outputs for the Keyboard, Style, and the Players

The Keyboard, Style, and each of the Playerss Sound can be sent to differ- ent audio outputs.

1 Go to the Global > Style/Kbd, Player 1 or Player 2 page, depending on the Sound you want to route to an audio output.

2 Choose an audio output (or output pair) for each of the parts/tracks.

audio Output Meaning

Left+Right The selected part/track is connected to the Left & Right outs, in ste- reo. It is also sent to the PaAS Amplification System, if installed. The part/track is also sent to the internal FX processors. You can use the MASTER VOLUME slider to adjust the volume.

Out1+2 The part/track is connected to the 1 & 2 sub-outs, in stereo. It is not sent to the internal FX processors. The MASTER VOLUME slider has no effect on it.

Out1, Out2 The selected part/track is connected to the sub-out 1 or 2. It is mixed to mono. It is not sent to the internal FX processors. The MASTER VOLUME slider has no effect on it.

522| Audio and Video connections

Choosing the audio outputs for the Drum families

Drum Kits can be treated as ordinary tracks/Sounds, or as sets of separate percussive sounds that can be routed to different audio outputs.

Drum Kits treated as ordinary tracks

You can send the Drum Kit to an audio output (or output pair) as an ordinary track. All Drum families will be sent to the output chosen for the track the Drum Kit is assigned to.

Go to the Global > Audio & Video > Drum/Metro page, and choose the Drum Kit Output > As Track option.

Drum Kits treated as separate Drum families

Each Drum family can be sent to a separate audio output (or output pair). This is useful if you want, for example, separately send the bass drum to an external compressor and sub-bass amplifier.

1 Go to the Global > Audio & Video > Drum/Metro page, and choose the Drum Kit Output > As Drum Family option.

2 Use the parameters in the Drum Kit Family section to choose a separate output (or output pair) for each percussive family of instruments.

Setting the audio outputs and the final effects |523

Choosing the audio outputs for the metronome click

You can send the metronome click to any of the separate audio outputs (or output pairs). This will allow, for example, to send the click to the drummers headphone amplifier only.

1 Go to the Global > Drum/Metro page.

2 Use the Metronome > Output pop-up menu to choose an audio output (or output pair) for the metronome click.

524| Audio and Video connections

Programming the MaXX mastering effects

The result of KORGs long term cooperation with Waves Audio, the MAXX AUDIO suite helps making the sound louder, clearer, fuller, and more pol- ished. These effects apply to the final stage of the audio path, just before the audio outputs.

Choosing a MAXX Preset

You can quickly program the EQ and Master parameters by choosing a MAXX Preset.

1 Go to any page of the Global > MAXX Master EQ section.

2 Use the MAXXAUDIO pop-up menu on top of the page to choose a MAXX Preset.

Choosing a default preset for the audio outputs, headphones and PaAS

amplification system

Pa4X can automatically select a MAXX Preset depending on the type of au- dio output. You can choose the default presets that will be automatically selected.

1 Go to the Global > MAXX Master EQ > Default Preset page.

2 Use the pop-up menu on top of the page to choose a MAXX Preset.

MaXX Preset Meaning

Audio Output/ Headphones Preset

Only considered when no PaAs Amplification System is installed, or when the headphones are inserted.

Amplification System Preset

Only considered when the PaAS Amplification System is installed and no headphones are inserted.

Setting the audio outputs and the final effects |525

Turning the MAXX effects on/off

You can turn the MAXX effects on or off, to quickly make the sound louder or flatter.

1 Go to any page of the Global > MAXX Master EQ section.

2 Use the On/Off button on top of the page to turn the MAXX effects on or off.

Please note that MP3 Songs are always recorded without the MAXX effects. This will avoid adding final processing to the processing already applied to the MP3 files.

Editing the MaxxEQ

MaxxEQ is a full spectrum frequency equalization, positioned at the end of the signal chain, just before the main audio outputs. It gives you the power to design EQ curves and shape your sound. Based on Waves professional au- dio equalizers, MaxxEQ features seven fully programmable bands with fully adjustable gain, frequency, and Q parameters.

Accessing the MaxxEQ

Go to the Global > MAXX Master EQ > EQ page.

Turning the MaxxEQ on/off

Use the MAXXEQ On/Off button to turn the EQ on/off.

526| Audio and Video connections

Programming the EQ

Look at the results of any edit in the diagram. The diagram shows the EQ curve. Its shape changes depending on the various parameter values.

Touch the curve shape on the top-left or top-right corner of the EQ dia- gram, and choose between a bell-shaped and a low-shelf or high-shelf type of curve.

EQ Shape Meaning

Bell-shape curve, allowing for detailed correction of a specific range of fre- quencies.

Low-shelving and high-shelving curves, allowing for smoothly cutting out or emphasizing the lowest or highest frequencies.

Use the Gain parameter to change the emphasis or attenuation of the cor- responding band. Use it to make the frequencies stronger or weaker.

Use the Freq parameter to change the center frequency of the correspond- ing band. Center it on the problematic frequency, or the harmonics you want to emphasize or attenuate.

Use the Q parameter to adjust the quality of the EQ filter; higher values correspond to narrower, more accurate filters. Use higher values for near- surgical correction on isolated frequencies, lower values for more musical, softer equalization.

Use the On/Off buttons under each band to turn the corresponding bands on or off.

Editing the MaxxAUDIO Master

The MaxxAUDIO Master controls the MaxxBass, MaxxTreble, MaxxStereo and MaxxVolume effects. It is positioned at the end of the signal chain, just be- fore the audio outputs, adds to the sound deeper, richer bass, and cleaner, warmer, more articulate treble with no loss of RMS (that is, average per- ceived volume). Processing also results in a stereo image thats wider and more accurate.

Please keep in mind that summing-up all levels could cause distortion in the PaAS Amplification System or in external amplification systems. Be careful not to max-out all sliders.

Setting the audio outputs and the final effects |527

Accessing the MaxxAUDIO Master

Go to the Global > MAXX Master EQ > Master page.

Turning the separate effects on/off

Use the On/Off buttons on top of each slider to turn the corresponding ef- fect on/off.

Programming the Master effects

Use the IN/OUT indicators to check the level of the audio entering and com- ing out of the MaxxAUDIO processor. Be sure the indicators never go to the red area (since this means distortion).

Use the virtual sliders to increase or decrease the level of the corresponding parameter.

If the input level is too high, decrease the level of the Sounds, Styles, Songs that are playing.

If the output level is too high, decrease the level of the various Maxx AUDIO controls (in particular, the Volume control).

MaxxBass

MaxxBass is for low frequency response beyond what your loud- speakers can deliver. You will hear low frequencies as much as 1.5 octaves below the limits of your loudspeakers.

MaxxBass isolates the low bass frequencies that cant be reproduced by the loudspeakers. The low frequencies are analyzed to create a complex set of higher frequency harmonics, which the loudspeakers can reproduce.

These harmonics are added back to the rest of the audio, replacing the origi- nal low frequencies. Your loudspeakers then reproduce the harmonic series,

528| Audio and Video connections

which are perceived by the brain as the original low frequencies. Finally, MaxxBass uses dynamic compression to focus and clarify the lower frequen- cies.

The result is larger, more powerful sound, with extended bass response up to 1.5 octaves below the roll-off frequency of the loudspeaker.

MaxxTreble

MaxxTreble is for enhanced high frequencies; it is ideal for one-way driver systems.

Using technologies originally developed for Waves professional audio plug- ins, MaxxTreble is a non-linear dynamic processor that enhances high fre- quency response, delivering a clean and pleasant high end, while minimizing distortion.

Using MaxxTreble technology you will be able to deliver louder, crisper and better defined high end without having to worry about clipping or peak-lim- iting.

MaxxStereo

MaxxStereo is for more realistic, wider stereo imaging. You will hear a wide, exciting stereo image, similar to what youd hear in a modern movie theatre.

MaxxStereo spatial imaging technology improves the stereo separation of closely placed loudspeakers. With loudspeakers that are very close the one to the other (like in the optional PaAS Amplification System), MaxxStereo increases perceived separation for optimal imaging, with natural sound and a generous listening position.

MaxxVolume

MaxxVolume is for dynamics compensation. It increases (or decreases) RMS levels, delivering louder sound with no audible distortion.

It relies on Peak Limiting, that increases volume without clipping or audible distortion; Low Level Compression, that increases the clarity of soft sounds, especially in noisy environments and at quiet volumes; and Noise Gating, that eliminates background signal and system noise.

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Writing a MAXX Preset

Open the Write Maxx Preset dialog

1 Go to the any page of the Global > Maxx Master EQ section.

2 Choose the Write Global Maxx Preset command from the page menu to open the Write Maxx Preset dialog.

Write over the current Maxx Preset

If you want to overwrite the current Preset, just touch the OK button.

Write to a different Maxx Preset location

1 If you want to choose a different location, use the Maxx Preset pop-up menu.

2 If you want to change the name of the Maxx Preset, touch the Text Edit ( ) icon to open the virtual keyboard and edit the name.

3 When done editing the name, confirm by touching the OK button under the virtual keyboard.

4 When back at the Write Maxx Preset dialog, confirm the Write operation by touching the OK button.

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40 Connecting the audio inputs

Connecting a line audio device

Connecting the audio device

Use the AUDIO INPUT > LINE connectors to receive audio from an external device. These inputs are all line-level. Do not directly connect guitars, micro- phones or power amplifiers.

Warning: Connecting a power amplifier to these inputs will damage the instrument!

Use the LINE 1 > LEFT and/or RIGHT connectors to connect the audio out- puts of another keyboard, the outputs of a voice or guitar effect processor, the line outs of a stage mixer. Connect either of them to receive a mono sig- nal. These are balanced (TRS) 6.35 mm, or 1/4, jack connectors.

Use the LINE 2 > STEREO mini-jack (3.5 mm, or 18) connector to connect an external media player.

The line inputs are always enabled. They are always sent to the main LEFT and RIGHT audio outputs.

Setting the line input level

Adjust the audio level from the external device.

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Enabling the line audio input for MP3 recording

Go to the Global > Audio & Video > Audio In page, and be sure the Audio In parameter is set to Line.

In the same page, be sure the Audio Out parameter is set to L + R.

This will send the line inputs to the internal MP3 recorder, and disconnects the Mic input.

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Connecting a microphone

Connecting the microphone

Use the MIC INPUT connector to connect a microphone. This is a combo connector, featuring an XLR and a 1/4 jack on the same connector. Use the balanced XLR jack to connect a condenser microphone, or the 1/4 jack to connect a dynamic microphone.

Enabling the microphone input

By default, the microphone input is enabled. In case it isnt, activate it.

Go to the Global > Audio & Video > Audio In page, and be sure the Audio In parameter is set to Mic.

When the microphone input is enabled, it is also sent to the internal MP3 recorder.

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Microphone types

There are two main types of microphones that you can connect to your Pa4X: dynamic and condenser.

Dynamic microphones do not require powering. They are usually con- ceived for live use, and have a narrow cardioid or hypercardioid pattern for better rejection of stage noise.

Condenser microphones require phantom powering supplied by Pa4X. Usually found in studio, these microphones usually come with a wider car- dioid pattern, capturing more ambience and deeper basses. Wide-capsule condenser microphones are the preferred for studio voice applications.

Powering a condenser microphone

Condenser microphones require powering, supplied as a +48V phantom power current on the XLR MIC input.

Connect and turn on the microphone

1 Press the MIC button in the MIC/VOICE section to turn its indicator off. This will turn the microphone input off.

2 Connect a condenser microphone to the XLR MIC input.

3 Go to the Global > Audio & Video > Audio In page, and select the +48V Phantom Power checkbox.

4 Press the MIC button again, to turn its indicator on. This will turn the micro- phone input on.

5 Sing into the microphone to check the input.

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Disconnect and turn off the microphone

When disconnecting a microphone from the XLR jack, the phantom power is automatically turned off. Phantom power is also automatically turned off each time you turn the Pa4X off.

As an alternative, you can go to the Global > Audio & Video > Audio In page, and deselect the +48V Phantom Power checkbox.

Adjusting the microphone input gain

After connecting a microphone, you can adjust its input gain, mix level and output level.

1 Be sure the MIC indicator is turned on. Be sure the HARMONY and DOUBLE indicators are turned off.

2 Use the GAIN knob next to the MIC INPUT connector to adjust the input gain (from 20 to 55 dB). Check the level by watching at the AUDIO IN indicator on the control panel. Keep the level so that this indicator remains green most of the time, with orange appearing at signal peaks. Never go to red.

aUDIO IN color Meaning

Off No signal entering.

Green Low- to mid-level signal entering. If the indicator turns off too often, the input gain is too low. Use the GAIN control to increase the input level.

Orange Slight overload in the signal path. This is fine if it turns on only on signal peaks.

Red Clipping is occurring in the signal path. Use the GAIN control to lower the input level.

For more accurate control of the microphone input, you can check the input level in the Global > Mic Setup > EQ/Dynamics page.

Connecting the audio inputs |535

Turning the microphone on and adjusting the volume

The microphone can be quickly turned on or off, and its volume in the mix adjusted, right from the control panel. Please note that, for safety reasons, the input is always switched off when turning the instrument on.

1 Use the MIC button in the MIC/VOICE section in the control panel to turn the microphone on (or off).

2 Adjust the microphone volume by using the MIC VOLUME knob in the MIC/ VOICE section.

You can see the volume of the Mic/In channel in the Main page of the Style Play or Song Play mode. Be sure it is not too low or muted.

Start the automatic accompaniment or a Song to balance your voice against the Sounds.

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Shaping the sound of the lead voice

The lead voice is your voice, or the one of your singer, entering the micro- phone input. You can apply effects and pitch correction, before sending it to the Voice Processor.

Setting the lead voice general controls

While in the Global > Mic Setup > Setup page, you can set the controls for the lead voice effects.

Turning the lead voice on/off

While in the Global > Mic Setup > Setup page, use the Lead Mute checkbox to turn the lead voice on/off from the mix.

When the lead voice is turned off, you will only listen to the harmony voices and effects.

Lead Effect Send Pre/Post

Use the Lead Effect Send pop-up menu to choose the pre/post status of the Lead Voice FX Send control.

The Lead Voice FX Send level is set with the Lead to controls in the Style Play/SongPlay > Voice Preset > FX Mixer page.

Lead Effect Send Meaning

Pre The Lead Voice effect will always be heard.

Post The Lead Voice effect will depend on the channel level fader or mute switch.

Connecting the audio inputs |537

Vibrato and bending

While in the Global > Mic Setup > Setup page, use the Voices Vibrato Boost pop-up menu to specify how the Modulation message will affect vibrato.

Voices Vibrato Boost

Meaning

Boost Adds more vibrato once the Modulation value reaches the correspond- ing amount of vibrato and then returns to the original amount at rest position.

Manual Allows full range control of vibrato, once the Modulation message is re- ceived.

While in the Global > Mic Setup > Setup page, use the Voices Pitch Bend Range parameter to set the bending range (in semitones) after receiving a Pitch Bend message.

Setting the lead voice pitch correction

While in the Global > Mic Setup > Setup page, you can activate and adjust the pitch correction on the lead voice.

Use the Pitch Correction checkbox to turn automatic chromatic pitch cor- rection on/off.

For most applications, this is all that is required to set this feature. There is no need to set any Key or Scale parameter; all notes that you sing in the 12- tone Western chromatic scale are corrected to the nearest scale tone.

This type of vocal pitch correction is quite subtle at its factory setting of 50% but even the most highly skilled and on-pitch singers will hear a slight chorusing from the amplification system or monitors with it engaged.

Use the Auto-Chromatic Amount parameter to adjust the pitch correction depth.

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The factory default value is 50%. Changing the value towards 0% reduces the correction effect and changing towards 100% increases it. Above 50% the effect becomes more noticeable when you slide from note to note. This is the effect of faster transition speed between your input note and the closest scale tone as well as the fact that the algorithm is trying to pull you closer to the target.

Mixing the lead voice

Go to the Global > Mic Setup > EQ/Dynamic page, and use the Level and Pan knobs to adjust the level and pan of the Lead Voice.

Parameter Meaning Value

Level Level of the Lead Voice -60dB0dB

Pan Position of the Lead Voice in the stereo panorama L99 (Fully Left)

C0 (Center)

R99 (Fully Right)

Adding EQ, compression/de-esser and gate to the lead voice

While in the Global > Mic Setup > EQ/Dynamic page, you can program equal- ization, compression/de-esser and gate for the lead voice.

The EQ, Compression/DeEss and Gate sections work in a different way, de- pending on the Adaptive checkbox or menu status.

Connecting the audio inputs |539

Programming the Adaptive EQ

When Adaptive is on, an automatic EQ algorithm is activated, and changes the control set for the EQ. Most of the adjustment is done automatically, so fewer controls are required.

Use the Shape knob to automatically adjust the Adaptive EQ. Shape process- ing offers an EQ curve that adds an airy brightness, or sizzle to your voice while reducing mud due to the proximity effect from singing closely into a cardioid microphone.

Adjusting the control from 0% to 50% reduces mud while increasing bright- ness to a useful range for your voice. Turning from 50% up to 100% adds more brightness.

Use the Shape control to reduce mud.

For singers who have a voice with less bass frequencies, the mud reduction may be less and perhaps not noticeable at all. This is a good thing your voice is nicely balanced regarding bass frequencies. For the average male singer or women who sing closely on their mic, the reduction in bass will be noticeable and beneficial. When voices have too much bass, they tend to be- come lost in the other instruments that occupy those frequencies resulting in sonic clutter. Reducing bass has the natural effect of emphasizing mid and upper frequencies which allow the voice to cut through dense instrumenta- tion.

Lastly, the term proximity effect and cardioid need to be clarified as they can cause bass build up. The typical microphone used by singers has a pickup pattern called cardioid or heart-like, because it picks up less sound at the rear than at the front. This intends to reduce other instruments or sounds from getting into the front of the mic. A side effect of this that singing closely on a cardioid mic adds more bass frequencies than your voice actually has. This is called proximity effect because it is caused by closeness to the mic. The adaptive Shape feature listens continually to your voice through your mic and adjusts to make your voice sound like it is professionally produced and balanced.

Use the Shape control to add highs.

The other facet of the Shape feature is that it adds high frequencies, also known as air or presence without making your voice sound tinny. The vo- cal sounds we hear on commercial recordings and the radio are not typically what you hear when you listen to a singer acoustically. Commercial vocal sounds are more of a hyper-reality designed to flatter the voice or voices and

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make them cut through a group of instruments and thus make a larger im- pression on the listener. The Shape feature, used at moderate settings, emu- lates this sound through the average microphone and amplification system.

When making Shape adjustments, its important to sing while listening to the amplification system your audience will hear rather than only judging by your monitor sound.

Use the Gain knob to adjust the level after using the Shape control.

Use the Warmth knob to return a narrow band of low frequencies for sing- ers who prefer this sound. The majority of the mud frequencies are still reduced automatically when using this control.

Programming the traditional EQ

When Adaptive is off, you can use traditional manual Parametric EQ controls.

There are three EQ bands:

Low band shelving

All band fully parametric peak/dip control

High band shelving

The two Shelving EQs boost or cut all frequencies below or above the fre- quencies set by the Low and High controls respectively. These are most like the common Bass and Treble controls on a stereo system.

The Parametric EQ boosts or cuts the frequencies within a selected band that is defined by a center frequency (lower Mid knob) and a width control (center Mid knob). For vocals, the gain of a narrow parametric band is typi- cally reduced to overcome room or voice resonances and smooth the sound although experienced users may boost a band felt to be missing in a particu- lar voice as well.

The three Gain (upper) controls allow +/-12 dB of adjustment. The three Frequency (lower) controls range from 20 Hz to 20 kHz.

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Programming the Adaptive Compressor

When Adaptive is on, an automatic Compressor algorithm is activated, and changes the control set. Most of the adjustment is done automatically, so fewer controls are required.

Use the Compress control to reduce the range between louder and softer singing to produce more even-sounding vocals. It does so by listening to your singing over time (less than 30 seconds) and adjusting accordingly.

Typical compressors require multiple controls, knowledge and experience, and time spent testing and refining over a performance. With TC-Helicons Adaptive Compress feature, these are not required.

The factory setting of 50% strikes a good balance between moderating dy- namics in your singing without incurring feedback, a side effect of compres- sion used in a live mic setting. If you have a high quality monitoring/amplifi- cation setup with a flat frequency response and you want more compression, by all means add more with the Compress control. Be aware though, that av- erage quality systems have frequency peaks that may cause feedback with lots of compression combined with Adaptive Shape EQ.

Compression basics

You may not notice this effect as easily as with Shape. It can be quite subtle until you educate your ears to compression. Following is a very brief descrip- tion.

We typically sing dynamically, like this (capitals are used to show louder dy- namics):

I LOVE to watch you WALK down the STREET

At acoustic singing levels with no, or very quiet instrumentation, this would sound fine. When amplified however, the loud words become strident and even worse, quiet words can be lost in the instrument sounds. The louder the amplification system and band the more pronounced the loud parts become. Compression seeks to do the following to your dynamics:

I LOVE to watch you WALK down the STREET

Applied appropriately, the difference between loud and soft is reduced with- out killing the interesting dynamics in your performance.

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Programming the traditional Compressor

When Adaptive is off, you switch compression to manual control. Be sure to reduce the level of your amplification when adjusting the manual compres- sor, because high settings can cause more gain and thus feedback.

Use the Threshold control to set the singing level at and above which the amount of gain reduction (compression) specified by the Ratio control will occur. The range is 0 dB to -30 dB: 0 dB being the loudest input signal the Voice Processor can accept without distortion and -30 dB being a very quiet signal. If you sing consistently more quietly than the Threshold, you will not hear any compression. A good setting for experimentation is -10 dB.

Use the Ratio control to set how much gain reduction you prefer when your voice level goes above the threshold. The range is from 1:1 (no gain reduc- tion) to 4:1 (maximum vocal gain reduction ). The default setting for Ratio is 4:1.

The number on the left side of the : (colon) symbol is how loud the peaks in your singing have to be in order to achieve a 1 dB gain increase. A brief example of how adjusting the ratio of compressor works is this: say a word you sang went 4 dB over the threshold when the Ratio was set to 4:1. The compressor would only allow it to go 1 dB louder.

Note that the Ratio control has to be set above 1.0 (1.0:1) to apply any com- pression regardless of the setting of the Threshold.

Also note that automatic makeup gain occurs depending on your combina- tion of Threshold and Ratio. A side effect of compression is that it can reduce apparent level until makeup gain is applied to raise the overall level.

Programming the DeEsser

De-essing remains the same whether Adaptive is turned on or off.

Use the DeEss Level control to adjust de-essing.

There is a side effect that comes from adding high frequencies and compres- sion to your voice, and thats excessive sibilance. Sibilance can be described as the brief whistle that accompanies S, T and D syllables in your vocal performance. Again, when singing acoustically, there is no issue with these sounds. Its when you amplify and combine with boosted highs and compres- sion that they can become piercing.

The DeEss Level control monitors the level of sibilance and, when it is de- tected, will quickly and transparently reduce it. Typically, its only briefly re-

Connecting the audio inputs |543

quired and it then gets out of the way allowing the silky brightness to remain on the voiced portion of your singing.

There is only the single DeEss Level control; no other manual adjustment settings are required. The factory setting of 50% gently reduces sibilance without becoming obvious. Higher settings of compression and Shape or a bright, sibilant voice may require a higher setting.

Programing Gate

If your musical accompaniment is loud or you hear feedback, the Gate con- trol will enable you to make adjustments.

Use the Gate pop-up menu on the left to select the Gate mode.

When the Gate mode is Adaptive, the Gate control helps in minimizing feed- back, and reducing the amount of audible effects processing on sounds en- tering the mic other than your voice.

A typical, fixed gate works by shutting off, or reducing the level of any signal below a threshold that you set. When you sing louder than that threshold, the gate will open and your vocal will come through the amplification sys- tem. When you arent singing, the gate will close and block sounds around you.

The Adaptive Gate works automatically with your singing style to provide the optimum balance between how loud you have to sing to open the gate and how much other noises are reduced.

For troublesome audio environments, or for those who are familiar with set- ting manual gate parameters, there is also a Manual setting.

You can also turn the gate to Off with good results if you are in a quiet, low volume musical environment.

Use the Lead Atten(uation) knob to control how much your lead voice level is reduced (attenuated) when your voice falls below the Gate threshold and the Gate closes. This setting applies whether the Gate is set to Adaptive or Manual. The factory default setting of -3 dB (a reduction of 3 dB) is gen- tle enough that if your voice strays below the threshold, it is not cut off completely. If you are in a feedback-prone environment (loud monitors plus Shape and Compress on) you can increase this to reduce more. A setting of

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0 dB offers no gain reduction on your lead voice at all. Settings of -30 to Off effectively mute your voice when the Gate is on.

Use the Harm(ony) Atten(uation) knob to set the amount of attenuation for the Harmony and Doubling voices when the Gate closes. They have a sepa- rate attenuation setting to reduce chatter caused by instrument sounds en- tering the mic and being harmonized when you arent singing. The factory default attenuation amount of -10 dB should work well in many situations, but you can further reduce the level if you still hear harmonized instrumen- tal chattering when you stop singing.

Use the Threshold knob (only available with Manual Gate) to defines the minimum singing level you need to reach in order for the Gate to open and let your voice sound. The factory default setting of -40 dB is very sensitive to allow a wide range of singing levels but it may also allow more nearby instrumental sounds through when you are not singing. In this case, further adjustment from -39 dB and upward may be needed.

Talking with your audience |545

41 talking with your audience

Soloing your voice (TalkOver)

Go to the Main page > Mic pane, and touch the TalkOver button to talk to your audience.

The background music will be softened, and the voice effects switched off.

Touch the same button again to turn the TalkOver function off.

Setting the Talk mode and level

Go to the Global > Mic Setup > TalkOver page to set the TalkOver parameters.

Choose between automatic and manual TalkOver

While in this page, use the Mode > Auto checkbox to choose between Manual and Auto TalkOver.

When in Auto mode, TalkOver will be automatically engaged when the Arranger or Players are stopped. This way, you can talk to the audience be- tween two songs, without the need to touch the TalkOver On/Off button.

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Use the Background Music Level control to set the level to which the volume of all Sounds (Keyboard, Style, Player, Pad) will be reduced when TalkOver is engaged. 100% corresponds to no level reduction.

Using the voice effects and harmonization |547

42 Using the voice effects and harmonization

Choosing a Voice Preset

Voice Presets contain settings for the voice effects and harmonization.

Choosing a Voice Preset from the library

Open the Voice Preset window from the control panel

Press the PRESET button in the MIC/VOICE section.

Open the Voice Preset window from the display

1 While in the Main page, touch the Mic tab to see the Mic pane.

2 Touch the name of the selected Voice Preset.

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Select a Voice Preset

As soon as you press the button or touch the display, the Voice Preset Select window appears.

1 In case you want to choose a different group of Voice Presets, touch one of the tabs on the sides of the Voice Preset Select window.

2 Touch the name of the Voice Preset you want to choose.

3 If you want to close the Voice Preset Select window (and it does not close by itself), press the EXIT button.

In the end, you will see the name of the selected Voice Preset in the dedi- cated area of the Mic pane. The voice effects and harmonization will change.

When changing the Voice Preset, the Global parameter is automatically deselected (see Global and local (or temporary) Voice Preset on page 549).

Using the voice effects and harmonization |549

Choosing a Voice Preset with a SongBook Entry

When choosing a SongBook Entry, the Voice Preset might change. This will happen if the Global checkbox in the Main page > Mic tab is not selected.

Changing the global Voice Preset

The global Voice Preset is the general setting you use when there is no local Voice Preset in a SongBook Entry. Some SongBook Entries might override the global Voice Preset with their memorized local Voice Presets.

Change the global Voice Preset

1 Go to the Global > Mic Setup > Setup page.

As an alternative, keep the SHIFT button pressed and press the MIC button to open the Setup page.

2 Touch the Select button in the Global Voice Preset area to open the Voice Preset window and choose the global Voice Preset.

3 Select the Global checkbox to use the global Voice Preset.

Global and local (or temporary) Voice Preset

You can choose a global Voice Preset that does not change when choos- ing a different SongBook Entry. Or you can choose a local Voice Preset that is better suited to the individual SongBook Entry.

You can choose a Voice Preset from the library (Main page > Mic pane). This local Voice Preset is just temporary, and only becomes permanent when you write a SongBook Entry.

To change the type of Voice Preset, select or deselect the Global parameter in the Main page > Mic pane. This param- eter is saved with each SongBook Entry.

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Harmonizing your voice

Harmonization adds a choir of voices to your lead voice.

Activating and setting the harmony voices

Choose a Voice Preset

Press the PRESET button in the MIC/VOICE section, and choose a Voice Preset containing the desired harmonization type.

By default, these are some useful Presets to test harmonization:

Voice Preset Harmonization type

Chord (Harm. Off) Chordal harmonization, especially meant for Styles. You are expect- ed to play chords on the keyboard (the recognition zone depends on the Chord Scan section). Chords are also received from the Chord Sequencer.

Notes Polyphonic harmonization, especially meant for MIDI Songs. Notes are expected from the keyboard and/or from a track of the active MIDI Song (by default, track #5).

A Voice Preset can be automatically selected when choosing a SongBook Entry.

Turn harmonization on or off

Use the HARMONY button to turn voice harmonization on or off.

Adjust the harmonization level

Use the HARMONY/DOUBLE knob to adjust the harmony voices level.

Playing harmony

1 Play on the keyboard.

Depending on the chosen harmonization type, you will play chords or sepa- rate melody lines.

2 Sing along with the chords and melody lines you play on the keyboard.

Using the voice effects and harmonization |551

Where do chords and notes come from?

Each Voice Preset contains settings to choose the source of the chords or notes. Depending on the preset, you will play on the keyboard, and/or let the MIDI Song send notes from a track selected from the preset.

You can find more information in the section dedicated to programming the Voice Presets.

Receiving chords or notes via MIDI

If you are using an external device (sequencer, master keyboard, MIDI ac- cordion) to send chords or notes to the Harmony section, you may want to set some MIDI parameters.

1 Go to the Global > MIDI > MIDI IN Controls page.

2 Use the Voice Processor > Midi In Channel parameter to choose a MIDI chan- nel on which to receive chords or notes.

3 Use the Voice Processor > Octave Transpose In parameter to transpose the chords or notes received.

4 Use the Voice Processor > In Note Range High/Low parameters to set a range or notes to be sent to the Harmony section of the Voice Processor.

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Doubling your voice

Doubling adds a second, subtly modified voice to your lead voice, making it thicker and stronger.

Choose a Voice Preset

Press the PRESET button in the MIC/VOICE section, and choose a Voice Preset containing the desired doubling type.

A Voice Preset can be automatically selected when choosing a SongBook Entry.

Turn doubling on or off

Use the DOUBLE button to turn doubling on or off.

Adjust the doubling level

Use the HARMONY/DOUBLE knob to adjust the doubling voice level.

Playing double voice

Just sing to hear your voice and the doubling voice.

Using the voice effects and harmonization |553

Using the effects

Effects can add ambience, improve or transform your lead voice and the added voices. They are always included in any Voice Preset as separate FX blocks, that you can turn on/off or edit.

Turn the effects on or off

1 Go to the Main page > Mic pane.

2 Use the effect block buttons to turn each effect on or off.

Effect module Meaning

Filter Steep filters emulating the sound of radios, phones and devices that gen- erally degrade the audio signal.

Hard Tune Pitch corrector optimized to produce corrective pitch correction as well as obvious effects made popular by a number of artists.

Mod Subtle thickening of the voice. This effect does a faithful job of emulating classic detune, chorus, flanger and thickening sounds.

Delay Delay effect. The delay is similar to an echo, and can have short or long repetitions depending on the selected Voice Preset.

Adjust the effects level

Use the DELAY/REVERB knob to adjust the effects level.

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43 Editing the Voice effects

You can create your custom voice effects, to be saved into a Voice Preset and assigned to a SongBook Entry.

Accessing Voice Preset editing

1 Press the STYLE PLAY or SONG PLAY button in the MODE section of the control panel to go to the corresponding mode.

2 Press the MENU button and touch the Voice Preset button in the edit menu to choose the Voice Preset section.

Choosing, enabling and balancing the effects

While in the Voice Preset > Preset page, you can choose a Voice Preset, turn on/off the various effect blocks, choose the effects for each block, and mix them in the Voice Preset.

Use the Select button to choose a different Voice Preset.

Use the On/Off button to turn the effect block on/off. These switches are also found in all effect editing pages.

Use the pop-up menus next to an effect blocks name to choose a different effect for that effect block.

Use the Level parameters to adjust the level of each effect block inside the Voice Preset.

Editing the Voice effects |555

Mixing the lead voice and the effects

While in the Voice Preset > FX Mixer page, you can set the master level of the effects, and internally route the effects.

Use the Level control to adjust the level of each effect block inside the Voice Preset.

Use the Del/Rev > Level control to adjust the level of the Delay and Reverb blocks. This corresponds to the DELAY/REVERB knob in the MIC/VOICE sec- tion of the control panel. This control is not memorized in the Voice Preset.

Use the Lead to Mod/Delay/Rev controls to adjust the level of the lead voice going into the corresponding effect.

Use the Harm/D to Mod/Delay/Rev controls to adjust the level of the har- mony/double voices going into the corresponding effect.

Use the Mod to Delay control to adjust the level of the Mod effect going into the Delay.

Use the Delay to Rev control to adjust the level of the Delay effect going into the Reverb.

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Editing the harmony voices

While in the Voice Preset > Harmony page, you can program the harmony voices.

Setting the general harmony parameters

The top area of the page contains general parameters.

Choosing the Harmony set

Use the Set pop-up menu to choose settings for the Harmony block.

Choosing the harmony type

Use the Type pop-up menu to choose the type of harmonization.

Harmony type Meaning

Chord Chords are to be played on the keyboard, by the Chord Sequencer, received from a MIDI Song or via MIDI. When this type is selected, you can choose the source of the controlling chords (as explained below).

Scale Harmony notes are adapted to the selected scale. When this type is selected, you can choose the Key/Scale (as explained below).

Shift Harmony notes are exactly the indicated interval above or under the Lead voice.

Notes Harmony voices play the notes played on the keyboard, received from a MIDI Song or via MIDI. When this type is selected, you can choose the source of the controlling notes (as explained below).

Editing the Voice effects |557

Choosing the source of chords or notes

Use the Style Play Control pop-up menu to choose a source for chords or notes controlling harmony in the Style Play mode.

Control source (Style Play)

Meaning

Chord Scan Play chords or notes in the area chosen with the CHORD SCAN but- tons in the control panel.

Lower Play chords or notes in the Lower area (under the split point).

Upper Play chords or notes in the Upper area (above the split point).

Full Play chords or notes over the full extension of the keyboard.

Use the Song Play Control pop-up menu to choose a source for chords or notes controlling harmony in the Song Play mode.

Control source (Song Play)

Meaning

Off No track sends chords notes to the Harmony module. Chords can still be received via MIDI.

Track 0116 Chords or notes are received from one of the Player tracks.

Chord Scan Play chords or notes in the area chosen with the CHORD SCAN but- tons in the control panel.

Lower Play chords or notes in the Lower area (under the split point).

Upper Play chords or notes in the Upper area (above the split point).

Full Play chords or notes over the full extension of the keyboard.

558| Audio and Video connections

Choosing the Key and Scale

With Scale harmonization, all of the chords in an entire song and your mel- ody can belong to a single key. You can input this key by using the Key pa- rameter.

Use the Scale parameter to choose a type of scale for the harmony notes. You can choose between 3 Major and 3 Minor alternate scales that can be chosen if your harmony intervals sound incorrect at certain chord/melody combinations.

When the match of Key and song is correct, a Scale harmonization is nearly indistinguishable from recorded harmony. There are limitations however:

Scale works for many, but not all songs.

Scale works best with 3rd harmony intervals (Voice > Scale parameter); add- ing the 5th reduces the number of compatible songs.

You should be singing with musical backing and stay true to a A=440Hz ref- erence. This could be a recorded song or other musicians. Choose a simple song to start with. Determine the key of your song; this is often the first or last chord in a song without extensions. For example G Major is a valid key, Gm7b5 is not.

If youre lucky the first time, youll be rewarded with soaring harmony over your whole chorus or song. If not, you can try the following:

Try a different Key, perhaps a 5th away from your first choice.

Choose a different Major or Minor alternate Scale.

Choose a Set with only the 3rd (High) interval.

Adjusting the level

Use the Level parameter to adjust the level of the Harmony effect.

Setting portamento time

Use the Portamento parameter to set the portamento time.

Portamento is a delayed response to the pitch movement of your singing voice. It is also referred to as Glide in synthesizers. The range of values equals approximately how long the upwards or downwards slide will take to reach each new note.

Editing the Voice effects |559

Programming the individual harmony voices

The center area of the page contains parameters to program the individual voices. It is different, depending on the selected Harmony Type.

Harmony type Individual Voice Box

Chord

Scale

Shift

Notes

Use the V1V4 buttons to choose the harmony voice to program.

Choosing the Voicing for Chord-type harmonies

Use the Voicing pop-up menu to specify the relation of the harmony note to the input note with respect to the current chord. In Chord mode presets, the harmony voices are always notes in the chord. A setting of Up1 will result in the harmony voice being the next note above the input voice in the chord. For instance, if the chord was C Major and the input note was an E, an Up1 setting would produce a G harmony voice, just above the input E.

Choosing the Scale for Scale-type harmonies

Use the Scale pop-up menu to specify the interval of the harmony note with respect to the input note in the scale. The range of values goes from -2VE, which is 2 octaves below the input note, to +2VE which is two octaves above the input note. For example, a setting of +3 will result in a harmony voice a third above the input voice.

560| Audio and Video connections

Choosing the Shift for Shift-type harmonies

Use the Shift pop-up menu to choose the interval the harmony voice is shift- ed relative to the input note. The values range from -24 semitones to +24 semitones.

Programming the envelope for Notes-type harmonies

Use the Smooth parameter to make the voice attack smoother and better in tune.

At low values, Smoothing acts like pitch correction for the harmony voices. With the voices corrected like this, some Portamento is usually required to help soften note to note transitions unless a robot-like effect is desired. Higher values offer progressively less correction. Like Portamento, setting each voice with a unique value of the Smoothing parameter helps the har- monies sound more natural. Please note that high values of smoothing will sound out of tune.

Use the Attack parameter to add a gentle volume fade-in when you strike a note during a sustained sung note. The values range from 0 to 1000 mil- liseconds.

Use the Release parameter to add a smooth fade-out if you release your note as you continue to sing. The values range from 0 to 2000 ms.

Choosing the individual voices gender

Use the Gender parameter to make timbre adjustment to the voice. Values below 0 lend each voice a more masculine and deeper effect and values above 0 lend a more feminine or thinner effect.

Adjusting the Level and Pan of the individual voices

Use the Level parameter to control the relative volume of each voice. This is also where voices are turned on an off. The range of values goes from Off to 0 dB (Full). Typically all voices are set at the same level unless you want to highlight or minimize a particular voicing interval.

Use the Pan parameter to set a unique pan position for each voice. There are 100 possible steps in each of the left and right pan positions.

When the Notes Harmony Type is selected, you can select between Narrow, Medium and Wide panning.

Editing the Voice effects |561

Programming the expression, EQ and internal mix

The bottom area of the page contains general parameters to control expres- sion and mix the lead voice and effect.

Humanizing the harmony voices

Use the Humanize pop-up menu to choose a humanization style.

The term humanize simply means the application of processes designed to increase realism. All harmony modes usually benefit from careful application of humanization styles that make each harmony voice respond with small pitch and timing variations different from your voice. Each Humanize Style configures each of the four voices differently; Voice 1 has slightly different parameter values than say Voice 4 in the same style but all four voices will work together to produce a useful overall effect.

The various Humanization styles consist of various amounts of the following modifiers:

Onset pitch events This is also known as scooping which adds a generated pitch trajectory for each new note that is different than the sung note.

Pitch modulation A random wave generator wobbles the pitch in non-peri- odic ways to simulate even the finest singers pitch variation.

Timing delay and modulation Singers are unable to start notes at the same time with the exactness of a machine so this algorithm applies slight delays to the onset of notes and then adds modulated time variation to sustained portions of notes.

Level (volume) modulation This effect is like a subtle tremolo with a non- periodic or semi random waveform that simulates the way different singers change note volumes as they sing.

Use the Amount parameter to vary the amount of humanization for the harmony voices. All the styles except for the last one (Time & Pitch) were designed at middle values to allow you to add or remove effects as you see fit. Time & Pitch was designed so you can create wild special effects as you experiment with high values.

562| Audio and Video connections

Adding vibrato

Use the Vibrato pop-up menu to choose a vibrato style.

Vibrato assists in providing separation between your dry singing voice and the harmonies as well as to add some movement to the rigid pitch contour in Notes mode harmony. Even the smallest amount of vibrato applied to your harmony voices can achieve this. Like the Humanize effects, each voice is treated slightly differently by the Vibrato algorithm so the voices dont all sound exactly the same. There are 7 styles available in progressively more intensity as you browse down the list.

Use the Amount parameter to vary the amount of vibrato intensity for the overall style with this parameter. All the styles were designed to be useful at middle values but you can add or remove vibrato as you like.

Equalizing the voices

Use the LoEQ and HiEQ parameters to apply low-frequency and high-fre- quency equalization to all the harmony voices.

Mixing in the lead voice

Use the Lead Level parameter to adjust the level of the lead voice mixed with the effect.

Editing the Voice effects |563

Editing the Double voice

While in the Voice Preset > Double page, you can program the Double voice.

The Double effect uses the same type of Humanization technology as in the Harmony effect to create up to two overdubbed versions of your voice. The two voices are set to unison intervals as opposed to the moveable intervals available for the harmony voices. Unlike simple detune or micro-shift tech- niques available with the Mod effect, Double simulates the sound of a vocal- ist overdubbing their vocal part multiple times. Many of the edit parameters for the Doubling page are the same as for Harmony page.

Choosing the Double set

Use the Set pop-up menu to choose settings for the Double block.

Adjusting the level

Use the Level parameter to adjust the level for the Double effect.

Editing the Humanize parameters

Use the Humanize pop-up menu to choose a humanization style.

The term humanize simply means the application of processes designed to increase realism. Contrary to the same parameter of the Harmony page, humanization is the same for all doubling voices.

Use the Humanize Amount parameter to vary the amount of humanization for the harmony voices. It works exactly like the Amount parameter of the Harmony page.

Mixing in the lead voice

Use the Lead Level parameter to adjust the level of the lead voice mixed with the effect.

564| Audio and Video connections

Editing the Filter effect

While in the Voice Preset > Filter & Hard Tune page, you can program the Filter effect.

This effect uses steep filters to emulate the sound of radios, phones and devices that generally degrade the audio signal.

Choosing the Filter set

Use the Set pop-up menu to choose settings for the Filter block.

The Routing and Gate Threshold parameters are not part of the set.

Adjusting the level

Use the Level parameter to adjust the level for the Filter effect.

Editing the Voice effects |565

Editing the filter parameters

Use the Routing pop-up menu to specify where the Filter effect is inserted into the signal path.

routing Meaning

Off No routing.

Lead Filter is inserted on the Lead voice only. Harmonies and Doubling are unaffected.

Harm+Double Filter is inserted on the Harmony+Double path only.

Voices Filter is inserted on both the Lead, Harmony and Doubling voices.

Harmony FX Filter is inserted on the Harmony send to the effects. Lead and Harmony voices will be clean.

Lead FX Filter is inserted on the Lead send to the Mod, Delay and Reverb effect sends. Lead voice will be clean.

Use the Low Cut / Hi Cut parameters to set the cut-off frequency for these very steep low and high shelving filters.

Use the Gate Threshold parameter to prevent feedback.

This gate is separate from the main Gate applied to the microphone input, and is used to help prevent feedback when using the Filter with presence filtering that can introduce feedback in a live environment. This parameter sets how loud you must sing in order to open the gate.

566| Audio and Video connections

Editing the Hard tune effect

While in the Voice Preset > Filter & Hard Tune page, you can program the Hard Tune effect.

This effect is a pitch corrector that has been optimized to produce corrective pitch correction as well as obvious effects made popular by a number of art- ists. It only works when a chord is recognized.

Choosing the Hard Tune set

Use the Set pop-up menu to choose settings for the Hard Tune block.

Editing the Hard Tune parameters

Use the Rate parameter to specify how fast the algorithm pulls you toward scale tones. A value of 0 is off and a value of 100 is instant resulting in something like the infamous Cher effect where the pitch correction effect is stair-stepped and obvious when using non-chromatic scales (those with at least a whole tone jump between most of the scale tones). Usually, values around 20 yield acceptable results for smooth, corrective pitch correction.

Use the Shift parameter to set the relative shift in semitones above or below the input vocal. This is useful for transposing or creating character voices while simultaneously pitch correcting.

Use the Window parameter to specify how close to a valid scale note you have to be before the algorithm corrects you. For example, a value of 80 cents means that only when you are singing within +/- 40 cents away from the target scale note will you be corrected. The maximum value is 600 cents. In a Major scale having no more than 100 cents on either side of any scale tone a setting of 200 would result in fulltime correction activity.

Editing the Voice effects |567

Editing the Mod effect

While in the Voice Preset > uMod page, you can program the micro-modu- lation effect.

Mod is short for micro-modulation. The Mod effect is capable of creating many different sounds that range from subtle but lush thickening to cre- atively destructive. It uses a combination of stereo pitch shifting (Detune), small amounts of stereo delay (Delay), and then a complex path of filtering, feedback, and modulation. Mod does a faithful job of emulating classic de- tune, chorus, flange and thickening sounds.

Choosing the Mod set

Use the Set pop-up menu to choose settings for the Mod block.

Adjusting the level

Use the Level parameter to adjust the level for the Mod effect.

Editing the Mod parameters

Use the Speed parameter to set how fast the delay time modulation occurs. In order for this to be audible, the depth amount parameter has to be non- zero. The setting range is 10.00 Hz (very fast) to .05 Hz (very slow).

Use the Detune L/R parameters to apply a small amount of pitch shift to the left or right sides independently. This setting is shown in cents and the maximum is +/- 25 cents.

Use the Depth L/R parameters to set the amount of modulation of the delay time for the left and right delays. If one delay is set to 10mS, for example, a setting of 50% will vary the delay time between 15mS and 5mS at the rate set by the Speed parameter.

568| Audio and Video connections

Use the Delay L/R parameters to set the left and right delay times. Up to 50 ms of delay is available on the left and right delay lines to create effects from flange to slapback.

Use the Feedback L/R parameters to re-introduces a portion of the audio output signal of the Mod block back to the input to create flanges, tube and chorus effects. Values above 90 add a high amount of gain and cause distor- tion and higher audio levels.

Mixing in the lead voice

Use the Lead Level parameter to adjust the level of the lead voice mixed with the effect.

Editing the Voice effects |569

Editing the Delay effect

While in the Voice Preset > Delay page, you can program the delay effect.

The delay effect is a configurable echo. You can control how far apart the echoes occur (Delay Time), and whether the echoes fade out quickly or slow- ly or build on themselves. In addition, there are filtering and stereo controls that allow you to create many popular delay sounds.

Delays can be typically be categorized into the two listed categories below:

Short Delays: Initial reflections, Slaps

Long Delays (max stereo delay is 2500 ms or 2.5 sec.): Monotaps, Stereotaps, Syncopated taps, Ping-pongs (delays travelling from left to right).

Choosing the Delay set

Use the Set pop-up menu to choose settings for the Delay block.

Adjusting the level

Use the Level parameter to adjust the level for the Delay effect.

Editing the Delay parameters

Use the Source parameter to specify which of the two methods you want to use to set delay times.

Source Meaning

Time This allows you to set the exact delay time for the left and right delay lines manually with the Time L and Time R controls.

MIDI The unit can be set to derive its delay times from incoming MIDI clock signal.

570| Audio and Video connections

Use the Quantize Left/Right parameters, when the Source is set to MIDI, to divide the Tempo into even (e.g. 1/4 or quarter notes) or syncopated sub- beats (e.g. 1/4 triplets, 1/4 dotted notes) for the left and right delays.

Use the Time L/R parameters to display the exact delay time and to allow editing with all Source settings. You may set from 0 to 2500ms (2.5 seconds) of delay for the left and right delay lines.

Use the Feedback L/R parameters to re-introduces a portion of the audio output signal of the Delay block back to the input to add echo repeats.

Use the Hi Cut EQ / Low Cut EQ parameters to add steep highpass (Low Cut) and low pass (Hi Cut) filters to control the bandwidth of the delays. Applying these filters to the delays can create the feeling of space while not obscuring the main vocal signal.

Use the Duck Amount parameter to set how much attenuation (gain reduc- tion) is applied to the delayed signal when a vocal is present. For ducking to not be too obvious, a slight reduction of -6 dB is best. The Ducking can also be turned Off with this parameter.

Mixing in the lead voice

Use the Lead Level parameter to adjust the level of the lead voice mixed with the effect.

Editing the Voice effects |571

Editing the reverb effect

While in the Voice Preset > Reverb page, you can program the reverb effect.

Reverb is arguably the most common vocal effect. It can add a spacious- ness that softens the abrupt beginnings and endings of lyric phrases. Many reverb types are meant to imitate the natural sound of spaces like churches, clubs and halls but not all. Some reverb effects are recreations of electro- mechanical effects meant to imitate real spaces like plates and springs.

Reverbs are made up of early reflections and the longer reverberant sounds known as the tails. There are usually controls to control the balance of room level and tail. Additionally, a small delay can be added between the dry voice and the reverb signal that adds clarity by briefly separating the dry voice from its reverb. By far the most important control for reverb is the level. A single reverb patch can have a different result for the audience whether it is mixed quietly or boldly in the mix.

Choosing the Reverb set

Use the Set pop-up menu to choose settings for the Reverb block.

Adjusting the level

Use the Level parameter to adjust the level for the Reverb effect.

Editing the Reverb parameters

Use the Decay parameter to set the length of the reverb tail from 10 ms to 20 seconds. Note that, due to the complex nature of Reverb algorithms, a decay time of 4 seconds may sound quiet different from one style to the next, even when the rest of the settings are identical.

Use the Pre Delay parameter to introduces a short (up to 100 ms) delay be- tween the dry audio signal and the onset of reverb to help simulate larger

572| Audio and Video connections

spaces and to provide audio separation between the dry signal and the re- verb effect.

Use the Hi Color / Lo Color parameters to adjust the corresponding pre- set-frequency filters inserted into the Reverb feedback path that tailor the low and high frequency response and decay of the tails. Values toward -50 will cut response in its respective band and a values toward 50 increase response.

Use the Duck Amount parameter to set the effect attenuation. When Ducking has a value other than Off, the Reverb blocks output will be reduced while you are singing. At the end of a sung phrase, the effects return to the level you set, increasing the clarity of your vocals while still sounding very wet. This parameter sets the amount of attenuation for Ducking.

Mixing in the lead voice

Use the Lead Level parameter to adjust the level of the lead voice mixed with the effect.

Editing the Voice effects |573

Writing a Voice Preset

Voice Presets can store the Voice effects settings for instant recall. The li- brary is where you organize them by type.

Note: Changes can be saved onto User Voice Presets. They cannot normally be saved onto Factory Voice Presets.

Writing a Voice Preset

Open the Write Voice Preset dialog from the control panel

While in any mode, keep the MIC/VOICE > PRESET button pressed for about one second.

Open the Write Voice Preset dialog from the display

While in any of the Voice Preset pages, choose the Write Voice Preset com- mand from the page menu.

Voice Preset name

Voice Preset location

Touch to open the Voice Preset Select window

Write over the same Voice Preset

If you want to overwrite the current Voice Preset, just touch the OK button.

Write to a different Voice Preset location

1 If you want to save onto a different location, touch the Select button and open the Voice Preset Select window. Choose a location as if you were choosing a Voice Preset. Blank locations are shown as a series of dashes ().

2 When back at the Write Voice Preset dialog, you may change the name of the Voice Preset. Touch the Text Edit ( ) icon to open the virtual key- board and edit the name.

574| Audio and Video connections

When done editing the name, confirm by touching the OK button under the virtual keyboard.

3 When back at the Write Voice Preset dialog, confirm the Write operation by touching the OK button.

Saving a Voice Preset with a Keyboard Set, Style or Song

If you want to save the selected Voice Preset together with the Keyboard Sets, Styles or Songs, you can create a new SongBook Entry based on them. Choose the Voice Preset, together with the desired Keyboard Sets, Style or Song, then keep the SONGBOOK button pressed for about one second to create a new SongBook Entry.

|575

Part II: EFFECtS FOr tHE SOUNDS

576| Effects for the Sounds

The effects |577

44 the effects

Editing the effects

Editing the insert effects (IFX)

1 Go to the Style Play or Song Play > Mixer/Tuning > Insert FX page.

FX group

FX on/off Selected FX type

2 While in the Insert FX page, touch the name of the selected effect type, or the x symbol under the On/Off button, to open the FX Edit page.

Selected FX

FX edit parameters

FX mix and modulation

3 If you want, use the pop-up menu on top of the page to choose a different effect.

4 Edit the effect parameters, as described in the following pages.

5 When finished editing, press the EXIT button to return to the previous page.

578| Effects for the Sounds

Editing the master effects (MFX)

1 Go to the Master Effects > FX A/B page containing the master effect you want to edit.

2 While in the FX A or FX B page, touch the name of the assigned effects to open the FX Edit page.

Selected FX

FX edit parameters

FX mix and modulation

3 If you want, use the pop-up menu on top of the page to choose a different effect.

4 Edit the effect parameters, as described in the following pages.

5 When finished editing, press the EXIT button to return to the previous page.

The effects |579

Feeding the master effects back to the MFX1 input

Master effects are set in parallel, but you can set them in a serial chain by sending the output of the MFX2 or MFX3 processor back to the input of the MFX1 processor. This is useful, for example, to send a guitar amp simulator to the reverb and create an additional (post-fader) insert; or to send a delay into a reverb.

While in the Master Effects > FX A/B page, use the to FX1 parameters to set the amount of the MFX2/MFX3 signal to the MFX1 processor.

Mixing the dry (direct) signal and the effects

While in the FX Edit page, use the Wet/Dry parameter to set the balance between the Wet (effected) and Dry (direct) signal inside the corresponding FX processor.

With master effects, you can set this value directly from the Wet/Dry param- eters in the Master Effects > FX page.

We suggest not to change the insert effects internal mix, unless you are try- ing to achieve a particular effect. Setting the direct signal of a modulating effect too low could, for example, cause phasing.

We also suggest not to change the master effects internal mix, unless you are fine-tuning it, because this is a general setting for the effect. To set the amount of effect applied to each Sound/channel, use the individual chan- nels send level instead.

580| Effects for the Sounds

Editing the master effects (MFX)

1 Go to the Master Effects > FX A/B page containing the master effect you want to edit.

2 While in the FX A or FX B page, touch the name of the assigned effects to open the FX Edit page.

Selected FX

FX edit parameters

FX mix and modulation

3 If you want, use the pop-up menu on top of the page to choose a different effect.

4 Edit the effect parameters, as described in the following pages.

5 When finished editing, press the EXIT button to return to the previous page.

The effects |581

Choosing a Dynamic Modulation Source (DMS)

You can modulate one of the effect parameters by using MIDI messages gen- erated by the internal physical controllers or by MIDI data recorded in one of the Style or Song tracks.

Choose the modulation track

With insert effects, the modulation is always received from the Sound/part/ track they are assigned to. For example, if the insert effect is assigned to the Upper 1 part, it will be modulated by the Upper 1 part.

With master effects, you must choose a modulating track. Go to the Master Effects > FX A/B page containing the master effect you want to edit, and use the Mod.Trk. (Modulating Track) parameter to choose the modulating Sound/part/track.

Choose the modulation source

While in the FX Edit page (for both the insert or master effects), use the Src (Source) parameter to choose the physical controller or the type of MIDI data that will modulate the effect.

Pa4X uses the Dynamic Modulation Source (DMS) system, a highly flexible and powerful matrix of modulation. See below the list of available sources.

582| Effects for the Sounds

DMS Note

Off No modulation

Gate1

Gate1+Dmpr Gate 1 + Damper

Gate2

Gate2+Dmpr Gate 2 + Damper

Note Nr Note Number

Velocity Note Velocity

Expo Velocity Exponential Note Velocity

AfterTouch After Touch

JS X Joystick Left/Right

JS+Y: CC#01 Joystick Forward

JS-Y: CC#02 Joystick Backward

MIDI(CC#04)

MIDI(CC#12) FX MIDI Controller 1

MIDI(CC#13) FX MIDI Controller 2

Ribb.(CC#16) Ribbon Controller

MIDI(CC#18)

MIDI(CC#17)

MIDI(CC#19)

DMS Note

MIDI(CC#20)

MIDI(CC#21)

MIDI(CC#17+)

MIDI(CC#19+)

MIDI(CC#20+)

MIDI(CC#21+)

Damper: #64

Prta.SW: #65 Portamento Switch

Sostenu: #66 Sostenuto Pedal

MIDI(CC#67)

MIDI(CC#80)

MIDI(CC#81)

MIDI(CC#82)

MIDI(CC#83)

MIDI(CC#85)

MIDI(CC#86)

MIDI(CC#87)

MIDI(CC#88)

Tempo

The effects |583

Notes about the Gate sources

Gate 1+Dmpr is at maximum during note-on, and will stop when all keys are released. The effect will remain at maximum even after the keys are re- leased, as long as the damper (sustain) pedal is pressed.

Gate1,Gate1+Dmpr

Gate1

Note

Dmpr 1 2 31 2 3

Damper Pedal

Gate1+Dmpr

Time

On Off

Gate2, Gate2+Dmpr (Gate2+Damper) is essentially the same as for Gate 1 or Gate 1 + Dmpr. However when Gate 2 or Gate 2 + Dmpr are used as a dynamic modulation source for the EG, a trigger will occur at each note-on. (In the case of Gate 1 and Gate 1 + Dmpr, the trigger occurs only for the first note- on.)

Gate2,Gate2+Dmpr

Gate2

Note

Dmpr 1 2 31 2 3

Damper Pedal

Gate2+Dmpr

Time

On Off

Set the modulation intensity

While in the FX Edit page (for both the insert or master effects), use the Amt (Amount) parameter to set the intensity of modulation. This is an offset to the normal value received from the source.

584| Effects for the Sounds

adapting the reverb to the room size

Pa4X includes a master offset for all the reverbs. Use it to adjust reverb tails to the room where you are playing. Use negative values when you are in a very reverberant room, positive values if the room is too dry.

1 Go to the Global > General Controls > Basic page.

2 Use the Reverb Offset parameter to change the reverb master.

reverb Offset Meaning

-50 +50 Value subtracted or added to the reverb length.

The effects |585

Effects list

The following list contains all the Factory Effects. Detailed information on each effects parameter are contained in the following pages.

rEV (reverb)

Overb1

Reverb Hall

Reverb SmoothHall

Reverb Wet Plate

Reverb Dry Plate

Reverb Room

ReverbBrightRoom

Early Reflections

Early Reflections Hi Dens2

Reverb Spring

Reverb - Gate

DEL (Delay)

L/C/R Delay

Stereo/CrossDelay

St. Multitap Delay

St. Mod Delay

St. Dynamic Delay

St. AutoPanningDly

Tape Echo

Sequence BPM Dly

L/C/R BPM Delay

Stereo BPM Delay

St.BPM Mtap Delay

St.BPM Mod. Delay

St.BPMAutoPanDly

Tape Echo BPM

Classic Tape Echo

Hold Delay2

L/C/R Long Delay2

St/Cross Long Dly2

LCR BPM Long Dly2

St. BPM Long Dly2

MOD (Modulation)

Stereo Chorus

Black Chorus/Flanger

St.HarmonicChorus

Classic Chorus

Multitap Cho/Delay

Stereo Flanger

St. Random Flanger

St. Env. Flanger

Classic Flanger

Stereo Phaser

St. Random Phaser

St. Env. Phaser

Orange Phaser

Small Phaser

Phaser - Cho/Flng

St. Phaser + Trml

Stereo Tremolo

St. Env. Tremolo

Classic Tremolo

Ensemble

Polysix Ensemble

Stereo Vibrato

U-Vibe

St. Auto Fade Mod

St. Biphase Mod

Stereo Auto Pan

St. Ring Modulator

Organ Vib/Chorus

Rotary Speaker

Rotary SpeakerOD

DYN (Dynamics)

Stereo Compressor

Dyn. Compressor

Stereo Limiter

Multiband Limiter

St.Mltband Limiter

St.MasteringLimtr

Stereo Gate

aMP (amplifier)

GuitarAmp + P4EQ

GuitarAmp + Cabinet

Amp Clean Combo

Amp Clean Combo + Cab

Amp California

Amp California + Cab

Amp Tweed

Amp Tweed + Cab

Amp Modded OD

Amp Modded OD + Cab

St. Guitar Cabinet

Gtr. Cabinet + NR

OD/HG - Amp Sim

OD/Hi.Gain Wah

OD/HyperGain Wah

Comp - Amp Sim

Comp - OD/HiGain

Wah - Amp Sim

Decimator - Amp

AmpSim - Tremolo

BassTubeAmp+Cab

Bass Amp Model

Bass Amp+Cabinet

St. Bass Cabinet

Tube PreAmp Model

St. Tube PreAmp

MicModel+PreAmp

St. Mic + PreAmp

FILt (Filter)

St.Parametric4EQ

St. Graphic 7EQ

P4EQ - Exciter

P4EQ - Wah

St. Wah/Auto Wah

St. Vintage Wah

VOX Wah

586| Effects for the Sounds

St.Exciter/Enhncr

Stereo Isolator

St. Random Filter

St. MultiModeFilter

Talking Modulator

2Voice Resonator

Vox Treble Booster

Vocoder3

FrEQ (Frequency)

St. Sub Oscillator

Grain Shifter

Detune

Pitch Shifter

Pitch Shifter BPM

Pitch Shift Mod

St. Pitch Shifter

St. PitchShift BPM

MISC (Miscellaneous)

Stereo Decimator

St. Analog Record

Doppler

Scratch

Auto Reverse

P4EQ - Cho/Flng

P4EQ - Phaser

P4EQ - Mt. Delay

Comp - Wah

Comp - P4EQ

Comp - Cho/Flng

Comp - Phaser

Comp - Mt. Delay

Limiter - P4EQ

Limiter-Cho/Flng

Limiter - Phaser

Limiter - Mt.Delay

Exciter - Comp

Exciter - Limiter

Exciter-Cho/Flng

Exciter - Phaser

Exciter - Mt.Delay

OD/HG - Cho/Flng

OD/HG - Phaser

OD/HG - Mt.Delay

Decimator - Comp

Cho/Flng - Mt.Dly

Multitap Cho/Delay

PianoBody/Damper

Note:

1: MFX A/B1 only

2: MFX A2/3, B2 only

3: MFX A2/3, B2, IFX only

Effect parameters |587

45 Effect parameters

rEV (reverbs)

Overb

The O-verb features a high-quality, diffusion-based reverb core. In addition to setting the size of the room, you can model its shape and materials by adjusting the diffusion characteristics of both the initial reflections and the main reverberant wash, and via separate controls for the high, mid, and low decay times. The O-verb also includes randomization, for richer and smooth- er reverb timbres.

Left

Right

Wet / Dry

Wet / Dry

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

EQ Trim

+

EQ Trim

Pre Delay Input DiffuserPre EQ Reverb

LFO: Sine

a Trim 0100 Sets the EQ input level.

b Band1 Enable On, Off There are two fully parametric bands of peaking EQ, for adjusting the reverb timbre. These af- fect only the reverb, and not the dry signal. Both bands have identical parameters.

Band1 Fc [Hz] 20020.00k

Band1 Q 0.510.0

Band1 Gain [dB] -18.0+18.0

c Band2 Enable On, Off

Band2 Fc [Hz] 20020.00k

Band2 Q 0.510.0

Band2 Gain [dB] -18.0+18.0

588| Effects for the Sounds

d Rolloff 0100 This controls a lowpass filter on the output of the effect.

e Pre Delay [msec] 01360 Sets the delay time from the dry sound

Diffusion 1 0100 Diffusion 1 and 2 soften the sound before it en- ters the reverb core, shaping the timbre of the initial reflections. Setting both diffusers to around 50 generally produces sufficient diffu- sion for smooth reverbs; extremely high levels may cause ringing.

Some source material, such as vocals, may also benefit from lower settings of diffusion, allowing for more discrete echoes.

Diffusion1 and Diffusion2 differ in how the reflec- tions are spaced, and the balance between these two parameters will vary the character of the reverb.

Diffusion 2 0100

f Size 5100 Sets the size of the space.

Diffusion 0100 This sets the density of reflections within the main reverb. Low settings will produce more discrete echoes, and high settings will produce a smoother reverb. Extremely high settings may cause ringing.

Reverb Decay 0100 This sets the main reverberation time. The Damping and Bass Gain parameters, below, let you adjust the decay times separately for the high and low frequencies, respectively.

g Damping 0100 This sets the cutoff of the high-frequency damp- ing filter. If Damping is set to 100, the high fre- quencies will decay at the same rate as the low frequencies; at 0, the high frequencies will decay almost instantly.

In real acoustic spaces, high frequencies gener- ally delay somewhat faster than low frequencies, so moderate amounts of damping will create a more realistic sound.

Bass Crossover [Hz] 2024.00k Sets the crossover frequency for the Bass Gain.

Bass Gain [dB] -12.0+6.0 This lets you tailor the decay time of the reverbs low frequencies, using the frequency set by the Bass Xover. Negative settings make the low fre- quencies decay faster than the main reverb; posi- tive settings make them decay more slowly.

h Modulation Rate [Hz] 0.105.00 Speed of modulation.

Modulation Depth 0100 Depth of modulation.

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |589

e: Diffusion

Reverb Size, Time, and Diffusion:

Size: small large

Diffusion: small large

Size / Reverb Time / Diffusion

Reverb Time: small large

Reverb Hall

This hall-type reverb simulates the reverberation of mid-size concert halls or ensemble halls.

Reverb SmoothHall

This hall-type reverb simulates the reverberation of larger halls and stadi- ums, and creates a smooth release.

Reverb Wet Plate

This plate reverb simulates warm (dense) reverberation.

590| Effects for the Sounds

Reverb Dry Plate

This plate reverb simulates dry (light) reverberation.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

EQ Trim

+

EQ Trim

LEQ HEQ Pre Delay Reverb

Pre Delay Thru

a Reverb Time [sec] 0.110.0 Sets the reverberation time

High Damp [%] 0100 Sets the damping amount in the high range

b Pre Delay [msec] 0200 Sets the delay time from the dry sound

Pre Delay Thru [%] 0100 Sets the mix ratio of non-delay sound

c EQ Trim 0100 Sets the EQ input level

d Pre LEQ Fc Low, Mid-Low

Selects the cutoff frequency (low or mid-low) of the low-range equalizer

Pre HEQ Fc High, Mid-High

Selects the cutoff frequency (high or mid-high) of the high-range equalizer

e Pre LEQ Gain [dB] 15.0+15.0 Sets the gain of Low EQ

Pre HEQ Gain [dB] 15.0+15.0 Sets the gain of High EQ

f Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

b: Pre Delay [msec]

b: Pre Delay Thru [%]

The Pre Delay sets the delay time to the reverb input, allowing you to con- trol spaciousness.

Effect parameters |591

Using the Pre Delay Thru parameter, you can mix the dry sound without delay, emphasizing the attack of the sound.

Time

Reverb - Hall / Plate Type Level

Lo ud

er

Dry

Reverb

Pre Delay Thru

Pre Delay Reverb Time

Reverb Room

This room-type reverb emphasizes the early reflections that make the sound tighter. Changing the balance between the early reflections and reverb sound allows you to simulate nuances, such as the type of walls of a room.

Reverb BrightRoom

This room-type reverb emphasizes the early reflections that make the sound brighter.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

EQ Trim

+

EQ Trim

LEQ HEQ Pre Delay Reverb Reverb Level

ER Level

ER Level

Pre Delay Thru

ERs

ERs

a Reverb Time [sec] 0.13.0 Sets the reverberation time

High Damp [%] 0100 Sets the damping amount in the high range

b Pre Delay [msec] 0200 Sets the delay time from the dry sound

Pre Delay Thru [%] 0100 Sets the mix ratio of non-delay sound

c ER Level 0100 Sets the level of early reflections

d Reverb Level 0100 Sets the reverberation level

592| Effects for the Sounds

e EQ Trim 0100 Sets the EQ input level

f Pre LEQ Fc Low, Mid-Low

Selects the cutoff frequency (low or mid-low) of the low-range equalizer

Pre HEQ Fc High, Mid-High

Selects the cutoff frequency (high or mid-high) of the high-range equalizer

g Pre LEQ Gain [dB] 15.0+15.0 Sets the gain of Low EQ

Pre HEQ Gain [dB] 15.0+15.0 Sets the gain of High EQ

h Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

c: ER Level

d: Reverb Level

These parameters set the early reflection level and reverb level.

Changing these parameter values allows you to simulate the type of walls in the room. That is, a larger ER Level simulates a hard wall, and a larger Reverb Level simulates a soft wall.

Reverb - Room Type

Time

Level

Lo ud

er

ER (Early Reflections)

Dry

Reverb

Pre Delay Thru Pre Delay Reverb Time

Effect parameters |593

Early Reflections

This effect is only the early reflection part of a reverberation sound, and adds presence to the sound. You can select one of the four decay curves.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

EQ Trim

+

EQ Trim

Pre Delay Early Reflections LEQ HEQ

a Type Sharp, Loose, Modulated, Reverse

Selects the decay curve for the early reflection

b ER Time [msec] 10800 Sets the time length of early reflection

c Pre Delay [msec] 0200 Sets the time taken from the original sound to the first early reflection

d EQ Trim 0100 Sets the input level of EQ applied to the effect sound

e Pre LEQ Fc Low, Mid-Low

Selects the cutoff frequency (low or mid-low) of the low-range equalizer

Pre HEQ Fc High, Mid-High

Selects the cutoff frequency (high or mid- high) of the high-range equalizer

f Pre LEQ Gain [dB] 15.0+15.0 Gain of the Low EQ

Pre HEQ Gain [dB] 15.0+15.0 Gain of the High EQ

g Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

594| Effects for the Sounds

a: Type

This parameter selects the decay curve for the early reflection.

Sharp

Loose

Modulated

Early Reflections - Type

Reverse

Dry Pre Delay ER Time

Effect parameters |595

Early Reflections Hi Dens

This early reflection effect has more precise early reflections with twice the maximum length of a normal-size effect (Early Reflections). You can create a very smooth and dense sound.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

EQ Trim

+

EQ Trim

Pre Delay Early Reflections LEQ HEQ

a Type Sharp, Loose, Modulated, Reverse

Selects the decay curve for the early reflection

b ER Time [msec] 101600 Sets the time length of early reflection

c Pre Delay [msec] 0200 Sets the time taken from the original sound to the first early reflection

d EQ Trim 0100 Sets the input level of EQ applied to the effect sound

e Pre LEQ Fc Low, Mid-Low

Selects the cutoff frequency (low or mid-low) of the low-range equalizer

Pre HEQ Fc High, Mid-High

Selects the cutoff frequency (high or mid-high) of the high-range equalizer

f Pre LEQ Gain [dB] 15.0+15.0 Sets the gain of Low EQ

Pre HEQ Gain [dB] 15.0+15.0 Sets the gain of High EQ

g Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

596| Effects for the Sounds

Reverb Spring

The spring-type reverbs have a different sonic character than hall or room- type reverbs. They model the spring reverb systems built into some amps.

Reverb Gate

This effect combines a mono reverb and a gate.

Left

Right

FX Amt

FX Amt

Reverb Balance

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+ LEQ HEQ

EQ Trim

ReverbPre Delay

Envelope - Control D-mod

Input

Envelope Select

Gate

Input Reverb Mix

Reverb

Gate Gate+Dmpr

rEVErB

a [R]Reverb Time [sec] 0.110.0 Sets the reverberation time

High Damp [%] 0100 Sets the damping amount in the high range

b [R]Pre Delay [msec] 0200 Sets the delay time of the reverb sound and gate control signal

c [R]EQ Trim 0100 Sets the EQ input level

Reverb Balance 0100 Sets the reverb effect balance

d [R]PreLEQ Fc Low, Mid-Low

Selects the cutoff frequency (low or mid-low) of the low-range equalizer

Pre HEQ Fc High, Mid-High

Selects the cutoff frequency (high or mid-high) of the high-range equalizer

e [R]PreLEQ Gain [dB] 15.0+15.0 Sets the gain of Low EQ

Pre HEQ Gain [dB] 15.0+15.0 Sets the gain of High EQ

GatE

f [G]Envelope Select D-mod, Input Switches between modulation source control and input signal control

Src OffTempo Selects the modulation source that controls the gate when Envelope Select is set to D-mod

Effect parameters |597

g [G]Input Reverb Mix 0100 Sets the balance between the dry and reverb sounds of the gate control signal

Threshold 0100 Sets the gate threshold level

h [G]Polarity +, Switches between non-invert and invert of the gate on/off state

i [G]Attack 1100 Sets the attack time

Release 1100 Sets the release time

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

f: [G]Envelope Select

f: Src

g: [G]Input Reverb Mix

g: Threshold

The [G]Envelope Select parameter enables you to select whether turning the gate on and off is triggered by the input signal level or controlled directly by the modulation source. You can select from Off to Tempo for the Src pa- rameter to specify the modulation source.

When [G]Envelope Select is set to Input, the gate is controlled by the level of signals that are the combination of the dry sound and the reverb sound. When the signal level exceeds the threshold, the gate opens and the reverb sound is output.

Normally, set [G]Input Reverb Mix to Dry (the gate is controlled only by the dry sound). If you wish to extend the gate time, set the [G]Input Reverb Mix value higher and adjust the Threshold value.

598| Effects for the Sounds

DEL (Delay)

L/C/R Delay

This multitap delay outputs three Tap signals to the left, right, and center respectively. You can also adjust the left and right spread of the delay sound.

C Delay

R Delay

Left

Right

Feedback

Spread

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

Input Level D-mod

High Damp Low Damp

L DelayInput Level D-mod

+ Level

Level

Level

a L Delay Time [msec]

02730 Sets the delay time of TapL

Level 050 Sets the output level of TapL

b C Delay Time [msec]

02730 Sets the delay time of TapC

Level 050 Sets the output level of TapC

c R Delay Time [msec]

02730 Sets the delay time of TapR

Level 050 Sets the output level of TapR

d Feedback (C Delay)

100+100 Sets the feedback amount of TapC

Src OffTempo Selects the modulation source of the TapC feedback amount

Amt 100+100 Sets the modulation amount of the TapC feedback amount

e High Damp [%] 0100 Sets the damping amount in the high range

Low Damp [%] 0100 Sets the damping amount in the low range

f Input Level Dmod [%]

100+100 Sets the modulation amount of the input level

Src OffTempo Selects the modulation source for the input level

g Spread 050 Sets the width of the stereo image of the effect sound

Effect parameters |599

h Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

e: High Damp [%]

e: Low Damp [%]

These parameters set the damping amount of high range and low range. The tone of the delayed sound becomes darker and lighter as it feeds back.

g: Spread

This parameter sets the pan width of the effect sound. The stereo image is widest with a value of 50, and the effect sound of both channels is output from the center with a value of 0.

Stereo/CrossDelay

This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross over between the left and right by changing the feedback routing.

Delay

Delay

Stereo/Cross

Left

Right

Feedback

FX Amt

FX Amt

Stereo In - Stereo Out

Input Level D-mod

Input Level D-mod

High Damp Low Damp

High Damp Low Damp

Spread

Stereo/Cross

a Stereo/Cross Stereo, Cross Switches between stereo delay and cross- feedback delay

b L Delay Time [msec] 0.01360.0 Sets the delay time for the left channel

c R Delay Time [msec] 0.01360.0 Sets the delay time for the right channel

600| Effects for the Sounds

d L Feedback 100+100 Sets the feedback amount for the left chan- nel

Src OffTempo Selects the modulation source of feedback amount

Amt L 100+100 Sets the modulation amount of the left chan- nel feedback

e R Feedback 100+100 Sets the feedback amount for the right chan- nel

Amt R 100+100 Sets the modulation amount of the right channel feedback

f High Damp [%] 0100 Sets the damping amount in the high range

g Low Damp [%] 0100 Sets the damping amount in the low range

h Input Level Dmod [%] 100+100 Sets the modulation amount of the input level

Src OffTempo Selects the modulation source for the input level

i Spread 50+50 Sets the width of the stereo image of the effect sound

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |601

St. Multitap Delay (Stereo Multitap Delay)

The left and right Multitap Delays have two taps respectively. Changing the routing of feedback and tap output allows you to create various patterns of complex effect sounds.

Left

Right

Feedback

Spread

FX Amt

FX Amt

Stereo In - Stereo Out

Input Level D-mod

Input Level D-mod

High Damp Low Damp

High Damp Low Damp

Delay

Delay

Feedback

Tap1 Level ModeMode (1)

(2)

(1) (2)

Tap1=(1) Tap2=(2)

a Mode Normal, Cross Feedback, Cross Pan1, Cross Pan2

Switches the left and right delay routing

b Tap1 Time [msec] 0.01360.0 Sets the Tap1 delay time

c Tap2 Time [msec] 0.01360.0 Sets the Tap2 delay time

d Tap1 Level 0100 Sets the Tap1 output level

e Feedback (Tap2) 100+100 Sets the Tap2 feedback amount

Src OffTempo Selects the modulation source of the Tap2 feed- back amount

Amt 100+100 Sets the modulation amount of the Tap2 feed- back amount

f High Damp [%] 0100 Sets the damping amount in the high range

g Low Damp [%] 0100 Sets the damping amount in the low range

h Input Level Dmod [%]

100+100 Sets the modulation amount of the input level

Src OffTempo Selects the modulation source for the input level

i Spread 100+100 Sets the width of the stereo image of the effect sound

Src OffTempo Selects the modulation source of the effect sounds stereo image width

Amt 100+100 Sets the modulation amount of the effect sounds stereo image width

602| Effects for the Sounds

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Mode: Normal Mode: Cross Feedback Mode: Cross Pan1 Mode: Cross Pan2

a: Mode

You can change how the left and right delay signals are panned by modify- ing the routing of the left and right delay as shown in the figure above. You need to input different sounds to each channel in order for this parameter to be effective.

d: Tap1 Level

This parameter sets the output level of Tap1. Setting a different level from Tap2 will add a unique touch to a monotonous delay and feedback.

Effect parameters |603

St. Mod Delay (Stereo Modulation Delay)

This stereo delay uses an LFO to sweep the delay time. The pitch also varies, creating a delay sound which swells and shimmers. You can also control the delay time using a modulation source.

Left

Right

Feedback

LFO Phase

FX Amt

FX Amt

Stereo In - Stereo Out

LFO: Tri / Sine

Modulation Mode

D-mod

LFO

D-mod

Delay

Delay

L/R: +/+ +/

LFO Shape

Response

LFO Sync

a Modulation Mode LFO, D-mod Switches between LFO modulation control and modulation source control

b D-mod Modulation L/R:+/+, L/R:+/

Reversed L/R control by modulation source

Src OffTempo Selects the modulation source that controls delay time

Response 030 Sets the rate of response to the modulation source

c LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Shape 100+100 Changes the curvature of the LFO Waveform

d LFO Sync Off, On Switches LFO reset off/on

Src OffTempo Selects the modulation source that resets the LFO

e LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

f MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

604| Effects for the Sounds

g L LFO Phase [deg] 180+180 Sets the phase obtained when the left LFO is reset

L Depth 0200 Sets the depth of the left LFO modulation

h R LFO Phase [deg] 180+180 Sets the phase obtained when the right LFO is reset

R Depth 0200 Sets the depth of the right LFO modulation

i L Delay Time [msec] 0.01000.0 Sets the delay time for the left channel

L Feedback 100+100 Sets the feedback amount of left delay

j R Delay Time [msec] 0.01000.0 Sets the delay time for the right channel

R Feedback 100+100 Sets the feedback amount of right delay

k Wet/Dry -Wet, -1:99 Dry99:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

b: D-mod Modulation

When the modulation source is used for control, this parameter reverses the left and right modulation direction.

d: LFO Sync

d: Src

g: L LFO Phase [deg]

h: R LFO Phase [deg]

If LFO Sync is On, the LFO will be reset by the modulation source that is received.

The Src parameter sets the modulation source that resets the LFO. For ex- ample, you can assign Gate as a modulation source so that the sweep always starts from the specified point.

L LFO Phase and R LFO Phase set the phase obtained when the left and right LFOs are reset. In this way, you can create changes in pitch sweep for the left and right channels individually.

The effect is off when a value of the modulation source specified in the Src parameter is 63 or smaller, and the effect is on when the value is 64 or higher. The LFO is triggered and reset to the L LFO Phase and R LFO Phase settings when the value changes from 63 or smaller to 64 or higher.

Effect parameters |605

St. Dynamic Delay (Stereo Dynamic Delay)

This stereo delay controls the level of delay according to the input signal level. You can use this as a ducking delay that applies delay to the sound only when you play keys at a high velocity or only when the volume level is low.

Delay

Left

Right

Feedback Spread

FX Amt

FX Amt

Stereo In - Stereo Out

High Damp Low Damp

High Damp Low Damp

Threshold

Delay

FB Out

Control TargetAttack, ReleaseEnvelope+

a Control Target None, Out, FB Selects from no control, output, and feedback

Polarity +, Reverses level control

b Threshold 0100 Sets the level to which the effect is applied

Offset 0100 Sets the offset of level control

c Attack 1100 Sets the attack time of level control

d Release 1100 Sets the release time of level control

e L Delay Time [msec] 0.01360.0 Sets the delay time for the left channel

f R Delay Time [msec] 0.01360.0 Sets the delay time for the right channel

g Feedback 100+100 Sets the feedback amount

h High Damp [%] 0100 Sets the damping amount in the high range

Low Damp [%] 0100 Sets the damping amount in the low range

i Spread 100+100 Sets the width of the stereo image of the effect sound

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

606| Effects for the Sounds

a: Control Target

This parameter selects no level control, delay output control (effect bal- ance), or feedback amount control.

a: Polarity

b: Threshold

b: Offset

c: Attack

d: Release

The Offset parameter specifies the value for the Control Target pa- rameter (that is set to None), expressed as the ratio relative to the param- eter value (the Wet/Dry value with Control Target=Output level, or the Feedback value with Control Target=Feedback).

When Polarity is positive, the Control Target value is obtained by multi- plying the parameter value by the Offset value (if the input level is below the threshold), or equals the parameter value if the input level exceeds the threshold.

When Polarity is negative, Control Target value equals the parameter val- ue if the input level is below the threshold, or is obtained by multiplying the parameter value by the Offset value if the level exceeds the threshold.

The Attack and Release parameters specify attack time and release time of delay level control.

Dynamic Delay

Threshold Dry

Envelope

Wet

Target=Output Level Polarity= ()

Wet

Target=Output Level Polarity= (+)

Delay Time

Time

(Ducking Delay)

Release Attack

Level

Effect parameters |607

St. AutoPanningDly (Stereo Auto Panning Delay)

This stereo delay effect pans the delay sound left and right using the LFO.

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

LFO Phase

LFO Shape

Pan

Pan

LFO: Tri / Sin

Depth

Delay

Delay

High Damp Low Damp

High Damp Low Damp

Feedback

a L Delay Time [msec] 0.01360.0 Sets the delay time for the left channel

L Feedback 100+100 Sets the feedback amount for the left channel

b R Delay Time [msec] 0.01360.0 Sets the delay time for the right channel

R Feedback 100+100 Sets the feedback amount for the right channel

c High Damp [%] 0100 Sets the damping amount in the high range

Low Damp [%] 0100 Sets the damping amount in the low range

d LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Shape 100+100 Changes the curvature of the LFO Waveform

e Phase [degree] 180+180 Sets the LFO phase difference between the left and right

f Panning Freq [Hz] 0.0220.00 Sets the panning speed

g MIDI Sync Off, On Switches between using the frequency of the panning speed and using the tempo and notes

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes to specify the delay time for the panning speed

Times x1x32 Sets the number of notes to specify the delay time for the panning speed

h Panning Depth 0100 Sets the panning width

Src OffTempo Selects the modulation source for the panning width

Amt 100+100 Set the modulation amount of the panning width

608| Effects for the Sounds

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Tape Echo

This effect simulates a tape echo unit with three playback heads. The distor- tion and tonal change typical of magnetic tape are also reproduced.

Wah Flatter

D-mod

Tap2/3 Position

+ Tape Saturation

Left

Right

FX Amt

Trim

PanLevel

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Feedback

Feedback Amt

High / Low DampPre Tone Delay

(1)

(2)

(3)

Delay Time

a Delay (Tap1) [msec] 02700 Sets the delay time (tap1)

Src OffTempo Selects the modulation source of the delay time

Amt 2700 +2700

Sets the modulation amount of delay time

b Tap2 Position [%] 0100 Sets the position of Tap 2 relative to the Tap 1 de- lay time the depth of pitch variation

c Tap3 Position [%] 0100 Sets the position of Tap 3 relative to the Tap 1 de- lay time the depth of pitch variation

d Tap1 Level 0100 Sets the Tap1 output level

Pan L, 199, R Sets the stereo image of tap1

FB Amt 100+100 Sets the Tap1 feedback amount

e Tap2 Level 0100 Sets the Tap2 output level

Pan L, 199, R Sets the stereo image of tap2

FB Amt 100+100 Sets the Tap2 feedback amount

Effect parameters |609

f Tap3 Level 0100 Sets the Tap3 output level

Pan L, 199, R Sets the stereo image of tap3

FB Amt 100+100 Sets the Tap3 feedback amount

g Feedback 0100 Sets the amount of feedback for Taps 1, 2, and 3

Src OffTempo Selects the modulation source of feedback amount

Amt 100+100 Sets the feedback amount

h High Damp [%] 0100 Sets the damping amount in the high range

Low Damp [%] 0100 Sets the damping amount in the low range

i Saturation 0100 Sets the distortion amount

j Input Trim 0100 Sets the input gain

Pre Tone 0100 Sets the tone of the input

k Wow Flutter [Hz] 0.021.00 Sets the frequency at which pitch variation will occur

Wow Flutter depth 0100 Sets the depth of pitch variation

l Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Delay (Tap1) [msec]

a: Src

a: Amt

b: Tap2 Position [%]

b: Tap3 Position [%]

The delay time for Tap 2 and 3 is specified as a proportion (%) relative to Delay (Tap1). Even if you use dynamic modulation to control Delay (Tap1), Tap 2 and 3 will change at the same proportion.

d: FB Amt

e: FB Amt

f: FB Amt

g: Feedback

The feedback output from Tap 1, 2, and 3 is mixed according to the FB Amt, and then the final amount of feedback is specified by Feedback.

610| Effects for the Sounds

Sequence BPM Dly (Sequence BPM Delay)

This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap.

Delay

Left

Right

Feedback

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

Input Level D-mod

High Damp Low Damp

Input Level D-mod

+

Tempo BPM

BPM

Rythm Pattern

Pan

a BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

b Rhythm Pattern x e e e 3

Selects a rhythm pattern

c Tap1 Pan L, 199, R Sets the panning of Tap1

Tap2 Pan L, 199, R Sets the panning of Tap2

Tap3 Pan L, 199, R Sets the panning of Tap3

Tap4 Pan L, 199, R Sets the panning of Tap4

d Feedback 100+100 Sets the feedback amount

Src OffTempo Selects the modulation source of feedback amount

Amt 100+100 Sets the feedback amount

e High Damp [%] 0100 Sets the damping amount in the high range

Low Damp [%] 0100 Sets the damping amount in the low range

f Input Level Dmod [%]

100+100 Sets the modulation amount of the input level

Src OffTempo Selects the modulation source for the input level

g Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |611

a: BPM

b: Rhythm Pattern

With the tempo specified by the BPM parameter (or the MIDI Clock tempo if BPM is set to MIDI), the length of one beat equals the feedback delay time, and the interval between taps becomes equal. Selecting a rhythm pat- tern will automatically turn the tap outputs on and off. When BPM is set to MIDI, the lower limit of the BPM is 44.

L/C/R BPM Delay

The L/C/R delay enables you to match the delay time with the song tempo. You can also synchronize the delay time with the arpeggiator or sequencer. If you program the tempo before performance, you can achieve a delay ef- fect that synchronizes with the song in real-time. Delay time is set by notes.

C Delay

Left

Right

Feedback

Spread

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

Input Level D-mod

High Damp Low Damp

L DelayInput Level D-mod

+ Level

Level

Level

Tempo

BPM BPM Base Note x Times

Base Note x Times Base Note x Times

R Delay

612| Effects for the Sounds

a BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Time Over? ---, OVER! Displays an error message when the delay time exceeds the upper limit

b L Delay Base Note

Selects the type of notes to specify the delay time for TapL

Times x1x32 Sets the number of notes to specify the delay time for TapL

Level 050 Sets the output level of TapL

c C Delay Base Note

elects the type of notes to specify the delay time for TapC

Times x1x32 Sets the number of notes to specify the delay time for TapC

Level 050 Sets the output level of TapC

d R Delay Base Note

Selects the type of notes to specify the delay time for TapR

Times x1x32 Sets the number of notes to specify the delay time for TapR

Level 050 Sets the output level of TapR

e Feedback (C Delay)

100+100 Sets the feedback amount of TapC

Src OffTempo Selects the modulation source for the TapC feedback

Amt 100+100 Sets the modulation amount of the TapC feedback

f High Damp [%] 0100 Sets the damping amount in the high range

Low Damp [%] 0100 Sets the damping amount in the low range

g Input Level Dmod [%]

100+100 Sets the modulation amount of the input level

Src OffTempo Selects the modulation source for the input level

h Spread 050 Sets the width of the stereo image of the effect sound

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |613

a: Time Over?

You can set the delay time up to 5,460msec. If the delay time exceeds this limit, the error message OVER! appears in the display. Set the delay time parameters so that this message will not appear. Time Over? is only a display parameter.

Stereo BPM Delay

This stereo delay enables you to set the delay time to match the song tempo.

Left

Right

Feedback

FX Amt

FX Amt

Stereo In - Stereo Out

Input Level D-mod

Input Level D-mod

High Damp Low Damp

High Damp Low Damp

Tempo

BPM BPM Base Note x Times

Base Note x Times Adjust [%] Adjust [%]

Delay

Delay

a BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Time Over? L ---, OVER! Display the error message if the left channel delay time exceeds the upper limit

R ---, OVER! Display the error message if the right channel delay time exceeds the upper limit

b L Delay Base Note

Selects the type of notes to specify the left channel delay time

Times x1x32 Sets the number of notes to specify the left channel delay time

Adjust [%] 2.50 +2.50

Fine-adjust the left channel delay time

c R Delay Base Note

Selects the type of notes to specify the right channel delay time

Times x1x32 Sets the number of notes to specify the right channel de- lay time

Adjust [%] 2.50 +2.50

Fine-adjust the right channel delay time

614| Effects for the Sounds

d L Feedback 100+100 Sets the feedback amount for the left channel

Src OffTempo Selects the modulation source of feedback amount

Amt L 100+100 Sets the modulation amount of the left channel feedback

e R Feedback 100+100 Sets the feedback amount for the right channel

Amt R 100+100 Sets the modulation amount of the right channel feedback

f High Damp [%] 0100 Sets the damping amount in the high range

g Low Damp [%] 0100 Sets the damping amount in the low range

h Input Level Dmod [%]

100+100 Sets the modulation amount of the input level

Src OffTempo Selects the modulation source for the input level

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Time Over? L, R

You can set the delay time up to 2,730msec. If the delay time exceeds this limit, the error message OVER! appears in the display. Set the delay time parameters so that this message will not appear. Time Over? is only a display parameter.

Effect parameters |615

St.BPM Mtap Delay (Stereo BPM Multi tap Delay)

This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap.

Tempo

BPM BPM Base Note x Times

Base Note x Times

Left

Right

Feedback

Spread

FX Amt

FX Amt

Stereo In - Stereo Out

Input Level D-mod

Input Level D-mod

High Damp Low Damp

High Damp Low Damp

Delay

Delay

Feedback

Tap1 Level ModeMode (1)

(2)

(1) (2)

Tap1=(1) Tap2=(2)

a Mode Normal, Cross Feedback, Cross Pan1, Cross Pan2

Switches the left and right delay routing

b BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Time Over? 1 ---, OVER! Displays an error message when the delay time for Tap1 exceeds the upper limit

2 ---, OVER! Displays an error message when the delay time for Tap2 exceeds the upper limit

c Tap 1 Base Note Selects the type of notes to specify the delay time for Tap1

Times x1x32 Sets the number of notes to specify the delay time for Tap1

d Tap 2 Base Note Selects the type of notes to specify the delay time for Tap2

Times x1x32 Sets the number of notes to specify the delay time for Tap2

e Tap1 Level 0100 Sets the Tap1 output level

f Feedback (Tap2) 100+100 Sets the Tap2 feedback amount

Src OffTempo Selects the modulation source of the Tap2 feed- back amount

Amt 100+100 Sets the modulation amount of the Tap2 feedback amount

616| Effects for the Sounds

g High Damp [%] 0100 Sets the damping amount in the high range

Low Damp [%] 0100 Sets the damping amount in the low range

h Input Level Dmod [%]

100+100 Sets the modulation amount of the input level

Src OffTempo Selects the modulation source for the input level

i Spread 100+100 Sets the width of the stereo image of the effect sound

Src OffTempo Selects the modulation source of the effect sounds stereo image width

Amt 100+100 Sets the modulation amount of the effect sounds stereo image width

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

St.BPM Mod. Delay (Stereo BPM Modulation Delay)

This is a stereo modulation delay that lets you synchronize the delay time to the tempo of the song.

Tempo

BPM BPM Base Note x Times

Base Note x Times

Left

Right

Feedback

LFO Phase

FX Amt

FX Amt

Stereo In - Stereo Out

LFO: Tri / Sine

Modulation Mode

D-mod

LFO

D-mod

Delay

Delay

L/R: +/+ +/

LFO Shape

Response

LFO Sync

Effect parameters |617

a Modulation Mode LFO, D-mod Switches between LFO modulation control and modulation source control

b D-mod Modulation L/R:+/+, L/R:+/

Reversed L/R control by modulation source

Src OffTempo Selects the modulation source that controls delay time

Response 030 Sets the rate of response to the modulation source

c LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Shape 100+100 Changes the curvature of the LFO Waveform

d LFO Sync Off, On Switches LFO reset off/on

Src OffTempo Selects the modulation source that resets the LFO

e LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

f MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

g L LFO Phase [deg] 180+180 Sets the phase obtained when the left LFO is reset

Depth 0200 Sets the depth of the left LFO modulation

h R LFO Phase [deg] 180+180 Sets the phase obtained when the right LFO is reset

Depth 0200 Sets the depth of the right LFO modulation

i BPM(Delay) MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Time Over? L ---, OVER! Display the error message if the left channel de- lay time exceeds the upper limit

R ---, OVER! Display the error message if the right channel de- lay time exceeds the upper limit

j L Delay Base Note Selects the type of notes to specify the left chan- nel delay time

Times x1x32 Sets the number of notes to specify the left chan- nel delay time

Feedback 100+100 Sets the feedback amount of left delay

618| Effects for the Sounds

k R Delay Base Note Selects the type of notes to specify the right channel delay time

Times x1x32 Sets the number of notes to specify the right channel delay time

Feedback 100+100 Sets the feedback amount of right delay

l Wet/Dry -Wet, -1:99 Dry99:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

i: Time Over? L, R

You can set the delay time up to 2,550msec. If the delay time exceeds this limit, the error message OVER! appears in the display. Set the delay time parameters so that this message will not appear. Time Over? is only a display parameter.

Effect parameters |619

St.BPMAutoPanDly (Stereo BPM Auto Panning Delay)

This stereo auto panning delay enables you to set the delay time to match the song tempo.

Tempo

BPM BPM Base Note x Times

Base Note x Times

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

LFO Phase

LFO Shape

Pan

Pan

LFO: Tri / Sin

Depth

Delay

Delay

High Damp Low Damp

High Damp Low Damp

Feedback

a BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Time Over? L ---, OVER! Display the error message if the left channel de- lay time exceeds the upper limit

R ---, OVER! Display the error message if the right channel de- lay time exceeds the upper limit

b L Delay Base Note Selects the type of notes to specify the left chan- nel delay time

Times x1x32 Sets the number of notes to specify the left chan- nel delay time

Feedback 100+100 Sets the feedback amount for the left channel

c R Delay Base Note Selects the type of notes to specify the right channel delay time

Times x1x32 Sets the number of notes to specify the right channel delay time

Feedback 100+100 Sets the feedback amount for the right channel

d High Damp [%] 0100 Sets the damping amount in the high range

Low Damp [%] 0100 Sets the damping amount in the low range

e LFO Waveform Triangle, Sine Selects the LFO Waveform

Shape 100+100 Changes the curvature of the LFO Waveform

LFO Phase 180+180 Sets the LFO phase difference between the left and right

f Panning Freq [Hz] 0.0220.00 Sets the panning speed

620| Effects for the Sounds

g MIDI Sync Off, On When this is on, the pan LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes to specify the delay time for the panning speed

Times x1x32 Sets the number of notes to specify the delay time for the panning speed

h Panning Depth 0100 Sets the panning width

Src OffTempo Selects the modulation source for the panning width

Amt 100+100 Set the modulation amount of the panning width

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Tape Echo BPM

This is a tape echo that lets you synchronize the delay time to the tempo of the song.

Wah Flatter

D-mod

Tap2/3 Position

+ Tape Saturation

Left

Right

FX Amt

Trim

PanLevel

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Feedback

Feedback Amt

High / Low DampPre Tone Delay

(1)

(2)

(3)

Delay Time PM

PM

ase ote TimesTempo

a BPM (Delay) MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Tap1 Dmod Src OffTempo Selects the modulation source of the delay time

Effect parameters |621

b Tap1 Delay Note Selects the type of notes to specify the delay time (tap1)

Times x1x32 Sets the number of notes to specify the delay time (tap1)

Time Over? ---, OVER! Displays an error message when the delay time ex- ceeds the upper limit

c Tap1 Dmod Note Selects the note value used to specify the delay time when the modulation is at maximum

Times x1x32 Specifies the number of notes used to specify the de- lay time when the modulation is at maximum

d Tap2 Position [%] 0100 Sets the position of Tap 2 relative to the Tap 1 delay time the depth of pitch variation

e Tap3 Position [%] 0100 Sets the position of Tap 3 relative to the Tap 1 delay time the depth of pitch variation

f Tap1 Level 0100 Sets the Tap1 output level

Pan L, 199, R Sets the stereo image of tap1

FB Amt 100+100 Sets the Tap1 feedback amount

g Tap2 Level 0100 Sets the Tap2 output level

Pan L, 199, R Sets the stereo image of tap2

FB Amt 100+100 Sets the Tap2 feedback amount

h Tap3 Level 0100 Sets the Tap3 output level

Pan L, 199, R Sets the stereo image of tap3

FB Amt 100+100 Sets the Tap3 feedback amount

i Feedback 0100 Sets the amount of feedback for Taps 1, 2, and 3

Src OffTempo Selects the modulation source of feedback amount

Amt 100+100 Sets the depth by which feedback amount will be modulated

j High Damp [%] 0100 Sets the damping amount in the high range

Low Damp [%] 0100 Sets the damping amount in the low range

k Saturation 0100 Sets the distortion amount

l Input Trim 0100 Sets the input gain

Pre Tone 0100 Sets the tone of the input

m Wow Flutter [Hz] 0.021.00 Sets the frequency at which pitch variation will occur

Wow Flutter depth

0100 Sets the depth of pitch variation

622| Effects for the Sounds

n Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Tap1 Dmod Src

b: Tap1 Delay Note

b: Times

c: Tap1 Dmod Note

c: Times

If Tap1 Dmod Src is Off or the selected modulation is at 0, the delay time will be the length specified by Tap1 Delay Note and Times.

If Tap1 Dmod Src is other than Off, the delay time will change so that it will be as specified by Tap1 Dmod Note and Times when the maximum modulation is reached.

b: Time Over?

You can set the delay time up to 5,400msec. If the delay time exceeds this limit, the error message OVER! appears in the display. Set the de- lay time parameters so that this message will not appear. Time Over? is only a display parameter.

Classic Tape Echo

This models a famous analog tape echo unit. On the original device, echo was created by a playback head, and the delay time was speci- fied by adjusting the speed of the motor. The warmth and subtlety of

Effect parameters |623

the echoes it generated made this lo-fi unit a favorite with many pro musicians.

Left

Right

Wet / Dry

Wet / Dry

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

+ Delay

Feedback

Low DampTone Input Level D-mod

a Time 02700 This parameter sets the delay time.

Src OffTempo Selects the modulation source of Time

Amt 100+100 Sets the depth by which Time will be modulated

b Feedback 0100 Sets the amount of feedback

Src OffTempo Selects the modulation source of feedback amount

Amt 100+100 Sets the depth by which feedback amount will be modulated

c Tone 099 Sets the tone of the input.

This models the reduced high frequencies of an analog tape delay, before the saturation stage. Lower settings create a darker tone.

This cuts the high frequencies in both the main output and the feedback. Higher settings create a brighter tone.

d Low Damp [%] 0100 Sets the damping amount in the low range

e Input Level Dmod 100+100 Amount of input level modulation

Src OffTempo Selects the modulation source of Input Level Dmod. See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

f Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

624| Effects for the Sounds

Hold Delay

This effect records the input signal and plays it back repeatedly. You can control the start of recording and reset via a modulation source. Easy to use for real-time performances.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Pan Delay

D-mod

D-mod

Loop Time: Auto/ ...5400ms

+

Tempo

BPM BPM Base Note x Times

REC Control

RST Control

a Loop Time [msec] Auto, 110800 Sets Automatic loop time setup mode or specifies loop time

b Loop BPM Sync Off, On Specifies whether delay time is set in millisec- onds, or as a note value relative to tempo

c BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Time Over? ---, OVER! An error indication that appears if delay time exceeds the upper limit when MIDI/Tempo Sync=On

d Loop Base Note Selects the type of notes to specify the delay time

Times x1x32 Sets the number of notes to specify the delay time

e REC Control Src OffTempo Selects control source for recording

f RST Control Src OffTempo Selects control source for reset

g Manual REC Control REC Off, REC On

Sets the recording switch

h Manual RST Control Off, RESET Sets the reset switch

i Pan L100L1, C, R1 R100

Sets the stereo image of the effect

Src OffTempo Selects the modulation source of stereo im- age of the effect

Amt 100+100 Sets the modulation amount of stereo image of the effect

Effect parameters |625

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Loop Time [msec]

With Auto, the loop time is automatically set. Otherwise, you can specify the loop time.

When Auto is selected, the Loop Time is automatically set to the time it takes for a performance recorded while the Modulation Source or Manual REC Control is on. However, if the time length exceeds 10,800msec, the loop time will be automatically set to 10,800msec.

c: Time Over?

You can set the delay time up to 10,800msec. If the delay time exceeds this limit, the error message OVER! appears in the display. Set the delay time parameters so that this message will not appear. Time Over? is only a display parameter.

b: Loop BPM Sync

c: BPM

d: Loop Base Note

d: Times

If Loop BPM Sync is on, the Times setting is ignored; the loop time is determined by BPM, Loop Base Note, and Times. Even in this case, the delay time cannot exceed 10,800 msec.

Hold procedure (when Loop Time = Auto)

1 Select the following options for each parameter:

Loop Time [msec] = Auto

REC Control Src = JS +Y: #01

RST Control Src = JS Y: #02

Manual REC Control = REC Off

Manual RST Control = RESET

Loop BPM Sync = Off

It should be noted that all recordings will be deleted while Reset is On.

626| Effects for the Sounds

2 Set Manual RST Control = Off

Reset is cancelled and the unit enters Rec ready mode.

3 Push the joystick in the +Y direction (forward) and play a phrase you wish to hold. When you pull the joystick to its original position, the recording will be finished and the phrase you just played will be held.

Loop Time is automatically set only for the first recording after resetting. If the time length exceeds 10,800msec, Loop Time will be automatically set to 10,800msec. (If you have set Times to 110,800msec, the specified loop time will be used regardless of the time taken from pushing the joystick forward until it is pulled back. However, the recording method remains the same. The phrase being played while the joystick is pushed forward will be held.)

4 If you made a mistake during recording, pull the joystick in the Y direction (back) to reset. In this way, the recording will be erased. Repeat step 4. again.

5 The recorded phrase will be repeated again and again. You can use this to create an accompaniment.

6 By pushing the joystick in the +Y direction (forward), you can also overdub performances over the phrase that is being held.

e: REC Control Src

g: Manual REC Control

REC Control Src selects the modulation source that controls recording.

If this modulation is on, or if Manual REC Control is set to On, you can re- cord the input signal. If a recording has already been carried out, additional signals will be overdubbed.

The effect is off when a value for the modulation source specified for the REC Control Src parameter is 63 or smaller, and the effect is on when the value is 64 or higher.

f: RST Control Src

h: Manual RST Control

The RST Control Src parameter specifies the modulation source that con- trols the reset operation.

When you set this modulation source to On, or Manual RST Control to RE- SET, you can erase what you recorded. If the Loop Time parameter has been set to Auto, the loop time is also reset.

The effect is off when a value for the modulation source specified for the RST Control Src parameter is 63 or smaller, and the effect is on when the value is 64 or higher.

Effect parameters |627

L/C/R Long Delay

This multitap delay outputs three Tap signals to left, right and center respec- tively. You can set a maximum of 5,460msec for the delay time.

C Delay

R Delay

Left

Right

Feedback

Spread

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

Input Level D-mod

High Damp Low Damp

L DelayInput Level D-mod

+ Level

Level

Level

a L Delay Time [msec] 05460 Sets the delay time of TapL

Level 050 Sets the output level of TapL

b C Delay Time [msec] 05460 Sets the delay time of TapC

Level 050 Sets the output level of TapC

c R Delay Time [msec] 05460 Sets the delay time of TapR

Level 050 Sets the output level of TapR

d Feedback (C Delay) 100+100 Sets the feedback amount of TapC

Src OffTempo Selects the modulation source for the TapC feedback

Amt 100+100 Sets the modulation amount of the TapC feed- back

e High Damp [%] 0100 Sets the damping amount in the high range

Low Damp [%] 0100 Sets the damping amount in the low range

f Input Level Dmod [%] 100+100 Sets the modulation amount of the input level

Src OffTempo Selects the modulation source for the input level

g Spread 050 Sets the width of the stereo image of the ef- fect sound

h Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

628| Effects for the Sounds

St/Cross Long Delay (Stereo/Cross Long Delay)

This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross over between left and right by changing the feedback routing. You can set a maximum of 2,730msec for the delay time.

Delay

Delay

Stereo/Cross

Left

Right

Feedback

FX Amt

FX Amt

Stereo In - Stereo Out

Input Level D-mod

Input Level D-mod

High Damp Low Damp

High Damp Low Damp

SpreadStereo/Cross

a Stereo/Cross Stereo, Cross Switches between stereo delay and cross-feed- back delay

b L Delay Time [msec] 0.02730.0 Sets the delay time for the left channel

c R Delay Time [msec] 0.02730.0 Sets the delay time for the right channel

d L Feedback 100+100 Sets the feedback amount for the left channel

Src OffTempo Selects the modulation source of feedback amount

Amt 100+100 Sets the modulation amount of the left channel feedback

e R Feedback 100+100 Sets the feedback amount for the right channel

Amt 100+100 Sets the modulation amount of the right chan- nel feedback

f High Damp [%] 0100 Sets the damping amount in the high range

g Low Damp [%] 0100 Sets the damping amount in the low range

h Input Level Dmod [%] 100+100 Sets the modulation amount of the input level

Src OffTempo Selects the modulation source for the input level

i Spread 50+50 Sets the width of the stereo image of the ef- fect sound

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |629

LCR BPM Long Dly

The L/C/R delay enables you to match the delay time with the song tempo.

C Delay

R Delay

Left

Right

Feedback

Spread

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

Input Level D-mod

High Damp Low Damp

L DelayInput Level D-mod

+ Level

Level

Level

Tempo

BPM BPM Base Note x Times

Base Note x Times Base Note x Times

a BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Time Over? ---, OVER! Displays an error message when the delay time exceeds the upper limit

b L Delay Base Note Selects the type of notes to specify the delay time for TapL

Times x1x32 Sets the number of notes to specify the delay time for TapL

Level 050 Sets the output level of TapL

c C Delay Base Note elects the type of notes to specify the delay time for TapC

Times x1x32 Sets the number of notes to specify the delay time for TapC

Level 050 Sets the output level of TapC

d R Delay Base Note Selects the type of notes to specify the delay time for TapR

Times x1x32 Sets the number of notes to specify the delay time for TapR

Level 050 Sets the output level of TapR

e Feedback (C Delay)

100+100 Sets the feedback amount of TapC

Src OffTempo Selects the modulation source for the TapC feedback

Amt 100+100 Sets the modulation amount of the TapC feed- back

630| Effects for the Sounds

f High Damp [%] 0100 Sets the damping amount in the high range

Low Damp [%] 0100 Sets the damping amount in the low range

g Input Level Dmod [%] 100+100 Sets the modulation amount of the input level

Src OffTempo Selects the modulation source for the input level

h Spread 050 Sets the width of the stereo image of the ef- fect sound

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Time Over?

You can set the delay time up to 10,920msec. If the delay time exceeds this limit, the error message OVER! appears in the display. Set the delay time parameters so that this message will not appear. Time Over? is only a display parameter.

Effect parameters |631

St. BPM Long Dly (Stereo BPM Long Delay)

The stereo delay enables you to match the delay time with the song tempo.

Left

Right

Feedback

FX Amt

FX Amt

Stereo In - Stereo Out

Input Level D-mod

Input Level D-mod

High Damp Low Damp

High Damp Low Damp

Tempo

BPM BPM Base Note x Times Adjust [%]

Base Note x Times Adjust [%]

Delay

Delay

a BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Time Over? L ---, OVER! Display the error message if the left channel delay time exceeds the upper limit

R ---, OVER! Display the error message if the right channel delay time exceeds the upper limit

b L Delay Base Note Selects the type of notes to specify the left channel delay time

Times x1x32 Sets the number of notes to specify the left channel delay time

Adjust [%] 2.50+2.50 Fine-adjust the left channel delay time

c R Delay Base Note Selects the type of notes to specify the right channel delay time

Times x1x32 Sets the number of notes to specify the right channel delay time

Adjust [%] 2.50+2.50 Fine-adjust the right channel delay time

d L Feedback 100+100 Sets the feedback amount for the left chan- nel

Src OffTempo Selects the modulation source of feedback amount

L Amt 100+100 Sets the modulation amount of the left chan- nel feedback

e R Feedback 100+100 Sets the feedback amount for the right chan- nel

R Amt 100+100 Sets the modulation amount of the right channel feedback

f High Damp [%] 0100 Sets the damping amount in the high range

632| Effects for the Sounds

g Low Damp [%] 0100 Sets the damping amount in the low range

h Input Level Dmod [%] 100+100 Sets the modulation amount of the input level

Src OffTempo Selects the modulation source for the input level

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Time Over? L, R

You can set the delay time up to 5,460msec. If the delay time exceeds this limit, the error message OVER! appears in the display. Set the delay time parameters so that this message will not appear. Time Over? is only a display parameter.

Effect parameters |633

MOD (Modulation)

Stereo Chorus

This effect adds thickness and warmth to the sound by modulating the delay time of the input signal. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.

Chorus

Chorus

Left

Right

LFO Phase

FX Amt

FX Amt

Stereo In - Stereo Out

EQ Trim

EQ Trim

LEQ HEQ

LEQ HEQ

LFO: Tri / Sine

a LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Phase [degree] 180+180 Sets the LFO phase difference between the left and right

b LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

c MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

d L Pre Delay [msec] 0.050.0 Sets the delay time for the left channel

R Pre Delay [msec] 0.050.0 Sets the delay time for the right channel

634| Effects for the Sounds

e Depth 0100 Sets the depth of LFO modulation

Src OffTempo Selects the modulation source for the LFO modulation depth

Amt 100+100 Sets the modulation amount of the LFO modu- lation depth

f EQ Trim 0100 Sets the EQ input level

g Pre LEQ Fc Low, Mid-Low

Selects the cutoff frequency (low or mid-low) of the low-range equalizer

Pre HEQ Fc High, Mid-High

Selects the cutoff frequency (high or mid-high) of the high-range equalizer

h Pre LEQ Gain [dB] 15.0+15.0 Gain of the Low EQ

Pre HEQ Gain [dB] 15.0+15.0 Gain of the High EQ

i Wet/Dry -Wet, -1:99 Dry99:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

d: L Pre Delay [msec]

d: R Pre Delay [msec]

Setting the left and right delay time individually allows you to control the stereo image.

Effect parameters |635

Black Chorus/Flanger

This models a Danish-made stereo chorus + pitch modulator & flanger. Although this effect was originally intended for guitar, it was also used by numerous keyboard players. Used with electric piano, it produces a distinc- tive tone.

Left

Right

Wet / Dry

Wet / Dry

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

+ Chorus

LFO

Input Gain

Mode & Intensity

Mono

Stereo Output Mode-

+

+ +

a Speed [Hz] 0.1010.0 Sets the LFO speed

Src OffTempo Modulation for the LFO speed. See the list of DMS (Dynamic Modulation Sources) at the begin- ning of this part

Amt 10.00 +10.00

Sets the modulation amount of the LFO speed

Intensity 1100 Sets the intensity of LFO modulation

b Mode 0, 1, 2 Select a mode

0: Chorus

1: Pitch Modulation

2: Flanger

c Width 02 Sets the LFO modulation depth

d Input Gain 1100 Sets the input gain

e Output Mode 0, 1 Select a output mode

0: Mono 1: Stereo

f Wet/Dry Dry, 1:99 99:1, Wet Balance between the wet and dry signal

Source OffTempo Selects a modulation source for Wet/Dry

Amount 100 +100 Sets the modulation amount for Wet/Dry

636| Effects for the Sounds

a: Intensity

b: Mode

Increasing the Intensity value will strengthen the modulation effect. This controls the effect, direct, and feedback values. The values that are con- trolled will depend on the Mode setting.

St.HarmonicChorus (Stereo Harmonic Chorus)

This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without making the sound thinner. You can also use this chorus block with feedback as a flanger.

Left

Right

Feedback

LFO Phase

LFO: Tri / Sine

FX Amt

FX Amt

High Damp

Stereo In - Stereo Out

Low Level

Low Level

High Level

High Level

High/Low Split Point High Damp

Chorus/Flanger

Chorus/Flanger

a LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Phase [de- gree]

180+180 Sets the LFO phase difference between the left and right

b LFO Frequency [Hz]

0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00+20.00 Sets the modulation amount of LFO speed

c MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

d Pre Delay [msec] 0.050.0 Sets the delay time from the original sound

Effect parameters |637

e Depth 0100 Sets the depth of LFO modulation

Src OffTempo Selects the modulation source of the LFO modula- tion depth

Amt 100+100 Sets the modulation amount of the LFO modula- tion depth

f High/Low Split Point

1100 Sets the frequency split point between the low and high range

g Feedback 100+100 Sets the feed back amount of the chorus block

High Damp [%] 0100 Sets the high range damping amount of the chorus block

h Low Level 0100 Sets the low range output level

High Level 0100 Sets the high range (chorus) output level

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

f: High/Low Split Point

This parameter sets the frequency that splits the high and low range. Only the high range will be sent to the chorus block.

g: Feedback

Sets the feedback amount of the chorus block. Increasing the feedback will allow you to use the effect as a flanger.

638| Effects for the Sounds

Classic Chorus

This models a famous chorus unit that was built into a guitar amp. Although it does not provide a chorus and vibrato select switch, you can use the Wet/ Dry and Bus settings to produce their effect. The Speed, Depth, and Manual parameters allow an even wider range of sounds than the original unit.

Left

Right

Wet / Dry

Wet / Dry

Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out

+ Chorus

LFO

Output ModeMono

Stereo (L-D&R-W)

a Speed [Hz] 0.1010.0 Sets the LFO speed

Src OffTempo Modulation for the chorus speed. See the list of DMS (Dynamic Modulation Sources) at the begin- ning of this part

Amt 10.00 +10.00

Sets the modulation amount of the chorus speed

b Depth 1100 Sets the depth of LFO modulation

Src OffTempo Modulation for the chorus depth. See the list of DMS (Dynamic Modulation Sources) at the begin- ning of this part

Amt 100 +100 Sets the modulation amount of the chorus depth

c Manual 099 Sets the delay time for chorus. If Depth is set to 100, Manual will not function.

d Output Mode Mono, Stereo (L-Dry&R-Wet)

The output mode switches between vibrato and chorus. Mono is a vibrato, Stereo is a chorus.

e Wet/Dry Dry, 1:99 99:1, Wet Balance between the wet and dry signal

Src OffTempo Selects a modulation source for Wet/Dry

Amount 100 +100 Sets the modulation amount for Wet/Dry

Effect parameters |639

Multitap Cho/Delay (Multitap Chorus/Delay)

This effect has four chorus blocks with a different LFO phase. You can cre- ate a complex stereo image by setting each blocks delay time, depth, output level, and pan individually. You can also fix some of the chorus blocks to combine the chorus and delay effects.

Left

Right

Feedback FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

+ Level

Level

Level

Level

Pan

Pan

Pan

Pan

LFO: Triangle

Tap1 Delay

Tap2 Delay

Tap3 Delay

Tap4 Delay

0 [degree] 180 [degree] 90 [degree]

270 [degree]

a LFO Frequency [Hz] 0.0213.00 Sets the speed of the LFO

b Tap1 (000) [msec] 01000 Sets the Tap1 (LFO phase=0 degrees) delay time

Depth 030 Sets the Tap1 chorus depth

Level 030 Sets the Tap1 output level

Pan L6L1, C, R1 R6

Sets the Tap1 stereo image

c Tap2 (180) [msec] 01000 Sets the Tap2 (LFO phase=180 degrees) delay time

Depth 030 Sets the Tap2 chorus depth

Level 030 Sets the Tap2 output level

Pan L6L1, C, R1 R6

Sets the Tap2 stereo image

d Tap3 (090) [msec] 01000 Sets the Tap3 (LFO phase=90 degrees) delay time

Depth 030 Sets the Tap3 chorus depth

Level 030 Sets the Tap3 output level

Pan L6L1, C, R1 R6

Sets the Tap3 stereo image

e Tap4 (270) [msec] 01000 Sets the Tap4 (LFO phase=270 degrees) delay time

Depth 030 Sets the Tap4 chorus depth

Level 030 Sets the Tap4 output level

Pan L6L1, C, R1 R6

Sets the Tap4 stereo image

640| Effects for the Sounds

f Tap1 Feedback 100+100 Sets the Tap1 feedback amount

Src OffTempo Selects the modulation source of Tap1 feedback amount and effect balance

Amt 100+100 Sets the Tap1 feedback amount and modulation amount

g Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |641

Stereo Flanger

This effect gives a significant swell and movement of pitch to the sound. It is more effective when applied to a sound with a lot of harmonics. This is a stereo flanger. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.

Flanger

Flanger

Left

Right

Feedback

LFO Shape

LFO Phase

LFO: Tri / Sine

FX Amt

FX Amt

High Damp

Stereo In - Stereo Out

a Delay Time [msec] 0.050.0 Sets the delay time from the original sound

b LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Shape 100+100 Changes the curvature of the LFO Waveform

c LFO Phase [degree] 180+180 Sets the LFO phase difference between the left and right

d LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

e MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

f Depth 0100 Sets the depth of LFO modulation

g Feedback 100+100 Sets the feedback amount

High Damp [%] 0100 Sets the feedback damping amount in the high range

642| Effects for the Sounds

h Wet/Dry -Wet, -1:99 Dry99:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

g: Feedback

h: Wet/Dry

The peak shape of the positive and negative Feedback value is different. The harmonics will be emphasized when the effect sound is mixed with the dry sound if you set a positive value for both Feedback and Wet/Dry, and if you set a negative value for both Feedback and Wet/Dry.

g: High Damp [%]

This parameter sets the amount of damping of the feedback in the high range. Increasing the value will cut high-range harmonics.

St. Random Flanger (Stereo Random Flanger)

The stereo effect uses a step-shape waveform and random LFO for modula- tion, creating a unique flanging effect.

LFO: Step-Tri/Random

Left

Right

Feedback

LFO Phase

FX Amt

FX Amt

High Damp

Stereo In - Stereo Out

Flanger

Flanger

Effect parameters |643

a Delay Time [msec] 0.050.0 Sets the delay time from the original sound

b LFO Waveform Step-Tri, Random

Selects the LFO Waveform

LFO Phase [degree] 180+180 Sets the LFO phase difference between the left and right

c LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

Src OffTempo Selects the modulation source used for both LFO speed and step speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

d LFO Step Freq [Hz] 0.0550.00 Sets the LFO step speed (speed that changes in steps)

Step Amt 50.00 +50.00

Sets the modulation amount of LFO step speed

e MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

f Step Base Note Selects the type of notes to specify the LFO step speed

Times x1x32 Sets the number of notes to specify the LFO step speed

g Depth 0100 Sets the depth of LFO

modulation

h Feedback 100+100 Sets the feedback amount

High Damp [%] 0100 Sets the feedback damping amount in the high range

i Wet/Dry -Wet, -1:99 Dry99:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

644| Effects for the Sounds

St. Env. Flanger (Stereo Envelope Flanger)

This Flanger uses an envelope generator for modulation. You will obtain the same pattern of flanging each time you play. You can also control the Flanger directly using the modulation source.

EG Attack/Decay EG

D-mod

Sweep Mode D-mod

Flanger

Flanger

Left

Right

Feedback

FX Amt

FX Amt

High Damp

Stereo In - Stereo Out

a L Dly Bottom [msec] 0.050.0 Sets the lower limit of the left-channel delay time

L Dly Top [msec] 0.050.0 Sets the upper limit of the left-channel delay time

b R Dly Bottom [msec] 0.050.0 Sets the lower limit of the right-channel delay time

R Dly Top [msec] 0.050.0 Sets the upper limit of the right-channel delay time

c Sweep Mode EG, D-mod Determines whether the flanger is controlled by the envelope generator or by the modula- tion source

Src OffTempo Selects the modulation source that triggers the EG (when Sweep Mode = EG), or the modu- lation source that causes the flanger to sweep (when Sweep Mode = D-mod)

d EG Attack 1100 Sets the EG attack speed

EG Decay 1100 Sets the EG decay speed

e Feedback 100+100 Sets the feedback amount

f High Damp [%] 0100 Sets the feedback damping amount in the high range

g Wet/Dry -Wet, -1:99 Dry99:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |645

c: Sweep Mode

c: Src

This parameter switches the flanger control mode. With Sweep Mode = EG, the flanger will sweep using the envelope generator. This envelope genera- tor is included in the envelope flanger, and not related to the Pitch EG, Filter EG, or Amp EG.

The Src parameter selects the source that starts the envelope generator. If you select, for example, Gate, the envelope generator will start when the note-on message is received.

When Sweep Mode = D-mod, the modulation source can control the flang- er directly. Select the modulation source using the Src parameter.

The effect is off when a value for the modulation source specified for the Src parameter is smaller than 64, and the effect is on when the value is 64 or higher. The Envelope Generator is triggered when the value changes from 63 or smaller to 64 or higher.

d: EG Attack

d: EG Decay

Attack and Decay speed are the only adjustable parameters on this EG.

646| Effects for the Sounds

Classic Flanger

This models a classic analog flanger. It is highly effective for chording on clavi-type keyboards or electric piano.

Left

Right

Wet / Dry

Wet / Dry

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

+ Flanger

LFO

Feedback

LFO Sync Reset Offset

a Speed [Hz] 0.10...10.0 Sets the speed of LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 10.00 +10.00

Sets the modulation amount of flanger speed

b Depth 0100 Sets the depth of flanger modulation

Src OffTempo Selects the modulation source of the flanger modulation depth

Amt 100+100 Sets the modulation amount of the LFO modu- lation depth

c Resonance 0100 Sets the resonance amount

d Manual 0100 Sets the sweep frequency. If Depth is set to 100, Manual will not function.

e LFO Reset Src Off...Tempo Selects a modulation source for LFO reset

Reset Offset 0100 Sets the offset

f Wet/Dry -Wet, -1:99 Dry99:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |647

Stereo Phaser

This effect creates a swell by shifting the phase. It is very effective on elec- tric piano sounds. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.

Left

Right

Resonance

LFO Shape

LFO Phase

LFO: Tri / Sine

FX Amt

FX Amt

High Damp

Stereo In - Stereo Out

Phaser

Phaser

a LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Shape 100+100 Changes the curvature of the LFO Waveform

b LFO Phase [degree] 180+180 Sets the LFO phase difference between the left and right

c LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

e Manual 0100 Sets the frequency to which the effect is applied

Src OffTempo Selects the modulation source for the LFO modula- tion

Amt 100+100 Sets the modulation amount of the LFO modula- tion

648| Effects for the Sounds

f Depth 0100 Sets the depth of LFO modulation

Src OffTempo Selects the modulation source for the LFO modula- tion depth

Amt 100+100 Sets the modulation amount of the LFO modula- tion depth

h Resonance 100+100 Sets the resonance amount

High Damp [%] 0100 Sets the resonance damping amount in the high range

j Wet/Dry -Wet, -1:99 Dry99:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

h: Resonance

i: Wet/Dry

The peak shape of the positive and negative Feedback value is different. The harmonics will be emphasized when the effect sound is mixed with the dry sound, if you set a positive value for both Resonance and Wet/Dry, and if you set a negative value for both Resonance and Wet/Dry.

h: High Damp [%]

This parameter sets the amount of damping of the resonance in the high range. Increasing the value will cut high-range harmonics.

Effect parameters |649

St. Random Phaser (Stereo Random Phaser)

This is a stereo phaser. The effect uses a step-shape waveform and random LFO for modulation, creating a unique phasing effect.

LFO: Step-Tri/Random

Left

Right

Resonance

LFO Phase

FX Amt

FX Amt

High Damp

Stereo In - Stereo Out

Phaser

Phaser

a LFO Waveform Step-Tri, Step- Sin, Random

Selects the LFO Waveform

LFO Phase [de- gree]

180+180 Sets the LFO phase difference between the left and right

b LFO Frequency [Hz]

0.0220.00 Sets the speed of the LFO

Src OffTempo Selects the modulation source commonly used for LFO speed and step speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

c LFO Step Freq [Hz]

0.0550.00 Sets the LFO step speed

Amt 50.00 +50.00

Sets the modulation amount of LFO step speed

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

e Step Base Note Selects the type of notes to specify the LFO step speed

Times x1x32 Sets the number of notes to specify the LFO step speed

650| Effects for the Sounds

f Manual 0100 Sets the frequency to which the effect is applied

Src OffTempo Selects the modulation source for the LFO modula- tion

Amt 100+100 Sets the modulation amount of the LFO modulation

g Depth 0100 Sets the depth of LFO modulation

h Resonance 100+100 Sets the resonance amount

High Damp [%] 0100 Sets the resonance damping amount in the high range

i Wet/Dry -Wet, -1:99 Dry99:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |651

St. Env. Phaser (Stereo Envelope Phaser)

This stereo phaser uses an envelope generator for modulation. You will ob- tain the same pattern of phasing each time you play. You can also control the Phaser directly using the modulation source.

EG Attack/Decay EG

D-mod

Sweep Mode D-mod

Phaser

Phaser

Left

Right

Resonance

FX Amt

FX Amt

High Damp

Stereo In - Stereo Out

a L Manu Bottom 0100 Sets the lower limit of the frequency range for the ef- fect on the left channel

L Manu Top 0100 Sets the upper limit of the frequency range for the ef- fect on the left channel

b R Manu Bottom 0100 Sets the lower limit of the frequency range for the ef- fect on the right channel

R Manu Top 0100 Sets the upper limit of the frequency range for the ef- fect on the right channel

c Sweep Mode EG, D-mod Determines whether the flanger is controlled by the envelope generator or by the modulation source

Src OffTempo Selects the modulation source that triggers the EG (when EG is selected for Sweep Mode), or modula- tion source that causes the flanger to sweep (when D-mod is selected for Sweep Mode). See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

d EG Attack 1100 Sets the EG attack speed

EG Decay 1100 Sets the EG decay speed

e Resonance 100+100 Sets the resonance amount

f High Damp [%] 0100 Sets the resonance damping amount in the high range

g Wet/Dry -Wet, -1:99 Dry99:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

652| Effects for the Sounds

Orange Phaser

This phaser pedal is a favorite on many recordings. Its useful for adding sparkle, animating chord passages, and widening and fattening the sound.

The original had only a speed control; this version adds depth, control of the center frequency, and more.

Left

Right

Wet / Dry

Wet / Dry

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

+ Phaser

LFO

Resonance

a Speed 0.1010.00 This controls the speed of the phasers LFO.

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

b Depth 0100 Sets the depth of LFO modulation

Src OffTempo Selects the modulation source for the LFO modula- tion depth

Amt 100+100 Sets the modulation amount of the LFO modula- tion depth

c Resonance 100+100 This controls the intensity of the phaser effect. The default is 26. Mixing the processed and dry signals via Wet/Dry will enhance the effect.

d Manual 0100 Sets the frequency to which the effect is applied

e Wet/Dry -Wet, -1:99 Dry99:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |653

Small Phaser

This classic phaser, made in New York City during the 70s, has a notably warm and rich tone with liquid transparency.

Left

Right

Wet / Dry

Wet / Dry

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

+ Phaser

LFO

Color

a Speed 0.1010.00 This controls the speed of the phasers LFO. The default is 1.00 Hz.

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

c Color Off, On This changes the sound of the phaser between a full and round phase shift when set to Off, and a more pronounced effect when set to On.

e Wet/Dry -Wet, -1:99 Dry99:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

654| Effects for the Sounds

Phaser - Cho/Flng (Phaser - Chorus/Flanger)

This effect combines a mono phaser and a chorus/flanger.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

+

Chorus/Flanger

Cho/Flng FX Amt

LEQHEQEQ Trim

Chorus/Flanger

Feedback

Phaser

Phaser FX Amt

Phaser

Resonance

LFO: Tri / Sine LFO: Tri / Sine

Normal

Wet Invert Output Mode

+

PHaSEr

a [P]LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

b [P]Manual 0100 Sets the frequency to which the effect is applied

Depth 0100 Sets the depth of LFO modulation

Resonance 100+100 Sets the resonance amount

c [P]Phaser Wet/Dry -Wet, -1:99 Dry99:1, Wet

Sets the phaser effect balance

CHOrUS/FLaNGEr

d [F]LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

e [F]Delay Time [msec] 0.01350.0 Sets the delay time

Depth 0100 Sets the depth of LFO modulation

Feedback 100+100 Sets the feedback amount

f [F]EQ Trim 0100 Sets the EQ input level

g [F]PreLEQ Gain [dB] 15+15 Sets the gain of Low EQ

PreHEQ Gain [dB] 15+15 Sets the gain of High EQ

h [F]Cho/Flng Wet/Dry -Wet, -1:99 Dry99:1, Wet

Sets the effect balance of the chorus/ flanger

Src OffTempo Selects the Wet/Dry modulation source for the chorus/flanger

Amt 100+100 Sets the Wet/Dry modulation amount for the chorus/flanger

Effect parameters |655

i [F]Output Mode Normal, Wet Invert

Selects the output mode for the chorus/ flanger

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

St. Phaser + Trml (Stereo Phaser + Tremolo)

This effect combines a stereo phaser and tremolo, with linked LFOs. Swelling phaser modulation and tremolo effects synchronize with each other, creat- ing a soothing modulation effect particularly suitable for electric piano.

Phaser

Phaser

Left

Right

Resonance

LFO Type

FX Amt

FX Amt

Stereo In - Stereo Out

Phaser FX Amt

Phaser FX Amt

LFO LFO Phase

LFO Shape

Tremolo

Tremolo

a Type Phs - Trml, Phs LR - Trml LR

Selects the type of the tremolo and phaser LFOs

Phaser - Tremolo, Phaser - Tremolo Spin, Phaser - Tremolo LR, Phaser LR - Tremolo, Phaser LR - Tremolo Spin, Phaser LR - Tremolo LR

LFO Phase [degree] 180+180 Sets the phase difference between the trem- olo and phaser LFOs

b LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the LFO speed modulation amount

656| Effects for the Sounds

c MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

d Phaser Manual 0100 Sets the phaser frequency range

Resonance 100+100 Sets the phaser resonance amount

e Phaser Depth 0100 Sets the phaser modulation depth

Src OffTempo Selects the modulation source for the phaser modulation depth

Amt 100+100 Sets the modulation amount for the phaser modulation depth

f Phaser Wet/Dry Wet, 2 : 98 Dry 2 : 98, Wet

Sets the balance between the phaser effect and dry sounds

g Tremolo Shape 100+100 Sets the degree of the tremolo LFO shaping

h Tremolo Depth 0100 Sets the tremolo modulation depth

Src OffTempo Selects the modulation source for the tremo- lo modulation depth

Amt 100+100 Sets the modulation amount of the tremolo modulation depth

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Type

a: LFO Phase [degree]

Select the type of phaser LFO and tremolo LFO for the Type parameter. How the effect sound moves or rotates depends on the type of LFO. Select- ing LFO Phase enables you to offset the timing of the phaser peak and control a subtle movement and rotation of the sound.

f: Phaser Wet/Dry

i: Wet/Dry

PHASER Wet/Dry sets the balance between the phaser output and the dry sound. OUTPUT Wet/Dry sets the balance between the final phaser and tremolo output level and the dry sound.

Effect parameters |657

Stereo Tremolo

This effect modulates the volume level of the input signal. The effect is ste- reo, and offsetting the LFO of the left and right phases from each other produces a tremolo effect between left and right.

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

LFO Phase

LFO: Tri/Sin/Vintage/Up/Down LFO Shape

Tremolo

Tremolo

a LFO Waveform Triangle, Sine, Vintage, Up, Down

Selects the LFO Waveform

LFO Shape 100+100 Changes the curvature of the LFO Waveform

b LFO Phase [degree] 180+180 Sets the LFO phase difference between the left and right

c LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

e Depth 0100 Sets the depth of LFO modulation

Src OffTempo Selects the modulation source of the depth of modulation

Amt 100+100 Sets the modulation amount of the depth of modulation

658| Effects for the Sounds

f Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: LFO Waveform

This parameter sets the basic shape of the LFO. The Vintage waveform mod- els classic guitar-amp tremolo.

Tremolo - LFO Waveform

Triangle Sine Vintage Up Down

b: LFO Phase [degree]

This parameter determines the difference between the left and right LFO phases. A higher value will simulate the auto-pan effect in which the sound is panned between left and right.

Effect parameters |659

St. Env. Tremolo (Stereo Envelope Tremolo)

This effect uses the input signal level to modulate a stereo tremolo (LFO volume modulation). For instance, you can create a tremolo effect that be- comes deeper and faster as the input gets more quiet.

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

LFO Phase

LFO Shape

Envelope Sens + Envelope

LFO: Tri/Sin/Vintage

Envelope Shape

Tremolo

Tremolo

a Envelope Sens 0100 Sets the envelopes sensitivity to the input signal

Envelope Shape 100+100 Sets the envelopes curvature

b LFO Waveform Triangle, Sine, Vintage

Selects the LFO Waveform

LFO Shape 100+100 Changes the curvature of the LFO Waveform

c LFO Phase [de- gree]

180+180 Sets the LFO phase difference between the left and right

d LFO Frequency [Hz]

0.0220.00 Sets the speed of the LFO

Envelope Amount [Hz]

20.00 +20.00

Sets the amount added to or subtracted from the Frequency when the envelope is at maximum

e Depth 0100 Sets the initial amount of tremolo

Envelope Amount 100+100 Sets the amount added to or subtracted from the Depth when the envelope is at maximum

f Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

660| Effects for the Sounds

d: LFO Frequency [Hz]

d: Envelope Amount [Hz]

e: Depth

e: Envelope Amount

The graphic below shows an example of tremolo modulation with negative modulation of both Depth and Frequency. At the start of the note, the input is at maximum volume. This slows down the LFO Frequency to 1.0Hz, but also modulates the Depth to 0so the tremolo doesnt have any effect.

As the input volume dies down, the Frequency speeds up; the Depth also in- creases, making the tremolo effect increasingly audible. When the input vol- ume approaches silence, the Depth is at its maximum (100) and Frequency is at 8Hz.

Level

Lo ud

er

Time

Shimmer

LFO Frequency[Hz]=8.0 Envelope Amount[Hz]= 7.0Hz Depth=100 Envelope Amount= 100

Dry Envelope

Effect parameters |661

Classic Tremolo

Vintage Tremolo effect.

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

LFO Phase

LFO: Tri/Sin/Vintage/Up/Down LFO Shape

Tremolo

Tremolo

a Speed 0.1010.00 Sets the speed of the LFO

Src OffTempo Modulation for the tremolo speed. See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 10.00 +10.00

Sets the modulation amount of the tremolo speed

b Depth 0100 Sets the initial amount of tremolo

Src OffTempo Modulation for the tremolo depth. See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 10.00 +10.00

Sets the modulation amount of the tremolo depth

c Spread 0100 Sets the width of the stereo image of the effect sound

d Level Adjust 099 Level of the effect

e Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

662| Effects for the Sounds

Ensemble

This Ensemble effect has three chorus blocks that use LFO to create subtle shimmering, and gives three dimensional depth and spread to the sound, because the signal is output from the left, right, and center.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

LFO

Shimmer

+ Ensemble

a Speed [Hz] 1100 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 100+100 Sets the modulation amount of LFO speed

b Depth 0100 Sets the depth of LFO modulation

Src OffTempo Selects the modulation source of the LFO modulation depth

Amt 100+100 Sets the modulation amount of the LFO modulation depth

c Shimmer 0100 Sets the amount of shimmering of the LFO waveform

d Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |663

c: Shimmer

This parameter sets the amount of shimmering of the LFO waveform. Increasing this value adds more shimmering, making the chorus effect more complex and richer.

Time

Level Ensemble LFO

Shimmer

Polysix Ensemble

This models the ensemble effect built into the classic KORG PolySix programmable polyphonic synthesizer.

+ Polysix Ensemble

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

a Depth 0100 Sets the depth of the effect

Src OffTempo Selects the modulation source that will control the ef- fect depth

Amt 100+100 Sets the amount by which the effect depth will be modu- lated

b Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

664| Effects for the Sounds

Stereo Vibrato

This effect causes the pitch of the input signal to shimmer. Using the AutoFade allows you to increase or decrease the shimmering speed.

Vibrato

Vibrato

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

LFO: Tri / Sine LFO Shape

Fade-In Delay LFO FrequencyAutoFade

a Autofade Src OffTempo Selects the modulation source that starts AutoFade

b Fade-In Delay [msec]

002000 Sets the fade-in delay time

Fade-In Rate 1100 Sets the rate of fade-in

c LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Shape 100+100 Changes the curvature of the LFO Waveform

d LFO Frequency Mod

D-mod, AUTOFADE

Switches between D-mod and AUTOFADE for the LFO frequency modulation

e LFO Frequency [Hz]

0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

f MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

Effect parameters |665

g Depth 0100 Sets the depth of LFO modulation

Src OffTempo Selects the modulation source of the LFO modulation depth

Amt 100+100 Sets the modulation amount of the LFO modulation depth

h Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Autofade Src

b: Fade-In Delay [msec]

b: Fade-In Rate

d: LFO Frequency Mod

When LFO Frequency Mod is set to AUTOFADE, you can use the modula- tion source selected in AUTOFADE Src as a trigger to automatically fade in the modulation amount. When MIDI Sync is set to On, you cannot use this.

The Fade-In Rate parameter specifies the rate of fade-in. The Fade-In De- lay parameter determines the time from AutoFade modulation source On until the fade-in starts.

The following is an example of fade-in where the LFO speed is increased from 1.0Hz to 4.0Hz when a note-on message is received.

AUTOFADE Src=Gate1, LFO Frequency Mod=AUTOFADE, LFO Frequency [Hz]=1.0, Amt=3.0

The effect is off when a value for the dynamic modulation source speci- fied for the AUTOFADE Src parameter is smaller than 64, and the effect is on when the value is 64 or higher. The AutoFade function is triggered when the value changes from 63 or smaller to 64 or higher.

AUTOFADE AutoFade

Note On All Note Off

Fade-In Rate

Source=Gate1 LFO Freq. Mod=AUTOFADE LFO Frequency[Hz]=1.0 Amount=+3.0

LFO Frequency =1.0+3.0=4.0Hz

LFO Frequency =1.0Hz

Gate1 Signal

AUTOFADE Fade-In Dealy

666| Effects for the Sounds

U-Vibe

Modeled on the most famous chorus/vibrato pedal effect unit. This effect simulates a rotating speaker and produces a wonderfully seductive and watery tone. Interestingly enough, the guy responsible for this great ped- al is also responsible for the birth of the KORG Nuvibe and Valve Reactor Technology.

a Speed [Hz] 1100 Sets the speed of the U-Vibe effect

Src OffTempo Selects a modulation source for the U-Vibe effect

Amt 10.00 +10.00

Sets the modulation amount of the U-Vibe effect

b Depth 0100 Sets the depth of the U-Vibe effect

Src OffTempo Selects the modulation source of the LFO modulation depth

Amt 100+100 Sets the modulation amount of the LFO modulation depth

c Mix 0100 Sets the effect mix level

Src OffTempo Selects the modulation source of the effect mix level

Amt 100+100 Sets the modulation amount of the effect mix level

d Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |667

St. Auto Fade Mod. (Stereo Auto Fade Modulatiom)

This stereo chorus/flanger effect enables you to control the LFO speed and effect balance using auto fade, and you can spread the sound by offsetting the phase of the left and right LFOs from each other.

AutoFade LFO Frequency FX Amt

Delay

Delay

Left

Right

Feedback

LFO Shape

LFO Phase

LFO: Tri / Sine

FX Amt

FX Amt

High Damp

Stereo In - Stereo Out

668| Effects for the Sounds

a Autofade Src OffTempo Selects the modulation source that starts AutoFade

Fade-In Delay [msec] 002000 Sets the fade-in delay time

Rate 1100 Sets the rate of fade-in

b LFO Frequency Mod D-mod, AUTOFADE

Switches between D-mod and AUTOFADE for the LFO frequency modulation

Wet/Dry Mod D-mod, AUTOFADE

Switches between D-mod and AUTOFADE for the effect balance modulation

c LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Shape 100+100 Changes the curvature of the LFO Waveform

d LFO Phase [degree] 180+180 Sets the LFO phase difference between the left and right

e LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

f L Delay Time [msec] 0.0500.0 Sets the left channel delay time

R Delay Time [msec] 0.0500.0 Sets the right channel delay time

g Depth 0200 Sets the depth of LFO modulation

h Feedback 100+100 Sets the feedback amount

High Damp [%] 0100 Sets the feedback damping amount in the high range

i Wet/Dry -Wet, -1:99 Dry99:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |669

St. Biphase Mod. (Stereo Biphase Modulation)

This stereo chorus effect adds two different LFOs together. You can set the Frequency and Depth parameters for each LFO individually. Depending on the setting of these LFOs, very complex waveforms will create an analog- type, unstable modulated sound.

Chorus/Flanger

Left

Right

Feedback

180 [degree]

FX Amt

FX Amt

High Damp

Stereo In - Stereo Out

LFO1: Tri / Sine LFO2: Tri / Sine

Chorus/Flanger

High Damp

a LFO1 Waveform Triangle, Sine Selects LFO1 waveform

LFO2 Triangle, Sine Selects LFO2 waveform

Phase Sw 0 deg, 180 deg

Switches the LFO phase difference between left and right

b LFO1 Frequency [Hz] 0.0230.00 Sets the LFO1 speed

Src OffTempo Selects the modulation source of LFO1&2 speed

LFO1 Amt 30.00 +30.00

Sets the modulation amount of LFO1 speed

c LFO2 Frequency [Hz] 0.0230.00 Sets the LFO2 speed

Amt 30.00 +30.00

Sets the modulation amount of LFO2 speed

d Depth1 0100 Sets the depth of LFO1 modulation

Src OffTempo Selects the modulation source of LFO1&2 modulation depth

Amt 100+100 Sets the modulation amount of LFO1 modu- lation depth

e Depth2 0100 Sets the depth of LFO2 modulation

Amt 100+100 Sets the modulation amount of LFO2 modu- lation depth

f L Pre Delay [msec] 0.050.0 Sets the delay time for the left channel

R Pre Delay [msec] 0.050.0 Sets the delay time for the right channel

670| Effects for the Sounds

g Feedback 100+100 Sets the feedback amount

High Damp [%] 0100 Sets the damping amount in the high range

h Wet/Dry -Wet, -1:99 Dry99:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

LFO1

LFO2

Bi-Phase Modulation LFO

Depth1

Depth2

+

Stereo Auto Pan

This is a stereo-in, stereo-out auto-panner. The Phase and Shape param- eters lets you create various panning effects, such as making the left and right inputs seem to chase each other around the stereo field.

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

LFO Phase

LFO Shape

Pan

Pan

LFO: Tri / Sin

Depth

Effect parameters |671

a LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Shape 100+100 Changes the curvature of the LFO Waveform

b LFO Phase [de- gree]

180+180 Sets the LFO phase difference between the left and right

c LFO Frequency [Hz]

0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

e Depth 0100 Sets the depth of LFO modulation

Src OffTempo Selects the modulation source of the depth of modu- lation

Amt 100+100 Sets the modulation amount of the depth of modula- tion

f Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: LFO Shape

You can change the panning curve by modifying the LFOs Shape.

b: LFO Phase [degree]

This determines the phase difference between the left and right LFOs. When you gradually change the value away from 0, the sounds from the left and right channels will seem to chase each other around. If you set the parame- ter to +180 or 180, the sounds from each channel will cross over each other.

672| Effects for the Sounds

Youll only hear the effect of this parameter if the input is true stereo, with different signals in the left and right channels.

L-In

Left Center Right Output Stereo Image

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

L-In

R-In

LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees

Stereo Auto Pan - LFO Phase

St. Ring Modulator (Stereo Ring Modulator)

This effect creates a metallic sound by applying the oscillators to the input signal. Use the LFO or Dynamic Modulation to modulate the oscillator to cre- ate a radical modulation. Matching the oscillator frequency with a note num- ber will produce a ring modulation effect in specific key ranges.

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

Pre LPF Ring Modulator

Pre LPF Ring Modulator

Note No. OSC Mode

Fixed

Note (Key Follow)

Fixed Frequency Pitch

Note Offset, Fine

Sine Oscillator

LFO

Effect parameters |673

a OSC Mode Fixed, Note (Key Follow)

Switching between specifying the oscillator fre- quency and using a note number

Pre LPF 0100 Sets the damping amount of the high range input to the ring modulator

b Fixed Frequency [Hz]

012.00k Sets the oscillator frequency when OSC Mode is set to Fixed

Src OffTempo Selects the modulation source for the oscillator frequency when OSC Mode is set to Fixed

Amt 12.00k +12.00k

Sets the modulation amount of the oscillator fre- quency when OSC Mode is set to Fixed

c Note Offset 48+48 Sets the pitch difference from the original note when OSC Mode is set to Note (Key Follow)

Note Fine 100+100 Fine-adjusts the oscillator frequency

d LFO Frequency [Hz]

0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

e MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

f LFO Depth 0100 Sets the depth of LFO modulation for the oscillator frequency

Src OffTempo Selects the modulation source of the depth of mod- ulation

Amt 100+100 Sets the modulation amount of the depth of modu- lation

g Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

674| Effects for the Sounds

a: OSC Mode

This parameter determines whether or not the oscillator frequency follows the note number.

a: Pre LPF

This parameter enables you to set the damping amount of the high range sound input to the ring modulator. If the input sound contains lots of har- monics, the effect may sound dirty. In this case, cut a certain amount of high range.

b: Fixed Frequency [Hz]

This parameter sets the oscillator frequency when OSC Mode is set to Fixed.

c: Note Offset

c: Note Fine

These parameters for the oscillator are used when OSC Mode is set to Note (Key Follow). The Note Offset sets the pitch difference from the original note in semitone steps. The Note Fine parameter fine-adjusts the pitch in cent steps. Matching the oscillator frequency with the note number pro- duces a ring modulation effect in the correct key.

Effect parameters |675

Organ Vib/Chorus (Organ Vibrato/Chorus)

This effect simulates the chorus and vibrato circuitry of a vintage organ. The modulation speed and depth can be customized.

+ Vibrato/Chorus

Mode

Preset Setting

Custom Parameters

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

a Input Trim 0100 Sets the input level

b Control Mode Preset, Custom

Selects either preset or custom settings

c Preset Type V1, C1, V2, C2, V3, C3

Selects the effect type when Mode=Preset

V1/V2/V3 are variations of vibrato, and C1/C2/C3 are variations of chorus

Src OffTempo Selects the modulation source that will change the ef- fect type

Amt 5+5 Sets the modulation amount for changing the effect type

d Custom Mix Vibrato, 1:9999:1, Chorus

Sets the mix level of the direct sound when Mode=Preset

Src OffTempo Selects the modulation source that will control the mix level of the direct sound

Amt 100+100 Sets the modulation amount for controlling the mix level of the direct sound

e Custom Depth 0100 Sets the vibrato depth

Src OffTempo Selects the modulation source that will control vibrato depth

Amt 100+100 Sets the modulation amount for controlling the vibrato depth

f Custom Speed [Hz]

0.0220.00 Sets the vibrato speed

Src OffTempo Selects the modulation source for controlling the vi- brato speed

Amt 20.00 +20.00

Sets the modulation amount for controlling the vibrato speed

676| Effects for the Sounds

g Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

b: Control Mode

c: Preset Type

d: Custom Mix

e: Custom Depth

f: Custom Speed [Hz]

If Control Mode=Preset, you can use c: Preset Type to select the effect. In this case, the Custom Mix/Depth/Speed settings are ignored. If Control Mode=Custom, the Custom Mix/Depth/Speed settings are valid, and the c: Preset Type setting is ignored.

c: Amt

If Preset Type=V1 and Src=JS+Y, you can set this to +5 and move JS +Y to control the effect in the order of V1C1V2C2V3C3.

Effect parameters |677

Rotary Speaker

This effect simulates a rotary speaker, and obtains a more realistic sound by simulating the rotor in the low range and the horn in the high range sepa- rately. The effect also simulates the stereo microphone settings.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

D-mod

D-mod

D-mod

Mode Switch: Rotate/Stop

Speed Switch: Slow/Fast

Manual Speed Control

Speaker Simulation

Mic Distance Mic Spread

Horn/Rotor Balance

Horn

Rotary Speaker

Rotor

+

a Mode Switch Rotate, Stop Switches between speaker rotation and stop

Src OffTempo Selects a modulation source for Rotate/Stop

Mode Toggle, Moment

Sets the switch mode for Rotate/Stop modulation

b Speed Switch Slow, Fast Switches the speaker rotation speed between slow and fast

Src OffTempo Selects a modulation source for Slow/Fast

Mode Toggle, Moment

Sets the switch mode for Slow/Fast modulation

c Manual Speed Ctrl

OffTempo Sets a modulation source for direct control of rota- tion speed

d Horn Acceleration

0100 How quickly the horn rotation speed in the high range is switched

Horn Ratio Stop, 0.502.00

Adjusts the (high-range side) horn rotation speed. Standard value is 1.00. Selecting Stop will stop the rotation

e Rotor Acceleration

0100 Determines how quickly the rotor rotation speed in the low range is switched

Rotor Ratio Stop, 0.502.00

Adjusts the (low-frequency) rotor speed. Standard value is 1.00. Selecting Stop will stop the rotation

f Horn/Rotor Balance

Rotor, 199, Horn

Sets the level balance between the high-frequency horn and low-frequency rotor

678| Effects for the Sounds

g Mic Distance 0100 Sets the distance between the microphone and rotary speaker

Mic Spread 0100 Sets the angle of left and right microphones

h Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Mode

This parameter sets how the modulation source switches between rotation and stop.

When Mode = Toggle, the speaker rotates or stops alternately each time you press the pedal or move the joystick. Via MIDI, rotation will switch between start and stop each time the modulation amount exceeds 64.

When Mode = Moment, the speaker rotates by default, and stops only when you press the pedal or move the joystick. Via MIDI, modulation values above 64 make the speaker rotate, and values below 64 make it stop.

b: Speed Switch

This parameter controls how the rotation speed (slow and fast) is switched via the modulation source.

When Mode = Toggle, the speed will switch between slow and fast each time you press the pedal or move the joystick. Via MIDI, the speed will switch each time the modulation amount exceeds 64.

When Mode = Moment, the speed is usually slow. It becomes fast only when you press the pedal or move the joystick. Via MIDI, modulation values above 64 set the speed to Fast, and values below 64 set it to Slow.

c: Manual Speed Ctrl

If you wish to control the rotation speed manually, instead of switching be- tween Slow and Fast, select a modulation source in the Manual Speed Ctrl parameter. If you dont want to use manual control, set this to Off.

Effect parameters |679

d: Horn Acceleration

e: Rotor Acceleration

On a real rotary speaker, the rotation speed accelerates or decelerates grad- ually after you switch the speed. The Horn and Rotor Acceleration param- eters set the transition times between fast and slow speeds.

g: Mic Distance

g: Mic Spread

This is a simulation of stereo microphone settings.

Mic Spread MicrophoneMicrophone

Mic Distance Mic Distance

Rotary Speaker (Top View)

Rotary Speaker - Mic Placement

680| Effects for the Sounds

Rotary SpeakerOD (Rotary Speaker Overdrive)

This is a stereo rotary speaker effect. It has an internal speaker simulator that simulates overdrive (recreating the amp distortion) and characteristics of the rotary speaker, producing a very realistic rotary speaker sound.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Mic Distance Mic Spread

Horn/Rotor Balance

D-mod

D-mod

D-mod

D-mod

Mode Switch: Rotate/Stop Speed Switch: Slow/Fast

Manual Speed Control

On/Off

Speaker Simulation

Overdrive

Horn

Rotary Speaker

Rotor

+

a Overdrive Off, On Switches overdrive on/off

Src OffTempo Selects a modulation source to switch over- drive on/off

Sw Toggle, Moment Sets the switch mode for overdrive on/off modulation

b Overdrive Gain 0100 Determines the degree of distortion

Overdrive Level 0100 Sets the overdrive output level

C Overdrive Tone 015 Sets the tonal quality of the overdrive

Speaker Simulator Off, On Switches the speaker simulation on/off

d Mode Switch Rotate, Stop Switches between speaker rotation and stop

Src OffTempo Selects a modulation source for Rotate/Stop

Sw Toggle, Moment Sets the switch mode for Rotate/Stop modu- lation

e Speed Switch Slow, Fast Switches the speaker rotation speed be- tween slow and fast

Src OffTempo Selects a modulation source for Slow/Fast

Sw Toggle, Moment Sets the switch mode for Slow/Fast modula- tion

f Horn/Rotor Balance Rotor, 199, Horn Sets the volume balance between the high- range horn and low-range rotor

Manual SpeedCtrl OffTempo Sets a modulation source for direct control of rotation speed

Effect parameters |681

g Horn Acceleration

0100 Sets how quickly the horn rotation speed changes

Horn Ratio Stop, 0.502.00 Adjusts the (high-frequency) horn rotation speed. Standard value is 1.00. Stop stops the rotation

h Rotor Acceleration

0100 Sets how quickly the rotor speed changes

Rotor Ratio Stop, 0.502.00 Adjusts the (low-frequency) rotor rotation speed. Standard value is 1.0. Stop stops the rotation

i Mic Distance 0100 Distance between the microphone and rotary speaker

Mic Spread 0100 Angle of left and right microphones

j Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Sw

This parameter determines how to switch on/off the overdrive via a modula- tion source.

When Sw = Toggle, overdrive is turned on/off each time the pedal or joy- stick is operated.

Overdrive will be switched on/off each time the value of the modulation source exceeds 64.

When Sw = Moment, overdrive is applied only when you press the pedal or operate the joystick.

Only when the value for the modulation source is 64 or higher, the over- drive effect is applied.

682| Effects for the Sounds

DYN (Dynamics)

Stereo Compressor

This effect compresses the input signal to regulate the level and give a punchy effect. It is useful for guitar, piano, and drum sounds. This is a stereo compressor. You can link left and right channels, or use each channel separately.

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

EQ Trim

EQ Trim

LEQ HEQ

LEQ HEQ Compressor

Compressor

Envelope Select

Output Level

Output Level

Envelope - Control

Envelope - Control

a Envelope Select L/R Mix, L/R Individually

Determines whether the left and right channels are linked or used separately

b Sensitivity 1100 Sets the sensitivity

c Attack 1100 Sets the attack level

d EQ Trim 0100 Sets the EQ input level

e Pre LEQ Fc Low, Mid-Low

Selects the cutoff frequency (low or mid-low) of the low-range equalizer

Pre HEQ Fc High, Mid-High

Selects the cutoff frequency (high or mid-high) of the high-range equalizer

f Pre LEQ Gain [dB] 15.0+15.0 Sets the gain of the Low EQ

Pre HEQ Gain [dB] 15.0+15.0 Sets the gain of the High EQ

g Output Level 0100 Sets the output level of the compressor

Src OffTempo Selects the modulation source for the compres- sor output level

Amt 100+100 Sets the modulation amount for the compressor output level

Effect parameters |683

h Wet/Dry Dry, 1:9999:1, Wet

Sets the Balance between the wet and dry sig- nal

Src OffTempo Selects a modulation source for Wet/Dry

Amt 100+100 Sets the modulation amount for Wet/Dry

a: Envelope Select

This parameter selects whether the left and right channels are linked to control both signals simultaneously, or whether each channel is controlled independently.

b: Sensitivity

g: Output Level

The Sensitivity parameter sets the sensitivity of the compressor. If this parameter is set to a higher value, lower level sounds will be boosted. With a higher Sensitivity, the overall volume level is higher. To adjust the final volume level, use the Output Level parameter.

Sensitivity=100

Sensitivity=40Dry

Wet

Time

Level Compressor - Sensitivity

Lo ud

er

c: Attack

This parameter controls the attack level.

Dry

Wet

Time

Level Attack=80 Attack=20

Compressor - Attack

684| Effects for the Sounds

Dyn. Compressor (Dynamic Compressor)

This effect reduces the dynamic range of the input signal, to regulate the lev- el and give a punchy effect. It is useful for guitar, piano, and drum sounds. This is a true stereo effect; you can link the left and right channels, or use each channel separately.

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

EQ Trim

EQ Trim

LEQ HEQ

LEQ HEQ Compressor

Compressor

Envelope Select

Output Level

Output Level

Envelope - Control

Envelope - Control

a Sensitivity 1100 This controls the amount of compression. Increasing the value boosts lower level sounds, and raises the overall volume.

To adjust the final volume, use the Level param- eter.

b Attack 1100 Sets the attack level

c Level 0100 Sets the output level of the compressor

Src OffTempo Selects the modulation source for the compres- sor output level

Amt 100+100 Sets the modulation amount for the compressor output level

d Wet/Dry Dry, 1:9999:1, Wet

Sets the Balance between the wet and dry sig- nal

Src OffTempo Selects a modulation source for Wet/Dry

Amt 100+100 Sets the modulation amount for Wet/Dry

Effect parameters |685

Stereo Limiter

The Limiter regulates the input signal level. It is similar to the Compressor, except that the Limiter compresses only signals that exceed the specified level to lower unnecessary peak signals. The Limiter applies a peaking-type EQ to the trigger signal (which controls the degree of the Limiter effect), al- lowing you to set any band width to be covered. This effect is a stereo limiter. You can link left and right channels, or use each channel individually.

Left

Right

FX Control BUS 1 FX Control BUS 2

FX Amt

FX Amt

Stereo In - Stereo Out

Limiter

Limiter

Envelope Source

Gain Adjust

Gain Adjust

Side PEQ Envelope - Control

Envelope - Control

Trigger Monitor+

Envelope Select

a Envelope Select L/R Mix, L Only, R Only, L/R Individually

Selects from linking both channels, control- ling only from left channel, only from the right channel, or controlling each channel individually

b Ratio 1.0 : 1

50.0 : 1,

Inf : 1

Sets the signal compression ratio

c Threshold [dB] 400 Sets the level above which the compressor is applied

v Attack 1100 Sets the attack time

Release 1100 Sets the release time

e Gain Adjust [dB] Inf, 38+24 Sets the output gain

Src OffTempo Selects the modulation source for the out- put gain

Amt 63+63 Sets the modulation amount of the output gain

f Side PEQ Insert Off, On Toggles between on/off of the trigger sig- nals EQ

Trigger Monitor Off, On Switches between effect output monitor and trigger signal monitor

686| Effects for the Sounds

g Side PEQ Cutoff [Hz] 2012.00k Sets the EQ center frequency for the trigger signal

Q 0.510.0 Sets the EQ bandwidth for the trigger signal

Gain [dB] 18.0+18.0 Sets the EQ gain for the trigger signal

h Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo Dynamic Modulation sources

Amt 100+100 Amount of modulation source

a: Envelope Select

When L/R Mix is selected for this parameter, the left and right channels are linked to control the Limiter using the mixed signal. If L Only (or R Only) is selected, the left and right channels are linked, and the Limiter is controlled via only the left (or right) channel.

With L/R individually, the left and right channels control the Limiter individu- ally.

b: Ratio

c: Threshold [dB]

e: Gain Adjust [dB]

This parameter sets the signal compression Ratio. Compression is applied only when the signal level exceeds the Threshold value.

Effect parameters |687

Adjust the output level using the Gain Adjust parameter, since compres- sion causes the entire level to be reduced.

Input Level

Output Level

Threshold

Ratio=1.0 : 1

Ratio=2.0 : 1 Ratio=4.0 : 1

Ration=Inf : 1

Louder

Lo ud

er

Time

Level

Threshold

Ratio=Inf : 1

Ratio=2.0 : 1 Ratio=4.0 : 1

Dry Ratio=1.0 : 1

Limiter - Threshold / Ratio

d: Attack

d: Release

These parameters set the attack time and release time. A higher attack time will cause the compression to be applied more slowly.

Threshold

Ratio=Inf : 1 Attack=1 Release=1

Ratio=Inf : 1 Attack=100 Release=100

Dry

Wet

Wet

Release

Attack

Limiter - Attack / Release

688| Effects for the Sounds

f: Trigger Monitor

Setting this parameter On will cause the trigger signal to be output, instead of the effect sound. Use this parameter to check the trigger signal with EQ applied.

Usually, set this to Off.

f: Side PEQ Insert

g: Side PEQ Cutoff [Hz]

g: Q

g: Gain [dB]

These parameters are used to set the EQ applied to the trigger signal.

The Limiter determines whether the compression is applied or not, based on the post-EQ trigger signal. Setting the equalizer allows you to set the Limiter to respond to any frequency band.

Multiband Limiter

This effect applies the Limiter to the low range, mid range, and high range of the input signal. You can control dynamics for each range to adjust the sound pressure of the low range, mid range, and high range in a different way from the EQ.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Gain Adjust Mid Offset

Low Offset

High Offset

Envelope - Control

Envelope - Control

Envelope - Control

Low

Mid

High

Band-Pass Filters

+ Limiter

Limiter

Limiter

a Ratio 1.0 : 150.0 : 1, Inf : 1

Sets the signal compression ratio

b Threshold [dB] 400 Sets the level above which the compressor is applied

c Attack 1100 Sets the attack time

d Release 1100 Sets the release time

e Low Offset [dB] 400 Gain of the low-range trigger signal

f Mid Offset [dB] 400 Gain of the mid-range trigger signal

Effect parameters |689

g High Offset [dB] 400 Gain of the high-range trigger signal

h Gain Adjust [dB] Inf, 38+24

Sets the output gain

Src OffTempo Selects the modulation source for the output gain

Amt 63+63 Sets the modulation amount of the output gain

i Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

e: Low Offset [dB]

f: Mid Offset [dB]

g: High Offset [dB]

These parameters set the gain of the trigger signal.

For example, if you do not want to apply compression to the high range, re- duce the High Offset value down below the Threshold level. In this way, the high range limiter will not respond, and compression will not be applied.

St. Mltband Limiter (Stereo Multiband Limiter)

This is a stereo multiband limiter.

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

Gain Adjust

Limiter

Limiter

Limiter

Envelope - Control

Envelope - Control

Envelope - Control

Gain Adjust

Limiter

Limiter

Low

Mid

High

Envelope - Control

Envelope - Control

Envelope - Control

Low

Mid

High

Offset

and-ass Filters

Limiter

a Ratio 1.0 : 1 50.0 : 1, Inf : 1

Sets the signal compression ratio

b Threshold [dB] 400 Sets the level above which the compressor is ap- plied

c Attack 1100 Sets the attack time

690| Effects for the Sounds

d Release 1100 Sets the release time

e Low Offset [dB] 400 Sets the low range gain of trigger signal

f Mid Offset [dB] 400 Sets the mid range gain of trigger signal

g High Offset [dB] 400 Sets the high range gain of trigger signal

h Gain Adjust [dB] Inf, 38+24

Sets the output gain

Src OffTempo Selects the modulation source for the output gain

Amt 63+63 Sets the modulation amount of the output gain

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

St.Mastering Limitr (Stereo Mastering Limiter)

This is a stereo limiter that is optimized for mastering songs.

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

Limiter

Limiter Out Ceiling

Out Ceiling

Envelope - Control+

a Threshold [dB] 30.00.0 Sets the level above which the compressor is applied

b Out Ceiling [dB] 30.00.0 Sets the output gain

c Release [msec] 0.501000.0 Sets the release time

d Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |691

Stereo Gate

This effect mutes the input signal when it falls below a specified level. You can also invert the on/off status of the gate, or use note-on/off messages to turn the gate on/off directly.

Left

Right

FX Control BUS 1 FX Control BUS 2

FX Amt

FX Amt

Stereo In - Stereo Out

Envelope Source Gain Adjust

Gain Adjust

Side PEQ Envelope - Control

Envelope - Control

Trigger Monitor+

Envelope Select GateDelay

GateDelay

D-mod

a Envelope Source D-mod, Input Selects the source to control the gate: D-mod control, or use the input signal as a trigger

b Envelope Select L/R Mix, L Only, R Only

Selects the control signal: left and right linked, left only, or right only

Src OffTempo Selects the source that will control the gate when Envelope Src = D-mod

c Threshold 0100 Sets the level at which gating is applied

Polarity +, Switches the polarity of gating

d Attack 1100 Sets the attack time

Release 1100 Sets the release time

e Delay Time [msec] 0100 Sets the delay time for the gate input

f Side PEQ Insert Off, On Switches the trigger signal equalizer on/off

Trigger Monitor Off, On Switches between monitoring the effect output and the trigger signal

g Side PEQ Cutoff [Hz] 2012.00k Sets the center frequency of the equalizer for the trigger signal

Q 0.510.0 Sets the bandwidth of the equalizer for the trig- ger signal

Gain [dB] 18.0+18.0 Sets the gain of the equalizer for the trigger signal

692| Effects for the Sounds

h Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

c: Threshold

d: Attack

d: Release

Threshold specifies the level at which gating occurs when Envelope Select is set to L/R Mix, L Only, or R Only.

Attack and Release specify the attack time and release time of the gate.

Input Level

Output Level

Threshold

Louder

Lo ud

er

Threshold

Attack=1 Release=1

Attack=100 Release=100

Dry

Wet

Wet

Attack Release

Gate - Attack / Release

Gate - Threshold

Effect parameters |693

c: Polarity

This inverts the polarity of the gate on/off operation. With the setting, the gate will close when the input signal exceeds the specified level. The direction in which the modulation source opens or closes the gate will also be reversed.

e: Delay Time [msec]

This sets the delay time for the input to the gate. When using shorter Attack Time settings, you can lengthen the Delay Time so that the sound is input after the gate opens.

694| Effects for the Sounds

aMP (amplifier)

Pa4X includes accurate guitar and bass amplifier and cabinet modeling. Some of the effects combine an amplifier and a cabinet model.

Modelling amplifiers

Pa4X comes with a wide selection of the best amps, that offer the widest possible array of great tones. The operating mode of the preamp and power amp, the response of the tone controls, and their placement within the cir- cuit will change depending on the type of amp you select, precisely replicat- ing the exact gain and tonal character of the original amp. The all-impor- tant power amp stage (class A or AB) and negative-feedback circuit (or lack thereof) are also carefully simulated.

The volume controls

Two main controls affect the volume (or gain) and at the same time the tone of the amp: Drive Gain (controlling the preamp gain and the amount of pre- amp distortion) and Volume (controlling the preamp output level). Each con- trol has its own specific job, and the sound of a particular amp model can vary over a very wide range just depending on the settings of these controls.

In addition, the Cabinet Trim control (a power attenuator) is placed between the output of your amp and the input of your speaker cabinet. At the end of the signal path, the Wet/Dry parameter in the FX Edit page, and the Master knob in the Mixer/Tuning > FX Send page, control the level of the final mix and allows you to balance all your presets to each other.

We have made the relationship between preamp and power amp work in the same way as in the original amps. Therefore, to obtain truly authentic tones, please use the Pre/Drive Gain parameter to control the preamp distortion, and the Volume parameter to control the distinctive distortion and warmth of the power amp stage.

Be advised that setting the Drive Gain too high will result in heavy distortion, and is not recommended.

Tube talk

Tubes is the name adopted in the USA, while valves is the British equiva- lent. As all the amps weve modelled come from one of the two countries just mentioned, we will use the corresponding term in the following descriptions.

Also, please note that an ECC83 preamp valve is the British version of a 12AX7 preamp tube used in the USA.

Effect parameters |695

Modelling speaker cabinets

The accurate amp models can be paired with speaker cabinet models of the same quality. The output stage of a tube amp works in close harmony with the varying impedance curve of the speaker(s) it is driving. This intimate and vital relationship plays a major role in producing the warm, punchy sound and pleasing feel of tube amps.

Modelling a speaker cabinet is not just a case of frequency response, but is a combination of frequency response, transient response (how a speaker reacts to the strength of how a note is played), and the all-important interac- tion of the amps output to the speakers impedance curve. In addition, other vitally important factors that have to be taken into account when modelling a cabinet are the actual physical dimensions of the enclosure (cabinet), the unique tonality of said enclosure (which will be affected by both the type and thickness of the wood it is made of) and whether it boasts an open, semi- open or closed-back design.

696| Effects for the Sounds

Amplifier types

These are the available amplifier types.

amp type Meaning

VOX AC15 VOX AC15 manufactured in 1962

VOX AC15TB VOX AC15TB (an AC15 modified by the addition of a top boost cir- cuit).

VOX AC30 Normal channel of a VOX AC30TB

VOX AC30TB Brilliant channel of a VOX AC30TB

UK BLUES UK-manufactured vintage stack amp head

UK 70S High treble channel of a UK-manufactured 100W amp head from 1969

UK 80S UK-manufactured 100 Watt head from 1983

UK 90S Lead channel of a 100W dual channel head

UK MODERN UK-manufactured 100W modern amp

US MODERN High-gain amp with metal plate

US HIGAIN 1991 model 100W amp head covered in snake-skin

BOUTIQUE OD Overdrive channel of a high-end 100W hand made amp

BOUTIQUE CL Clean channel of a high-end, hand-made 100W amp

BLACK 2x12 2x12 combo amp indispensable for country or blues players

TWEED - 1x12 Combo amp covered in tweed cloth

TWEED - 4x10 4x10 combo amp designed for bass guitar

Effect parameters |697

Cabinet types

When a cabinet can be chosen, these are the available types.

Cabinet type Meaning

TWEED - 1x12 Open-back cabinet with one 12 Alnico magnet speaker, typically used for blues. It is usually paired with the Tweed Amp.

TWEED - 4x10 Open-back cabinet with four 10 8 Ohm Alnico magnet speakers, wired in parallel for a total of 2 Ohms impedance.

BLACK - 2x10 Open-back cabinet with two 10 ceramic magnet 35 Watt speak- ers.

BLACK - 2x12 American open-back cabinet with two 12 ceramic magnet speak- ers. They are 8 Ohm units wired in parallel for a 4 Ohm total load.

VOX AC15 - 1x12 Vox AC15 open-back cabinet with one 12 VOX Blue Alnico speak- er, manufactured by Celestion in Ipswich, England.

VOX AC30 - 2x12 Vox AC30 open-back cabinet with two 12 VOX Blue Alnicos, wired in series for 16 Ohms.

VOX AD412 - 4x12 VOX AD412 closed-back cabinet with four 12 custom-designed Celestion speakers with Neodymium magnets.

UK H30 - 4x12 Closed-back classic cabinet with four 30W 12 speakers. Made in the late 60s by the same famous UK amp company as the UK T75 4x12.

UK T75 - 4x12 Closed-back cabinet loaded with four modern 75W 12 British speakers.

US V30 - 4x12 Closed-back cabinet with four 30W 12 speakers. This big cabinet uses four UK made Vintage named speakers and is known for its deep bass and high end detail.

698| Effects for the Sounds

Amp + Cabinet combinations

These are the recommended combinations of guitar amp models and cabi- net simulators:

amp type Cabinet type

VOX AC15 VOX AC15 - 1x12

VOX AC15TB VOX AC15 - 1x12

VOX AC30 VOX AC30 - 2x12

VOX AC30TB VOX AC30 - 2x12

UK BLUES UK H30 - 4x12

UK 70S UK H30 - 4x12

UK 80S UK T75 - 4x12

UK 90S UK T75 - 4x12

UK MODERN UK T75 - 4x12, US V30 - 4x12

US MODERN US V30 - 4x12

US HIGAIN US V30 - 4x12, UK T75 - 4x12

BOUTIQUE OD UK H30 - 4x12

BOUTIQUE CL UK H30 - 4x12

BLACK 2x12 BLACK - 2x12

TWEED - 1x12 TWEED - 1x12

TWEED - 4x10 TWEED - 4x10

Effect parameters |699

GuitarAmp + P4EQ (Guitar Amp Model + Parametric 4-Band EQ)

This combines a guitar amp simulation (which even faithfully replicates the distortion and tone control circuitry) with a four-band equalizer.

By using this in conjunction with St. Guitar Cabinet (Stereo Guitar Cabinet), you can obtain an even more realistic guitar sound that simulates a guitar amp + speaker cabinet.

In alternative, you can use the combined Guitar Amp + Cabinet effect, that does not include an EQ, but only takes a single FX slot.

+

Left

Right

FX Amt

Volume

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Parametric 4Band EQ

D-mod

Guitar Amp Model

a Amp Type VOX AC15, VOX AC15TB, VOX AC30, VOX AC30TB,

UK BLUES, UK 70S, UK 80S, UK 90S, UK MODERN,

US MODERN, US HIGAIN,

BOUTIQUE OD, BOUTIQUE CL,

BLACK 2x12,

TWEED - 1x12, TWEED - 4x10

Selects the type of the amplifier

Drive Gain 0100 Sets the input gain

b Volume 0100 Sets the output level

Src OffTempo Selects the modulation source for the out- put level

Amt 100+100 Sets the modulation amount of the output level

c Bass 0100 Sets the bass (low range) level

Middle 0100 Sets the middle (mid range) level

700| Effects for the Sounds

d Treble 0100 Sets the treble (high range) level

Presence/Cut 0100 Sets the presence (high-frequency tone). With VOX amps, it simulates the Top Cut on the original AC30; with higher values, it cuts the high frequencies more.

e Post P4EQ Thru, On Selects through or on for the equalizer

f Band1 Cutoff [Hz] 201.00k Sets the center frequency of

Band 1

Q 0.510.0 Sets Band 1s bandwidth

Gain [dB] 18+18 Sets the gain of Band 1

g Band2 Cutoff [Hz] 505.00k Sets the center frequency of

Band 2

Q 0.510.0 Sets Band 2s bandwidth

Gain [dB] 18+18 Sets the gain of Band 2

h Band3 Cutoff [Hz] 30010.00k Sets the center frequency of

Band 3

Q 0.510.0 Sets Band 3s bandwidth

Gain [dB] 18+18 Sets the gain of Band 3

i Band4 Cutoff [Hz] 50020.00k Sets the center frequency of

Band 4

Q 0.510.0 Sets Band 4s bandwidth

Gain [dB] 18+18 Sets the gain of Band 4

j Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Amp Type

d: Presence/Cut

If the Amp Type is VOX AC15VOX AC30TB, this sets the attenuation of the high-frequency range. For other types, this sets the boost of the high-fre- quency range. This corresponds to the Cut knob control of amps made by the VOX Corporation.

e: Post P4EQ

By chaining this with 19: St.Guitar Cabinet you can simulate the combination of a guitar amp and speaker cabinet. In this case, we recommend that you set Post P4EQ to Thru, but if necessary you can turn it On and adjust the tone.

Effect parameters |701

GuitarAmp + Cabinet

As the above, minus the EQ, plus the cabinet.

+ Guitar Amp Model

Left

Right

Wet / Dry

Volume

Wet / Dry

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

D-mod

Cabinet Simulator

a Amp Type VOX AC15, VOX AC15TB, VOX AC30, VOX AC30TB,

UK BLUES, UK 70S, UK 80S, UK 90S, UK MODERN,

US MODERN, US HIGAIN,

BOUTIQUE OD, BOUTIQUE CL,

BLACK 2x12,

TWEED - 1x12, TWEED - 4x10

Selects the type of the amplifier

b Drive Gain 0100 Sets the input gain

c Volume 0100 Sets the output level

Src OffTempo Selects the modulation source for the out- put level

Amt 100+100 Sets the modulation amount of the output level

d Bass 0100 Sets the bass (low range) level

Middle 0100 Sets the middle (mid range) level

Treble 0100 Sets the treble (high range) level

Presence/Cut 0100 Sets the presence (high-frequency tone). With VOX amps, it simulates the Top Cut on the original AC30; with higher values, it cuts the high frequencies more.

702| Effects for the Sounds

e Cabinet Type TWEED - 1x12, TWEED - 4x10,

BLACK - 2x10, BLACK - 2x12,

VOX AC15 - 1x12, VOX AC30 - 2x12, VOX AD412 - 4x12,

UK H30 - 4x12, UK T75 - 4x12,

US V30 - 4x12

Selects the cabinet type

Cabinet Trim 0100 Sets the input level

Cabinet Air 0100 Sets the mic position

f Noise Gate On/Off On, Off Switches Gate on/off

Threshold 0100 Sets the level at which gating is applied

Attack 1100 Sets the attack time

Release 1100 Sets the release time

g Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |703

Amp Clean Combo

This models the clean channel of a amp that went on sale in 1975 and con- tained two 12 speakers. As the name suggests, it produces a clean tone with a tight sounding character, and a deep and compact low-end. When pushed hard the bass tends to crumble. The original amp doesnt have a Presence control but does have a Bright Switch. The Presence control on your Pa4X emulates this switch when Off and On, plus all points in-between.

a Drive 0100 Sets the input gain

b Volume 0100 Sets the output level

Src OffTempo Selects the modulation source for the out- put level

Amt 100+100 Sets the modulation amount of the output level

c Bass 0100 Sets the bass (low range) level

Middle 0100 Sets the middle (mid range) level

d Treble 0100 Sets the treble (high range) level

Presence 0100 Boosts the upper frequencies above the normal treble control range for added high-end

e Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

704| Effects for the Sounds

Amp Clean Combo + Cab

As the above, plus cabinet.

a Drive 0100 Sets the input gain

b Volume 0100 Sets the output level

Src OffTempo Selects the modulation source for the out- put level

Amt 100+100 Sets the modulation amount of the output level

c Bass 0100 Sets the bass (low range) level

Middle 0100 Sets the middle (mid range) level

d Treble 0100 Sets the treble (high range) level

Presence 0100 Sets the presence (high-frequency tone)

e Cabinet Type TWEED - 1x12, TWEED - 4x10,

BLACK - 2x10, BLACK - 2x12,

VOX AC15 - 1x12, VOX AC30 - 2x12, VOX AD412 - 4x12,

UK H30 - 4x12, UK T75 - 4x12,

US V30 - 4x12

Selects the cabinet type

f Cabinet Trim 0100 Sets the input level

g Cabinet Air 0100 Sets the mic position

h Noise Gate On/Off On, Off Switches Gate on/off

Threshold 0100 Sets the level at which gating is applied

Attack 1100 Sets the attack time

Release 1100 Sets the release time

i Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |705

Amp California

This 45W American combo amp with four 10 speakers, produced in South California during the years 19631968, was known for its big, clean sound and its warm and husky sound when driven heavily. This amps medium out- put and powerful sound was a favorite in clubs.

Originals tube compliment: 4 x 12AX7 in the preamp, 1 x 5AR4 rectifier tube, 2 x 6L6 tubes in the power amp, plus 2 x 12AT7 tubes.

a Drive 0100 Sets the input gain

b Volume 0100 Sets the output level

Src OffTempo Selects the modulation source for the out- put level

Amt 100+100 Sets the modulation amount of the output level

c Bass 0100 Sets the bass (low range) level

Middle 0100 Sets the middle (mid range) level

d Treble 0100 Sets the treble (high range) level

Presence 0100 Sets the presence (high-frequency tone)

e Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

706| Effects for the Sounds

Amp California + Cab

As the above, plus cabinet.

a Drive 0100 Sets the input gain

b Volume 0100 Sets the output level

Src OffTempo Selects the modulation source for the out- put level

Amt 100+100 Sets the modulation amount of the output level

c Bass 0100 Sets the bass (low range) level

Middle 0100 Sets the middle (mid range) level

d Treble 0100 Sets the treble (high range) level

Presence 0100 Sets the presence (high-frequency tone)

e Cabinet Type TWEED - 1x12, TWEED - 4x10,

BLACK - 2x10, BLACK - 2x12,

VOX AC15 - 1x12, VOX AC30 - 2x12, VOX AD412 - 4x12,

UK H30 - 4x12, UK T75 - 4x12,

US V30 - 4x12

Selects the cabinet type

f Cabinet Trim 0100 Sets the input level

g Cabinet Air 0100 Sets the mic position

h Noise Gate On/Off On, Off Switches Gate on/off

Threshold 0100 Sets the level at which gating is applied

Attack 1100 Sets the attack time

Release 1100 Sets the release time

i Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |707

Amp Tweed

This 40W American-made tweed-covered 1957 model combo amp with two 12 speakers is known for its rich, clean tone that is ideal for classic rock, blues, and country. By raising the volume you can also produce a powerful and punchy overdrive sound. It quickly became a favorite of the greatest bands of the 60s, and is what you can call the classic tone. Its nickname came from the use of lacquered tweed fronted with vintage brown/gold grille cloth, that gave it that sophisticated look.

Originals tube compliment: 4 x 12AX7 in the preamp, 2 x 5U4 rectifier tube, 2 x GT6L6 tubes in the power amp.

a Drive 0100 Sets the input gain

b Volume 0100 Sets the output level

Src OffTempo Selects the modulation source for the out- put level

Amt 100+100 Sets the modulation amount of the output level

c Bass 0100 Sets the bass (low range) level

Middle 0100 Sets the middle (mid range) level

d Treble 0100 Sets the treble (high range) level

Presence 0100 Sets the presence (high-frequency tone)

e Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

708| Effects for the Sounds

Amp Tweed + Cab

As the above, plus cabinet.

a Drive 0100 Sets the input gain

b Volume 0100 Sets the output level

Src OffTempo Selects the modulation source for the out- put level

Amt 100+100 Sets the modulation amount of the output level

c Bass 0100 Sets the bass (low range) level

Middle 0100 Sets the middle (mid range) level

d Treble 0100 Sets the treble (high range) level

Presence 0100 Sets the presence (high-frequency tone)

e Cabinet Type TWEED - 1x12, TWEED - 4x10,

BLACK - 2x10, BLACK - 2x12,

VOX AC15 - 1x12, VOX AC30 - 2x12, VOX AD412 - 4x12,

UK H30 - 4x12, UK T75 - 4x12,

US V30 - 4x12

Selects the cabinet type

f Cabinet Trim 0100 Sets the input level

g Cabinet Air 0100 Sets the mic position

h Noise Gate On/Off On, Off Switches Gate on/off

Threshold 0100 Sets the level at which gating is applied

Attack 1100 Sets the attack time

Release 1100 Sets the release time

i Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |709

Amp Modded OD

This models the Overdrive channel of a 100W boutique amp head produced in North Hollywood. Its beautifully deep and rounded low-end, delightfully transient midrange attack and sweet treble, with an harmonically rich over- drive, the lushest clean tone, woody attack and blooming sustain, make it an instant pleasure to play.

Originals tube compliment: 2 x 12AX7s in the preamp, 1 x 12AX7s rectifier, 4 x EL34s (or 6L6s) in the power amp.

a Drive 0100 Sets the input gain

b Volume 0100 Sets the output level

Src OffTempo Selects the modulation source for the out- put level

Amt 100+100 Sets the modulation amount of the output level

c Bass 0100 Sets the bass (low range) level

Middle 0100 Sets the middle (mid range) level

d Treble 0100 Sets the treble (high range) level

Presence 0100 Sets the presence (high-frequency tone)

e Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

710| Effects for the Sounds

Amp Modded OD + Cab

As the above, plus cabinet.

a Drive 0100 Sets the input gain

b Volume 0100 Sets the output level

Src OffTempo Selects the modulation source for the out- put level

Amt 100+100 Sets the modulation amount of the output level

c Bass 0100 Sets the bass (low range) level

Middle 0100 Sets the middle (mid range) level

d Treble 0100 Sets the treble (high range) level

Presence 0100 Sets the presence (high-frequency tone)

e Cabinet Type TWEED - 1x12, TWEED - 4x10,

BLACK - 2x10, BLACK - 2x12,

VOX AC15 - 1x12, VOX AC30 - 2x12, VOX AD412 - 4x12,

UK H30 - 4x12, UK T75 - 4x12,

US V30 - 4x12

Selects the cabinet type

f Cabinet Trim 0100 Sets the input level

g Cabinet Air 0100 Sets the mic position

h Noise Gate On/Off On, Off Switches Gate on/off

Threshold 0100 Sets the level at which gating is applied

Attack 1100 Sets the attack time

Release 1100 Sets the release time

i Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |711

St. Guitar Cabinet (Stereo Guitar Cabinet)

This simulates the acoustical character of a guitar amps speaker cabinet.

Left

Trim

Trim

Right

FX Amt

FX Amt

Stereo In - Stereo Out

Cabinet Simulator

Cabinet Simulator

a Trim 0100 Sets the input level

b Type TWEED - 1x12, TWEED - 4x10,

BLACK - 2x10, BLACK - 2x12,

VOX AC15 - 1x12, VOX AC30 - 2x12, VOX AD412 - 4x12,

UK H30 - 4x12, UK T75 - 4x12,

US V30 - 4x12

Selects the cabinet type

c Air 0100 Sets the mic position

d Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

712| Effects for the Sounds

Gtr. Cabinet + NR (Guitar Cabinet + Noise Reduction)

Guitar cabinet and Noise Reduction.

NR Sens Off, 1100 Noise Reduction sensitivity

a Trim 0100 Sets the input level

b Type TWEED - 1x12, TWEED - 4x10,

BLACK - 2x10, BLACK - 2x12,

VOX AC15 - 1x12, VOX AC30 - 2x12, VOX AD412 - 4x12,

UK H30 - 4x12, UK T75 - 4x12,

US V30 - 4x12

Selects the cabinet type

c Air 0100 Sets the mic position

d Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

OD/HG - Amp Sim (Overdrive/Hi.Gain - Amp Simulation)

This effect combines a mono overdrive/high-gain distortion and an amp sim- ulation. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Routing Amp Simulation

Amp Simulation Filter

Overdrive / Hi-Gain

3 Band PEQ

Output Level

Mode: Overdrive / Hi-Gain Drive

Driver

Effect parameters |713

OD/HI-GaIN

a [O]Drive Mode Overdrive, Hi-Gain Switches between overdrive and high-gain distortion

Drive 1100 Sets the degree of distortion

b [O]Output Level 050 Sets the overdrive output level

Src OffTempo Selects the modulation source for the overdrive output level

Amt 50+50 Sets the modulation amount of the over- drive output level

c [O]Low Cutoff [Hz] 201.00k Sets the center frequency for Low EQ (shelving type)

Gain [dB] 18+18 Sets the gain of Low EQ

d [O]Mid1 Cutoff [Hz] 30010.00k Sets the center frequency for Mid/High EQ 1 (peaking type)

Q 0.510.0 Sets the band width of Mid/High EQ 1

Gain [dB] 18+18 Sets the gain of Mid/High EQ 1

e [O]Mid2 Cutoff [Hz] 50020.00k Sets the center frequency for Mid/High EQ 2 (peaking type)

Q 0.510.0 Sets the band width of Mid/High EQ 2

Gain [dB] 18+18 Sets the gain of Mid/High EQ 2

aMP SIM

f [A]Amplifier Type SS, EL84, 6L6 Selects the type of guitar amplifie

g Routing OD/HG Amp, Amp OD/HG

Switches the order of the overdrive and amp

h Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

714| Effects for the Sounds

OD/Hi.Gain Wah (Overdrive/Hi.Gain Wah)

This distortion effect utilizes an Overdrive mode and a Hi-Gain mode. Controlling the wah effect, the 3-band EQ, and the amp simulation will allow you to create versatile distortion sounds. This effect is suitable for guitar and organ sounds.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+ Amp Simulation 3 Band PEQ

Output Level

Direct Mix

Pre Low-cut

D-mod

Wah

Mode: Overdrive / Hi-Gain Drive

Driver

a Wah Off, On Switches Wah on/off

Src OffTempo Selects the modulation source that switches the Wah on and off

Sw Toggle, Moment

Selects the switching mode for the modulation source that switches the Wah on and off

b Wah Sweep Range 10+10 Sets the range of Wah

Wah Sweep Src OffTempo Selects the modulation source that controls the Wah

c Drive Mode Overdrive, Hi-Gain

Switches between overdrive and hi-gain distor- tion

d Drive 1100 Sets the degree of distortion

Pre Low-cut 010 Sets the low range cut amount of the distortion input

e Output Level 050 Sets the output level

Src OffTempo Selects the modulation source for the output level

Amt 50+50 Sets the modulation amount of the output level

f Low Cutoff [Hz] 201.00k Sets the center frequency for Low EQ (shelving type)

Gain [dB] 18+18 Sets the gain of Low EQ

g Mid1Cutoff [Hz] 30010.00k Sets the center frequency for Mid/High EQ 1 (peaking type)

Q 0.510.0 Sets the band width of Mid/High EQ 1

Gain [dB] 18+18 Sets the gain of Mid/High EQ 1

Effect parameters |715

h Mid2 Cutoff [Hz] 50020.00k Sets the center frequency for Mid/High EQ 2 (peaking type)

Q 0.510.0 Sets the band width of Mid/High EQ 2

Gain [dB] 18+18 Sets the gain of Mid/High EQ 2

i Direct Mix 050 Sets the amount of the dry sound mixed to the distortion

Speaker Simulation Off, On Switches the speaker simulation on/off

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Wah

The Wah parameter switches the wah effect on/off.

a: Sw

This parameter sets how the wah effect is switched on and off via the modu- lation source.

When Sw = Moment, the wah effect is usually turned off. It is turned on only when you press the pedal or operate the joystick.

When a value for the modulation source is less than 64, off speed is selected, and when the value is 64 or higher, on is selected.

When Sw = Toggle, the wah effect is switched between on and off each time you press the pedal or operate the joystick.

The switch will be turned on/off each time the value of the modulation source exceeds 64.

b: Wah Sweep Range

b: Wah Sweep Src

This parameter sets the sweep range of the wah center frequency. A nega- tive value will reverse the direction of sweep. The wah center frequency can be controlled by the modulation source specified in the Wah Sweep Src parameter.

716| Effects for the Sounds

d: Pre Low-cut

Cutting the signal in the low range before it is input to the Distortion will cre- ate a sharp distortion.

d: Drive

e: Output Level

The degree of distortion is determined by the level of input signal and the setting of Drive. Raising the Drive setting will cause the entire volume level to increase. Use the Output Level parameter to adjust the volume level. The Output Level parameter uses the signal level input to the 3-Band EQ. If clipping occurs at the 3-Band EQ, adjust the Output Level parameter.

OD/HyperGain Wah (Overdrive/Hyper Gain Wah)

This distortion effect has two modes: overdrive and hyper-gain that produc- es a strong distortion. A higher high-gain setting is required for this effect relative to a normal-size effect.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Amp Simulation 3 Band EQ

Output Level

Direct Mix

Pre Low-cut

D-mod

Wah

Mode: Overdrive / Hyper-Gain Drive

Driver+

a Wah Off, On Switches Wah on/off

Src OffTempo Selects the modulation source that switches the Wah on and off

Sw Toggle, Moment Selects the switching mode for the modulation source that switches the Wah on and off

b Wah Sweep Range 10+10 Sets the range of Wah

Wah Sweep Src OffTempo Selects the modulation source that controls the Wah

c Drive Mode Overdrive, Hyper-Gain Switches between overdrive and hi- gain distortion

Effect parameters |717

d Drive 1120 Sets the degree of distortion

Pre Low-cut 010 Sets the low range cut amount of the distortion input

e Output Level 050 Sets the output level

Src OffTempo Selects the modulation source for the output level

Amt 50+50 Sets the modulation amount of the out- put level

f Low Cutoff [Hz] 201.00k Sets the center frequency for Low EQ (shelving type)

Gain [dB] 18+18 Sets the gain of Low EQ

g Mid1 Cutoff [Hz] 30010.00k Sets the center frequency for Mid/High EQ 1 (peaking type)

Q 0.510.0 Sets the band width of Mid/High EQ 1

Gain [dB] 18+18 Sets the gain of Mid/High EQ 1

h Mid2 Cutoff [Hz] 50020.00k Sets the center frequency for Mid/High EQ 2 (peaking type)

Q 0.510.0 Sets the band width of Mid/High EQ 2

Gain [dB] 18+18 Sets the gain of Mid/High EQ 2

i Direct Mix 050 Sets the amount of the dry sound mixed to the distortion

Speaker Simulation Off, On Switches the speaker simulation on/off

j Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

718| Effects for the Sounds

Comp - Amp Sim (Compressor - Amp Simulation)

This effect combines a mono compressor and an amp simulation. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Compressor Routing

Amp Simulation

Amp Simulation Filter LEQ HEQEQ Trim

Output Level

Envelope - Control

Comp

COMPrESSOr

a [C] Sensitivity

1100 Sets the sensitivity

b [C]Attack 1100 Sets the attack level

Output Level 0100 Sets the compressor output level

c [C]EQ Trim 0100 Sets the EQ input level

d [C]Pre LEQ Gain [dB] 15+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] 15+15 Sets the gain of High EQ

aMP SIM

e [A]Amplifier Type SS, EL84, 6L6 Selects the type of guitar amplifier

f Routing Comp Amp, Amp Comp

Switches the order of the compressor and amp simulation

g Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |719

Comp - OD/HiGain (Compressor - Overdrive/Hi.Gain)

This effect combines a mono compressor and an overdrive/high-gain distor- tion. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Routing Overdrive / Hi-Gain

3 Band PEQ

Output Level

Mode: Overdrive / Hi-Gain Drive

Driver

Compressor

Output Level

Envelope - Control

Comp FX Amt

COMPrESSOr

a [C] Sensitivity 1100 Sets the sensitivity

b [C] Attack 1100 Sets the attack level

Output Level 0100 Sets the compressor output level

OD/HI-GaIN

c [O] Drive Mode Overdrive, Hi-Gain

Switches between overdrive and high-gain dis- tortion

Drive 1100 Sets the degree of distortion

d [O]Output Level 050 Sets the overdrive output level

Src OffTempo Selects the modulation source for the overdrive output level

Amt 50+50 Sets the modulation amount of the overdrive output level

e [O]Low Cutoff [Hz] 201.00k Sets the center frequency for Low EQ (shelving type)

Gain [dB] 18+18 Sets the gain of Low EQ

f [O]Mid1 Cutoff [Hz] 30010.00k Sets the center frequency for Mid/High EQ 1 (peaking type)

Q 0.510.0 Sets the band width of Mid/High EQ 1

Gain [dB] 18+18 Sets the gain of Mid/High EQ 1

g [O]Mid2 Cutoff [Hz] 50020.00k Sets the center frequency for Mid/High EQ 2 (peaking type)

Q 0.510.0 Sets the band width of Mid/High EQ 2

Gain [dB] 18+18 Sets the gain of Mid/High EQ 2

720| Effects for the Sounds

h [O]Wet/Dry Dry, 1 : 9999 : 1, Wet

Sets the overdrive effect balance

Src OffTempo Selects the Wet/Dry modulation source for the overdrive

Amt 100+100 Sets the Wet/Dry modulation amount for the overdrive

i Routing Comp OD/HG, OD/HG Comp

Switches the order of the compressor and over- drive

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Wah - Amp Sim (Wah - Amp Simulation)

This effect combines a mono wah and an amp simulation. You can change the order of the effects.

FX Amt

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Routing Amp Simulation

Amp Simulation Filter

Wah/Auto Wah

Wah

D-mod

Envelope Sweep Mode

D-mod Auto

LFO

LFO

WaH

a [W]Frequency Bottom 0100 Sets the lower limit of the wah center fre- quency

Frequency Top 0100 Sets the upper limit of the wah center fre- quency

b [W]Sweep Mode Auto, D-mod, LFO

Selects the control from auto-wah, modu- lation source, and LFO

Src OffTempo Selects the modulation source for the wah when Sweep Mode=D-mod

Effect parameters |721

c [W]LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

Resonance 0100 Sets the resonance amount

LPF Off, On Switches the wah low pass filter on and off

d [W]Wet/Dry Dry, 1:9999:1, Wet

Sets the wah effect balance

Src OffTempo Selects the Wet/Dry modulation source for the wah

Amt 100+100 Sets the Wet/Dry modulation amount for the wah

aMP SIM

e [A]Amplifier Type SS, EL84, 6L6 Selects the type of guitar amplifier

f Routing Wah Amp, Amp Wah

Switches the order of the wah and amp simulation

g Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Decimator - Amp (Decimator - Amp Simulation)

This effect combines a mono decimator and an amp simulation. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Decimator Routing

Amp Simulation

Amp Simulation Filter Pre LPF High Damp

Output Level Decimator

Resolution

DECIMatOr

a [D]Pre LPF Off, On Turn the harmonic noise caused by low- ered sampling on and off

High Damp [%] 0100 Sets the ratio of high-range damping

722| Effects for the Sounds

b [D]Sampling Freq [Hz] 1.00k48.00k Sets the sampling frequency

Resolution 424 Sets the data bit length

c [D]Output Level 0100 Sets the decimator output level

aMP SIM

d [A]Amplifier Type SS, EL84, 6L6 Selects the type of guitar amplifier

e Routing Decimator Amp, Amp Decimator

Switches the order of the decimator and amp simulation

f Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

AmpSim - Tremolo (Amp Simulation- Tremolo)

This effect combines a mono amp simulation and a tremolo.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Amp Simulation Tremolo

Amp Simulation Filter Tremolo

LFO: Tri/Sin/Vintage/Up/Down LFO Shape

aMP SIM

a [A]Amplifier Type SS, EL84, 6L6 Selects the type of guitar amplifier

trEMOLO

b [T]LFO Waveform Triangle, Sine, Vintage, Up, Down

Selects the LFO Waveform

LFO Shape 100+100 Changes the curvature of the LFO Waveform

c [T]LFO Frequency [Hz]

0.0220.00 Sets the speed of the LFO

d [T]Depth 0100 Sets the depth of LFO modulation

Effect parameters |723

e Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

BassTubeAmp+Cab. (Bass Tube Amp Model + Cabinet)

This simulates a bass amp (with gain and drive) and speaker cabinet.

+

Left

Right

FX Amt

Volume

Drive

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

D-mod

Bass Amp Model2 Cabinet Simulator

a Amp Type Selects the type of the amplifier

STUDIO COMBO A tube combo ideal for the Motown sound

VOX AC100 A 100W tube amp AC100 made by Vox

UK MAJOR A 200W tube amp made in the UK

b Drive Gain 0100 Sets the input gain

c Volume 0100 Sets the output level

Src OffTempo Selects the modulation source for the output level

Amt 100+100 Sets the modulation amount of the output level

d Bass 0100 Sets the bass (low range) level

e Middle 0100 Sets the middle (mid range) level

f Treble 0100 Sets the treble (high range) level

g Presence 0100 Sets the presence (high-frequency tone)

h Cabinet Simulator Off, On Switches the cabinet simulator on/ off

724| Effects for the Sounds

i Cabinet Type LA - 4x10, MODERN - 4x10, METAL - 4x10, CLASSIC -8x10, UK - 4x12, STUDIO - 1x15, JAZZ - 1x15, VOX AC100 - 2x15, US - 2x15, UK - 4x15, LA - 1x18, COMBI - 1x12 & 1x18

Selects the cabinet type

j Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the begin- ning of this part

Amt 100+100 Amount of modulation source

a: Amp Type

i: Cabinet Type

Recommended Combinations of Bass Amp Models and Cabinets:

Amp Type Cabinet Type

STUDIO COMBO STUDIO - 1x15

AC100 VOX AC100 - 2x15

UK MAJOR UK - 4x15, UK - 4x12

Effect parameters |725

Bass Amp Model

This simulates a bass amp.

+

Left

Right

FX Amt

Volume

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

D-mod

Bass Amp Model

a Amp Type Selects the amplifier type

LA STUDIO An amp that is typical of the LA sound.

JAZZ A combo amp favored by jazz bassists.

GOLD PANEL An amp distinctive for its eye-catching gold panel and clean sound.

SCOOPED An amp typical of 80s sounds.

VALVE2 A tube amp suitable for rock.

VALVE A tube amp with the ULTRA LO switch turned ON.

CLASSIC A tube amp whose basic character changes according to the setting of the value dial.

b Volume 0100 Sets the output level

Src OffTempo Selects the modulation source for the output level

Amt 100+100 Sets the modulation amount of the output level

c Bass 0100 Sets the bass (low range) level

d Middle 0100 Sets the middle (mid range) level

Mid Range 04 Sets the mid-frequency range

e Treble 0100 Sets the treble (high range) level

f Presence 0100 Sets the presence (high-frequency tone)

g Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

726| Effects for the Sounds

Bass Amp+Cabinet (Bass Amp Model+Cabinet)

This simulates a bass amp and speaker cabinet.

+

Left

Right

FX Amt

Volume

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

D-mod

Bass Amp Model1 Cabinet Simulator

a Amp Type LA STUDIO, JAZZ , GOLD PANEL, SCOOPED, VALVE2, VALVE, CLASSIC

Selects the type of the amplifier

b Volume 0100 Sets the output level

Src OffTempo Selects the modulation source for the output level

Amt 100+100 Sets the modulation amount of the output level

c Bass 0100 Sets the bass (low range) level

d Middle 0100 Sets the middle (mid range) level

Mid Range 04 Sets the mid-frequency range

e Treble 0100 Sets the treble (high range) level

f Presence 0100 Sets the presence (high-frequency tone)

g Cabinet Simulater

Off, On Switches the cabinet simulator on/ off

h Cabinet Type LA - 4x10, MODERN - 4x10, METAL - 4x10, CLASSIC - 8x10, UK - 4x12, STUDIO - 1x15, JAZZ - 1x15, VOX AC100 - 2x15, US - 2x15, UK - 4x15, LA - 1x18, COMBI - 1x12 & 1x18

Selects the cabinet type

i Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |727

a: Amp Type

h: Cabinet Type

Recommended Combinations of Bass Amp Models and Cabinets:

Amp Type Cabinet Type

LA STUDIO LA - 4x10, LA - 1x18

JAZZ JAZZ - 1x15

GOLD PANEL MODERN - 4x10

SCOOPED METAL - 4x10

VALVE2 CLASSIC - 8x10

VALVE CLASSIC - 8x10

CLASSIC COMBI - 1x12 & 1x18

728| Effects for the Sounds

St. Bass Cabinet (Stereo Bass Cabinet)

This simulates the acoustical character of a bass amps speaker cabinet.

Left

Trim

Trim

Right

FX Amt

FX Amt

Stereo In - Stereo Out

Cabinet Simulator

Cabinet Simulator

a Trim 0100 Sets the input level

b Cabinet Type Selects the cabinet type

LA - 4x10 Four 10 speakers / LA sound cabinet

MODERN - 4x10 Four 10 aluminum-cone speakers / mod- ern cabinet

METAL - 4x10 Four 10 aluminum-cone speakers / mod- ern cabinet

CLASSIC - 8x10 Eight 10 speakers / classic cabinet

UK - 4x12 Four 12 speakers / UK-manufactured cabinet

STUDIO - 1x15 One 15 speaker / studio combo cabinet

JAZZ - 1x15 One 15 speaker / jazz combo cabinet

VOX AC100 - 2x15 Two 15 speakers / cabinet for Vox AC100

US - 2x15 Two 15 speakers / US-manufactured cabinet

UK - 4x15 Four 15 speakers / UK-manufactured cabinet

LA - 1x18 One 18 speaker / LA sound cabinet

COMBI - 1x12 & 1x18 One 12 and one 18 speaker combination cabinet

c Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |729

Tube PreAmp Model (Tube PreAmp Modeling)

This effect simulates a two-stage vacuum tube preamp. You can make indi- vidual settings for two vacuum tubes connected in series. This lets you cre- ate the warm sound typical of vacuum tubes.

+ Tube Pre Amp1 Tube Pre Amp2

Left

Right

FX Amt

Output Level

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+ Invert

a Tube1 Low Cut [Hz]

Thru, 218.00k Sets the cutoff frequency for the low cut filter of stage 1

High Cut [Hz] 5320.00k, Thru Sets the cutoff frequency for the high cut fil- ter of stage 1

b Tube1 Gain [dB] 24.0+24.0 Sets the input gain for stage 1

Saturation [%] 0100 Sets the input/output response for stage 1

c Tube1 Bias 0100 Sets the bias voltage for stage 1

d Tube1 Phase Normal, Wet Invert

Turns phase reversal on/off

e Tube2 Low Cut [Hz]

Thru, 218.00k Sets the cutoff frequency for the low cut filter of stage 2

High Cut [Hz] 5320.00k, Thru Sets the cutoff frequency for the high cut fil- ter of stage 2

f Tube2 Gain [dB] 24.0+24.0 Sets the input gain for stage 2

Saturation [%] 0100 Sets the input/output response for stage 2

g Tube2 Bias 0100 Sets the bias voltage for stage 2

h Tube2 Output Level [dB]

48.0+0.0 Sets the output level

i Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

730| Effects for the Sounds

b, f: Saturation [%]

With higher settings of this value, the waveform will change at high gain levels, tending to cause distortion. Lower settings of this value will produce linear response.

Mic/Pre Amp - Saturation

In

Out Saturation = 0 Saturation = 50

Saturation = 100

Bias = 0

c: Tube1 Bias

This expresses the effect that changes in vacuum tube bias have on the dis- tortion of the waveform. Higher settings of this value will produce distortion even at low gain levels. Since this will also change the overtone structure, you can use it to control the tonal character.

In

Out

Satulation = 50

Bias = 0 Bias = 50 Bias = 100

Mic/Pre Amp - Bias

d: Tube1 Phase

With the Wet Invert setting, the phase of the signal will be inverted between stage 1 and stage 2. Since Bias is applied to the inverted signal in stage 2, this will change the tonal character.

Effect parameters |731

St. Tube PreAmp (Stereo Tube PreAmp Modeling)

This is a stereo vacuum tube preamp simulator (Tube PreAmp Model (Tube PreAmp Modeling)).

Left

Right

FX Amt

Output Level

FX Amt

Stereo In - Stereo Out

Tube Pre Amp1 Tube Pre Amp2

Tube Pre Amp1 Tube Pre Amp2

+

+

Invert

Mic Model+PreAmp (Mic Modeling + PreAmp)

This effect simulates a mic and vacuum tube preamp. You can choose from various types of mic and positions to create differing sonic characters.

+ Tube Pre AmpMic Simulation

Left

Right

FX Amt

Output Level

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

732| Effects for the Sounds

a Mic Type Vintage Dynamic, Multi Condenser, Percussion Condenser, Drums Dynamic, Vocal Dynamic, Multi Dynamic, Vocal Condenser, Vocal Tube, Kick Dynamic

Selects the type of mic

b Mic Position Close, On, Off, Far Sets the mic placement distance

c Tube Low Cut [Hz] Thru, 218.00k Sets the frequency of the low cut fil- ter

High Cut [Hz] 5320.00k, Thru Sets the frequency of the high cut filter

d Tube Gain [dB] 24.0+24.0 Sets the input gain to the vacuum tube preamp

Saturation [%] 0100 Sets the input/output response of the preamp

e Tube Bias 0100 Sets the bias level of the preamp

f Tube Output Level [dB] 48.0+0.0 Sets the output level of the preamp

g Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry sig- nal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

b: Mic Position

This expresses the effect that the mic position has on the sound. The Close setting is the closest mic position, and the Far setting is the farthest.

Effect parameters |733

St. Mic + PreAmp (Stereo Mic Modeling + PreAmp)

This is a stereo mic and preamp simulator (Mic Model+PreAmp (Mic Modeling + PreAmp)). For example you might use this to simulate micing of a stereo source such as a rotary speaker.

Tube Pre AmpMic Simulation

Tube Pre AmpMic Simulation

Left

Right

FX Amt

Output Level

FX Amt

Stereo In - Stereo Out

734| Effects for the Sounds

FILt (EQ and Filters)

St.Parametric4EQ (Stereo Parametric 4-Band EQ)

This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and 4. The gain of Band 2 can be controlled by dynamic modulation.

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

Band1 Band2 Band3 Band4 PEQ PEQ PEQ PEQ

LEQ

LEQ

HEQ

HEQ

PEQ PEQ PEQ PEQ

Trim

Trim

D-mod

a Trim 0100 Sets the input level

b Band1 Type Peaking, Shelving-Low

Selects the type of Band 1

c Band4 Type Peaking, Shelving-High

Selects the type of Band 4

d Band2 Dynamic Gain Src

OffTempo Selects the modulation source of the Band 2 gain

Amt [dB] 18.0+18.0 Sets the modulation amount of Band 2 gain

e Band1 Cutoff [Hz] 201.00k Sets the center frequency of Band 1

Q 0.510.0 Sets the bandwidth of Band 1

Gain [dB] 18.0+18.0 Sets the gain of Band 1

f Band2 Cutoff [Hz] 5010.00k Sets the center frequency of Band 2

Q 0.510.0 Sets the bandwidth of Band 2

Gain [dB] 18.0+18.0 Sets the gain of Band 2

g Band3 Cutoff [Hz] 30010.00k Sets the center frequency of Band 3

Q 0.510.0 Sets the bandwidth of Band 3

Gain [dB] 18.0+18.0 Sets the gain of Band 3

Effect parameters |735

h Band4 Cutoff [Hz] 50020.00k Sets the center frequency of Band 4

Q 0.510.0 Sets the bandwidth of Band 4

Gain [dB] 18.0+18.0 Sets the gain of Band 4

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

b: Band1 Type

c: Band4 Type

Selects a filter type for Band 1 and 4.

3dB

3dB

Band1 Cutoff Band4 Cutoff

0dB

+Gain

Gain Band1 Type=Peaking Band1 Type=Shelving Low

Band4 Type=Peaking Band4 Type=Shelving High

Parametric 4EQ - Band1, Band4 Type

Band2 Cutoff

Band2 Cutoff

0dB

+6dB

+15dB

Band2 Gain[dB]= +6.0 Band2 Gain Mod Amount[dB]= +9.0

D-mod

0dB

+6dB

9dB

Band2 Gain[dB]= +6.0 Band2 Gain Mod Amount[dB]= 15.0

D-mod

Parametric 4EQ - Band2 Gain Mod

e, f, g, h: Q

These parameters set the bandwidth of each equalizer. The higher the value, the narrower the band becomes.

d: Band2 Dynamic Gain Src

d: Amt [dB]

You can control the gain of Band 2 using the modulation source.

736| Effects for the Sounds

St. Graphic 7EQ (Stereo Graphic 7-Band EQ)

This is a stereo 7-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear, visual idea of frequency responses. You can select a center frequency setting for each band from twelve types, accord- ing to the sound.

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

Band1 Band2 Band3 Band4Trim

Trim

Band5 Band6 Band7

Band1 Band2 Band3 Band4 Band5 Band6 Band7

a Type 1:Wide 1, 2:Wide 2, 3:Wide 3, 4:Half Wide 1, 5:Half Wide 2, 6:Half Wide 3, 7:Low, 8:Wide Low, 9:Mid, 10:Wide Mid, 11:High, 12:Wide High

Selects a combination of center frequencies for each band

b Trim 0100 Sets the input level

c Band1 [dB] 18.0+18.0 Sets the gain of Band 1

d Band2 [dB] 18.0+18.0 Sets the gain of Band 2

e Band3 [dB] 18.0+18.0 Sets the gain of Band 3

f Band4 [dB] 18.0+18.0 Sets the gain of Band 4

g Band5 [dB] 18.0+18.0 Sets the gain of Band 5

h Band6 [dB] 18.0+18.0 Sets the gain of Band 6

i Band7 [dB] 18.0+18.0 Sets the gain of Band 7

j Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Type

This parameter selects a combination of center frequencies for each band. The center frequency of each band is shown in the right of the screen.

You can configure a 21-Band Graphic EQ ranging from 80 Hz to 18 kHz if you route three Graphic 7-Band EQ effects in series, with a setting of 7:Low, 9:Mid, and 11:High for each EQ.

Effect parameters |737

P4EQ Exciter (Parametric 4-Band EQ - Exciter)

This effect combines a mono four-band parametric equalizer and an exciter.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Trim + Exciter

Parametric 4Band EQ Exciter

P4EQ

a [E]Trim 0100 Sets the parametric EQ input level

b [E]B1 Cutoff [Hz] 201.00k Sets the center frequency of Band 1

Q 0.510.0 Sets the bandwidth of Band 1

Gain [dB] 18+18 Sets the gain of Band 1

c [E]B2 Cutoff [Hz] 505.00k Sets the center frequency of Band 2

Q 0.510.0 Sets the bandwidth of Band 2

Gain [dB] 18+18 Sets the gain of Band 2

d [E]B3 Cutoff [Hz] 30010.00k Sets the center frequency of Band 3

Q 0.510.0 Sets the bandwidth of Band 3

Gain [dB] 18+18 Sets the gain of Band 3

e [E]B4 Cutoff [Hz] 50020.00k Sets the center frequency of Band 4

Q 0.510.0 Sets the bandwidth of Band 4

Gain [dB] 18+18 Sets the gain of Band 4

EXCItEr

f [X]Exciter Blend 100+100 Sets the intensity (depth) of the Exciter effect

g [X]Emphasis Freq 070 Sets the frequency range to be emphasized

h Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

738| Effects for the Sounds

P4EQ - Wah (Parametric 4-Band EQ Wah/Auto Wah)

This effect combines a mono four-band parametric equalizer and a wah. You can change the order of the connection.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Trim +

Parametric 4Band EQ Routing

Wah/Auto Wah

D-mod

Envelope Sweep Mode

D-mod Auto

LFO LFO

Wah

P4EQ

a [E]Trim 0100 Sets the parametric EQ input level

Routing P4EQ Wah, Wah P4EQ

Changes the order of the parametric equal- izer and wah connection

b [E]B1 Cutoff [Hz] 201.00k Sets the center frequency of Band 1

Q 0.510.0 Sets the bandwidth of Band 1

Gain [dB] 18+18 Sets the gain of Band 1

c [E]B2 Cutoff [Hz] 505.00k Sets the center frequency of Band 2

Q 0.510.0 Sets the bandwidth of Band 2

Gain [dB] 18+18 Sets the gain of Band 2

d [E]B3 Cutoff [Hz] 30010.00k Sets the center frequency of Band 3

Q 0.510.0 Sets the bandwidth of Band 3

Gain [dB] 18+18 Sets the gain of Band 3

e [E]B4 Cutoff [Hz] 50020.00k Sets the center frequency of Band 4

Q 0.510.0 Sets the bandwidth of Band 4

Gain [dB] 18+18 Sets the gain of Band 4

WaH

f [W]Frequency Bottom 0100 Sets the lower limit of the wah center fre- quency

Frequency Top 0100 Sets the upper limit of the wah center fre- quency

Effect parameters |739

g [W]Sweep Mode Auto, D-mod, LFO

Selects the control from auto-wah, modula- tion source, and LFO

Src OffTempo Selects the modulation source for the wah when Sweep Mode=D-mod

h [W]LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

Resonance 0100 Sets the resonance amount

LPF Off, On Switches the wah low pass filter on and off

i [W] Wet/Dry Dry,1 : 99 99 : 1, Wet

Sets the wah effect balance

Src OffTempo Selects the Wet/Dry modulation source for the wah

Amt 100+100 Sets the Wet/Dry modulation amount for the wah

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

St. Wah/Auto Wah (Stereo Wah/Auto Wah)

This stereo wah effect allows you to create sounds from vintage wah pedal simulation to auto-wah simulation, and much broader range settings.

Stereo In - Stereo Out

D-mod

Envelope Sens Envelope Shape

Response

FX Amt

Wah Sweep Mode

D-mod Auto

Left

Right FX Amt

LFO LFO

Wah

+

740| Effects for the Sounds

a Frequency Bottom 0100 Sets the lower limit of the wah center frequency

Frequency Top 0100 Sets the upper limit of the wah center frequen- cy

b Sweep Mode Auto, D-mod, LFO

Selects the control from auto-wah, modulation source, and LFO

Src OffTempo Selects the modulation source for the wah when Sweep Mode=D-mod

Respon 0100 Sets the response speed when Sweep Mode = Auto or D-mod

c Envelope Sens 0100 Sets the sensitivity of auto-wah

Envelope Shape 100+100 Sets the sweep curve of auto-wah

d LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

e MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

f Resonance 0100 Sets the resonance amount

Low Pass Filter Off, On Switches the wah low pass filter on and off

g Output Level 0100 Sets the output level of the effect sound

Src OffTempo Selects the modulation source that will control the effect output level

Amt 100+100 Sets the modulation amount of the effect out- put level

h Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |741

a: Frequency Bottom

a: Frequency Top

The sweep width and direction of the wah filter are determined by the Frequency Top and Frequency Bottom settings.

Max D-mod

Frequency

Bottom=25

Top=75

H ig

he r

MaxZero Higher D-mod

Frequency

Bottom=60

Top=30

H ig

he r

Zero Higher

Frequency

Bottom=25

Top=75

H ig

he r

Frequency

Bottom=75

Top=25 H

ig he

r

Sweep Mode=Auto

Envelope EnvelopeTime

Wah

Woo Woo

Woo

Envelope

Wah Wah

Time

Woo

Woo

Wah

Wah

Sweep Mode=D-mod

b: Sweep Mode

This parameter changes the wah control mode. Setting Sweep Mode to Auto will select an auto-wah that sweeps according to envelope changes in the input signal level. Auto-wah is frequently used for funk guitar parts and clav sounds.

When Sweep Mode is set to D-mod, you can control the filter directly via the modulation source in the same way as a wah pedal.

When Sweep Mode is set to LFO, the effect uses LFO to sweep in cycle.

c: Envelope Sens

This parameter sets the sensitivity of auto-wah. Increase the value if the in- put signal is too low to sweep. Reduce the value if the input signal is so high that the filter is stopped temporarily.

742| Effects for the Sounds

c: Envelope Shape

This parameter determines the sweep curve for auto-wah.

Time

Level

Envelope

value = 0...100 value = 0...+100

Envelope Shape

d: LFO Frequency [Hz]

e: MIDI Sync

When MIDI/Tempo Sync=Off, the LFO speed uses the LFO Frequency pa- rameter setting. When MIDI/Tempo Sync=On, the LFO speed follows the BPM, Base Note, and Times settings.

e: BPM

e: Base Note

e: Times

One cycle of LFO sweep is obtained by multiplying the length of a note ( ) (selected for Base Note, in relation to the tempo specified in BPM, or the MIDI Clock tempo if BPM is set to MIDI) by the number specified in the Times parameter.

Effect parameters |743

St. Vintage Wah (Stereo Vintage/Custom Wah)

This effect simulates the tonal character of a vintage wah pedal. You can customize the tone and range settings.

Mode Preset Setting

Custom Parameters

Stereo In - Stereo Out

D-mod

Envelope Sens

Shape / Invert Response

FX Amt

Wah Sweep Mode

D-mod Auto

Left

Right FX Amt

LFO LFO

Wah

+

a Mode Preset, Custom

Selects either preset or custom settings

Shape 100+100 Sets the curve of the sweep

Invert Off, On Inverts the polarity of the sweep

b Frequency Bottom 0100 Sets the lower limit of the wah center frequency when Mode = Custom

Frequency Top 0100 Sets the upper limit of the wah center frequency when Mode = Custom

c Resonance Bottom 0100 Sets the lower limit of resonance amount when Mode=Custom

Resonance Top 0100 Sets the upper limit of resonance amount when Mode=Custom

d Sweep Mode Auto, D-mod, LFO

Selects the control from auto-wah, modulation source, and LFO

Src OffTempo Selects the modulation source for the wah when Sweep Mode=D-mod

Manual 0100 Sets the center frequency when Sweep Mode=D- mod and Source=Off

e Envelope Sens 0100 Sets the auto-wah sensitivity

Response 0100 Sets the speed of response when Sweep Mode=Auto or D-mod

f LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

744| Effects for the Sounds

g MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

h Output Level 0100 Sets the output level of the effect sound

Src OffTempo Selects the modulation source that will control the effect output level

Amt 100+100 Sets the modulation amount of the effect out- put level

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Shape

This parameter specifies the sweep curve of the wah. It applies to all control via auto-wah, modulation source, and LFO, and lets you adjust subtle nu- ances of the wah effect.

a: Mode

b: Frequency Bottom

b: Frequency Top

c: Resonance Bottom

c: Resonance Top

If Mode=Preset, this simulates a vintage wah pedal. In this case, internally fixed values are used for Frequency Bottom/Top and Resonance Bottom/ Top, and these settings will be ignored. The settings for Frequency Bottom/ Top and Resonance Bottom/Top are valid if Mode=Custom.

Effect parameters |745

VOX Wah

This effect is modeled on two legendary VOX wah pedals: the V847 and the V848 Clyde McCoy model. Thanks to their unique throaty tone, these are the only wah pedals that many professionals will consider putting under their feet. Played musically, they can make your melody lines cry like a babyor howl like a man possessed!

A great tonal trick is to find a sweet spot within the range of the Wah pedal and then leave it there. This stuck-Wah can be very effective when used tastefully, producing a distinctive sound that will cut through any mix.

D-mod

Auto Sensitivity Envelope

Mode

Pedal

Auto

Wet / Dry Left

Right Wet / Dry

+ Wah

Attack / Polarity

Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out

a Type V847, V848 Effect model

b Open 099 Level when open

Close 099 Level when close

c Mode Auto, Pedal Selects either auto or pedal mode

d Pedal Source OffTempo Selects the modulation source when in pedal mode

Pedal Manual 099 Level when in pedal mode

e Auto Sensivity 0100 Sensitivity when in auto mode

Auto Polarity Up, Down Polarity when in auto mode

Auto Attack 099 Attack time

f Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

746| Effects for the Sounds

St.Exciter/Enhncr (Stereo Exciter/Enhancer)

This effect is a combination of the Exciter, which adds a punch to the sound and the Enhancer, which adds spread and presence.

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

EQ Trim

LEQ HEQ

EQ Trim

Delay

Delay

Depth

D-mod

Exciter

Exciter Enhancer

a Exciter Blend 100+100 Sets the intensity (depth) of the Exciter effect

Src OffTempo Selects the modulation source of the Exciter intensity

Amt 100+100 Sets the modulation amount of the Exciter in- tensity

b Emphasis Freq 070 Sets the frequency to be emphasized

Src OffTempo Selects the modulation source of the frequency to be emphasized

Amt 70+70 Sets the amount of modulation of the frequency to be emphasized

c Enhancer Delay L [msec]

0.050.0 Sets the delay time for the Enhancer left chan- nel

d Enhancer Delay R [msec]

0.050.0 Sets the delay time for the Enhancer right chan- nel

e Enhancer Depth 0100 Sets the determines to what degree the Enhancer effect is applied

Src OffTempo Selects the modulation source of the Enhancer width

Amt 100+100 Sets the modulation amount of the Enhancer width

f EQ Trim 0100 Sets the 2-band EQ input level

g Pre LEQ Fc Low, Mid-Low

Selects the cutoff frequency (low or mid-low) of the low-range equalizer

Pre HEQ Fc High, Mid-High

Selects the cutoff frequency (high or mid-high) of the high-range equalizer

h Pre LEQ Gain [dB] 15.0+15.0 Gain of the Lo EQ

Pre HEQ Gain [dB] 15.0+15.0 Gain of the High EQ

Effect parameters |747

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Exciter Blend

This parameter sets the depth (intensity) of the Exciter effect. Positive values give a frequency pattern (to be emphasized) different from negative values.

b: Emphasis Freq

This parameter sets the frequency to be emphasized. Higher values will em- phasize lower frequencies.

c: Enhancer Delay L [msec]

d: Enhancer Delay R [msec]

These parameters set the delay time for the Enhancer left and right channel. Specifying a slightly different delay time for the left and right channel will add a stereo image, depth, and width to the sound.

748| Effects for the Sounds

Stereo Isolator

This is a stereo effect that separates the input signal into low, mid, and high- frequency bands, and controls the volume of each band independently. For example you can separately boost or cut the kick, snare, and hi-hat sounds from a drum signal in realtime.

D-mod

D-mod

D-mod

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

Trim

Isolator

Low

Mid

High

Trim

Low

Mid

High

a Trim 0100 Sets the input level

b Low/Mid [Hz] 100500 Sets the frequency at which the low and mid bands are divided

c Mid/High [Hz] 20006000 Sets the frequency at which the mid and high bands are divided

d Low Gain [dB] Inf, 59+12

Sets the low-frequency gain

Src OffTempo Selects the source that will modulate low- frequency gain

Amt 72+72 Sets the amount by which the low-frequency gain will be modulated

e Mid Gain [dB] Inf, 59+12 Sets the mid-frequency gain

Src OffTempo Selects the modulation source for mid-fre- quency gain

Amt 72+72 Sets the amount by which the mid-frequency gain will be modulated

f High Gain [dB] Inf, 59+12 Sets the high-frequency gain

Src OffTempo Selects the modulation source for high-fre- quency gain

Amt 72+72 Sets the amount by which the high-frequency gain will be modulated

Effect parameters |749

g Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

St. Random Filter (Stereo Random Filter)

This stereo band pass filter uses a step-shape waveform and random LFO for modulation. You can create a special effect from filter oscillation.

Filter

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

Filter

LFO Phase

LFO: Step-Tri/Random

a LFO Waveform Step-Tri, Random

Selects the LFO Waveform

LFO Phase [degree] 180+180 Sets the LFO phase difference between the left and right

b LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

Src OffTempo Selects the modulation source used for both LFO speed and step speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

c LFO Step Freq [Hz] 0.0550.00 Sets the LFO step speed (speed that changes in steps

Amt 50.00 +50.00

Sets the modulation amount of LFO step speed

750| Effects for the Sounds

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

e Step Base Note Selects the type of notes to specify the LFO step speed

Times x1x32 Sets the number of notes to specify the LFO step speed

f Manual 0100 Sets the filter center frequency

Src OffTempo Selects the modulation source for the filter cen- ter frequency

Amt 100+100 Sets the modulation amount for the filter center frequency

g Depth 0100 Sets the modulation depth of filter center fre- quency

Src OffTempo Selects the modulation source of filter modula- tion

Amt 100+100 Sets the modulation amount of filter modula- tion

h Resonance 0100 Sets the resonance amount

i Wet/Dry -Wet, -1:99 Dry99:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |751

a: LFO Phase [degree]

Offsetting the left and right phases alters how modulation is applied to the left and right channels, creating a swelling affect.

0 +90 +180 [degree]

0 [degree]90180

LFO Phase

a: LFO Waveform

b: LFO Frequency [Hz]

c: LFO Step Freq [Hz]

When LFO Waveform is set to Step-Tri, LFO is a step-shape, triangle wave- form. The LFO Frequency parameter sets the original triangle waveform speed. Changing the LFO Step Freq parameter enables you to adjust the width of the steps.

When LFO Waveform is set to Random, the LFO Step Freq parameter uses a random LFO cycle.

Step Frequency

LFO Frequency

Step Frequency Step-Tri Random

Random Filter LFO

d: BPM

e: Step Base Note

e: Times

The width of an LFO step, or a cycle of random LFO, is obtained by multiply- ing the length of a note ( ) (selected for Step Base Note, in relation to the tempo specified in BPM, or the MIDI Clock tempo if BPM is set to MIDI) by the number specified in the Times parameter.

i: Wet/Dry

The effect sounds phase will be reversed when you set this parameter in the negative range of values.

752| Effects for the Sounds

St. MultiModeFilter (Stereo Multi Mode Filter)

This is a multi-mode filter with four types; low pass, high pass, band pass, and band reject. You can use LFO or dynamic modulation to vary the cutoff frequency or resonance.

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

Multimode Filter Driver

Driver

Trim Output

OutputTrim

LFO Phase

LFO: Tri / Sine LFO Shape

LPF

HPF

BPF

BRF

Filter Type

Multimode Filter

a Type LPF, HPF, BPF, BRF

Selects the type of filter

Trim 0100 Sets the input level

b Cutoff 0100 Sets the cutoff frequency (center frequency)

Src OffTempo Selects the modulation source of the cutoff

Amt 100+100 Sets the modulation amount of the cutoff

c Resonance 0100 Sets the resonance amount

Src OffTempo Selects the source that will modulate the amount of resonance

Amt 100+100 Sets the amount by which the resonance will be modulated

d LFO Waveform Triangle, Sine Selects the LFO Waveform

Phase [degree] 180+180 Sets the LFO phase difference between the left and right

Depth 0100 Sets the depth to which the LFO will modulate the cutoff frequency

e LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

Effect parameters |753

f MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

g Drive SW Off, On Switches distortion on/off within the filter

Output Level 0100 Sets the output level

h Drive Gain 0100 Sets the distortion amount

Low Boost 0100 Sets the amount of low-range boost

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Talking Modulator

This effect adds an unusual character, like a human voice, to the input signal. Modulating the tone via dynamic modulation, you can create an interesting effect that sounds as if the guitar or synthesizer is talking.

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Left

Right

FX Amt

FX Amt

+

D-mod Voice Top: A

Voice Center: I Voice Bottom: U

A - I - U - E - OTalking Modulator

LFO

D-mod LFO

Sweep Mode

754| Effects for the Sounds

a Sweep Mode D-mod, LFO Switches between modulation source control and LFO control

b Manual Voice Control Bottom, 149, Center, 5199, Top

Voice pattern control

Src OffTempo Selects the modulation source that controls the voice pattern

c Voice Top A, I, U, E, O Selects a vowel sound at the top end of control

d Voice Center A, I, U, E, O Selects a vowel sound in the center of control

e Voice Bottom A, I, U, E, O Selects a vowel sound at the bottom end of con- trol

f Formant Shift 100+100 Sets the frequency to which the effect is applied

Resonance 0100 Sets the Level of resonance of the voice pattern

g LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

h MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

c: Voice Top

d: Voice Center

e: Voice Bottom

These parameters assign vowels to the top, center, and bottom position of the controller.

E.g.: When Voice Top=A, Voice Center=I, and Voice Bottom=U:

Effect parameters |755

If Sweep Modeis set to D-mod and Ribbon is selected as the modulation source, moving your finger from the right to left of the ribbon controller will change the sound from a to i, then u.

If Sweep Mode is set to LFO, the sound will change cyclically from a to i, u, i, then a.

+ Max ZeroD-mod

Max

Voice Bottom Voice Center Voice Top

U

I

AA

O

E

JS X Ribbon

JS +Y JS Y etc

Zero + Max

Talking Modulator Control

f: Formant Shift

This parameter adjusts the frequency level to which the effect is applied. If you wish to apply the effect to a higher-range sound, set this parameter to a higher value; to apply the effect to a lower-range sound, set this to a lower value.

f: Resonance

This parameter sets the intensity of resonance for the voice pattern. A larger value will add more character to the sound.

756| Effects for the Sounds

2Voice Resonator (2-Voice Resonator)

This effect resonates the input signal at a specified pitch. You can set the pitch, output level, and pan settings for two resonators individually. You can control the resonance intensity via an LFO.

Left

Right

Resonance

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

High Damp

High DampTrim

Trim

+

Level

Level Pan

Pan

Control Mode

D-mod

LFO

Manual

Invert: On/Off

Resonator

Resonator

Pitch, Fine [cents]

a Control Mode Manual, LFO, D-mod

Switches the controls of resonance intensity

LFO/D-mod Invert

Off, On Reverses the Voice 1 and 2 control when LFO/D-mod is selected

b LFO Frequency [Hz]

0.0220.00 Sets the speed of the LFO

D-mod Src OffTempo Selects the modulation source that controls reso- nance intensity

c MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

d Mod. Depth 100+100 Sets the amount of resonance intensity control via LFO/D-mod

Trim 0100 Sets the input level at the resonator

e Voice1: Pitch C0B8 Sets the voice1 Pitch for resonance

Fine [cents] 50+50 Fine-adjusts the voice 1 pitch for resonance

Level 0100 Sets the Voice1 output level

Effect parameters |757

f Voice1: Resonance

100+100 Sets the intensity of resonance when Control Mode = Manual

High Damp [%] 0100 Sets the damping amount of resonant sound in the high range

Pan L6L1, C, R1R6 Sets the Voice1 stereo image

g Voice2: Pitch C0B8 Sets the voice 2 Pitch for resonance

Fine [cents] 50+50 Fine-adjusts the voice 2 pitch for resonance

Level 0100 Sets the Voice2 output level

h Voice2: Resonance

100+100 Sets the intensity of resonance when Control Mode = Manual

High Damp [%] 0100 Sets the damping amount of resonant sound in the high range

Pan L6L1, C, R1R6 Sets the Voice2 stereo image

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Control Mode

f: Voice 1: Resonance

h: Voice 2: Resonance

This parameter determines the resonance intensity.

When Control Mode = Manual, the Resonance parameter sets the inten- sity of resonance. If the Resonance parameter has a negative value, har- monics will be changed, and resonance will occur at a pitch one octave lower.

When Control Mode = LFO, the intensity of resonance varies according to the LFO. The LFO sways between positive and negative values, causing reso- nance to occur between specified pitches an octave apart in turn.

When Control Mode = D-mod, the resonance is controlled by the dynamic modulation source. If JS X or Ribbon is assigned as the modulation source, the pitch an octave higher and lower can be controlled, similar to when LFO is selected for Control Mode.

758| Effects for the Sounds

a: LFO/D-mod Invert

When Control Mode = LFO or D-mod, the controlled phase of either Voice 1 or 2 will be reversed. When the resonance pitch is set for Voice 1 (Resonance has a positive value), Voice 2 will resonate at a pitch an octave below (Reso- nance has a negative value).

f: Voice 1: Pitch

f: Fine [cents]

h: Voice 2: Pitch

h: Fine [cents]

The Pitch parameter specifies the pitch of resonance by note name. The Fine parameter allows for fine adjustment in steps of cents.

g: High Damp [%]

i: High Damp [%]

This sets the amount of damping amount for the high frequencies of the resonant sound. Lower values create a metallic sound with a higher range of harmonics.

VOX Treble Booster

Vintage booster of high frequencies.

a Drive 0...99 Amount of the boost effect

b Level 0...99 General level

c Tone 0100 Tone of the effect

d Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |759

Vocoder

This effect applies the timbral character of a different signal (the modulator) to the input signal (the carrier).

A common use of this effect is to produce the sound of various instruments by inputting a voice to the Modulator via a microphone. A special effect is also achieved by using rhythm or effect sounds. Strings or distortion guitar sounds with a lot of harmonics are suitable as Carrier signals.

When this effect is selected, the microphone input no longer goes to the Voice Processor, but is routed to this FX processor.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Stereo In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Band Pass Filter Envelope

Carrier Trim

Modulator Trim

Modulator High Mix

Noise Generator

Noise Level

+ +

FX Control BUS 1 FX Control BUS 2

Modulator Source

Modulator Select

++

a Carrier Trim 0...100 Sets the carrier input level

b Modulator Trim 0...100 Sets the modulator input level

c Modulator Source

Input, FX Control 1, FX Control 2

Choose either FX Control 1 or 2 to select the micro- phone input as the modulator.

Choose FX Control 1 for the Left Line input, or FX Control 2 for the Right Line input.

Choose Input to use the Sound as the modulator. If you want to use the keyboard as the modulator, ap- ply the Vocoder effect to one of the Upper Sounds.

d Modulator Select

L/R Mix, L Only, R Only

Selects whether to use the left/right mix, only left, or only right of the modulator input

e Formant Shift 2...+2 Sets the height of the frequency for the vocoder ef- fect

f Response 0...100 Sets the speed of the response to the modulator input

g Noise Level 0...100 Sets the noise mix level to the Carrier

Src Off...Tempo Selects the modulation source for the noise mix level

Amt 100...+100 Sets the modulation amount for the noise mix level

h Modulator High Mix

0...100 Sets the high-range output level of the modulator

760| Effects for the Sounds

i Low Gain [dB] 12...+12 Sets the low-range output level of the vocoder

High Gain [dB] 12...+12 Sets the high-range output level of the vocoder

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

e: Formant Shift

By offsetting the Carrier filter, you can adjust the height of the frequency range to which the vocoder effect is applied. The tonal quality will change significantly.

g: Noise Level

This parameter enables you to mix white noise with the Carrier.

h: Modulator High Mix

This parameter sets the high-range output level of the modulator sound. If the modulator is a human voice, it will make the words more clear.

Using the vocoder with the microphone input

When programming the Vocoder, you can start from one of the specially pro- grammed Vocoder Keyboard Sets (in the Synth group) as templates.

To use a voice from a microphone as a modulator:

1 Press the MIC button to turn the microphone channel off.

2 Connect a microphone to the Mic Input.

3 Set Modulator Source to FX Control 1.

4 Speak into the microphone while you use the GAIN knob (next to the MIC input) to adjust the level as high as possible without allowing distortion to occur.

With these settings, the sound from the microphone will be used as the mod- ulator. While you play, speak into the mic; it will sound as though the instru- ment is talking.

If the effect sound is distorted, adjust the Carrier Trim and Modulator Trim.

Please remember to set the Carrier tracks Dry parameter to Off, and the Send value to 127.

Effect parameters |761

You can add reverb to the Vocoder, by way of the to MFX1 parameter.

To create a new Song making use of the Vocoder, enter the Sequencer > Backing Sequence mode with a Keyboard Set including the Vocoder effect. Please note that the voice and effect will not be recorded in the Song.

762| Effects for the Sounds

FrEQ (Frequency)

St. Sub Oscillator (Stereo Sub Oscillator)

This effect adds very low frequencies to the input signal. It is very useful when simulating a roaring drum sound or emphasizing powerful low range. This effect is different from the equalizer in that you can add very low range harmonics. You can also adjust the oscillator frequency to match a particular note number, for use as an octaver.

FX Amt

Note No. OSC Mode

Fixed

Note (Key Follow)

Sine OscillatorFixed Frequency Pitch

Note Interval, Fine

Stereo In - Stereo Out

Left

Right FX Amt

Envelope Sens Envelope Shape

Envelope Shape

D-mod

Pre LPF

Envelope Sens Pre LPF

a OSC Mode Note (Key Follow), Fixed

Determines whether the oscillator frequency follows the note number or whether it is fixed

b Note Interval 480 Sets the pitch difference from the note number when OSC Mode=Note (Key Follow)

Note Fine 100+100 Fine adjustment of the oscillator frequency

c Fixed Frequency [Hz] 10.080.0 Sets the oscillator frequency when OSC Mode=Fixed

Src OffTempo Selects the modulation source for the oscillator frequency when OSC Mode=Fixed

Amt 80+80 Sets the oscillator frequency modulation amount when OSC Mode=Fixed

d Envelope Pre LPF 1100 Sets the upper limit of the frequency range for which very low harmonics are added

e Envelope Sens 0100 Sets the sensitivity with which very low harmon- ics are added

Envelope Shape 100+100 Sets the oscillators volume envelope curve

f Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |763

a: OSC Mode

b: Note Interval

b: Note Fine

The OSC Mode parameter selects the oscillator operation mode. When Note (Key Follow) is selected, the oscillators frequency is determined based on the note number, allowing you to use it as an octaver. The Note Interval parameter sets the pitch offset from the original note number by semitone steps. The Note Fine parameter allows you to fine-tune in steps of cents.

d: Envelope Pre LPF

This parameter sets the upper limit of the frequency range to which very low harmonics are added. Adjust this parameter if you do not want to add lower harmonics to the higher range.

Grain Shifter

This effect cuts extremely short samples (grains) from the input signal waveform and plays them repeatedly, giving a mechanical character to the sound.

+

Left

Right

Sample Cycle

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

LFO

D-mod Trigger

Grain Shifter

a Duration 0100 Sets the duration of the grain

Src OffTempo Selects the source that will modulate the duration of the grain

Amt 100+100 Sets the amount by which the grain duration will be modulated

b LFO Sync Src OffTempo Selects the modulation source that will reset the LFO

764| Effects for the Sounds

c LFO Sample Cycle [Hz]

0.0220.00 Sets the frequency at which the grain will be switched

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

e Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Duration

c: LFO Sample Cycle [Hz]

Duration sets the length of the sampled grain, and the LFO Sample Cycle controls how often a new grain is sampled. In between Sample Cycles, the current grain is repeated continuously.

In

Out

Sample Cycle / Duration

Sample Cycle

Duration

Effect parameters |765

Detune

Using this effect, you can obtain a detune effect that offsets the pitch of the effect sound slightly from the pitch of the input signal. Compared to the chorus effect, a more natural sound thickness will be created.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Input Level

Input Level

+ High Damp

Delay

Feedback

Detune

a Pitch Shift [cents] 100+100 Sets the pitch difference from the input signal

Src OffTempo Selects a modulation source for pitch shift

Amt 100+100 Sets the modulation amount for pitch shift

b Delay Time [msec] 01000 Sets the delay time

c Feedback 100+100 Sets the feedback amount

High Damp [%] 0100 Sets the damping amount in the high range

d Input Level Dmod [%]

100+100 Sets the modulation amount of the input level

Src OffTempo Selects the modulation source for the input level

e Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

d: Input Level Dmod [%]

d: Src

This parameter sets the dynamic modulation of the input level.

Input Level

Lo ud

er

MaxZero Higher D-mod

Input Level

MaxZero Higher D-mod

x1.0

x0.5 Input Level Dmod= +100 Input Level Dmod= +50

Lo ud

er

x1.0

x0.5

Input Level Dmod= 100 Input Level Dmod= 50

Input Level Dmod

766| Effects for the Sounds

Pitch Shifter

This effect changes the pitch of the input signal. You can select from three types: Fast (quick response), Medium, and Slow (preserves tonal quality). You can also create an effect in which the pitch is gradually raised (or dropped) using the delay with feedback.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Input Level

Input Level

+ High Damp

Delay

Feedback

Pitch Shifter

Feedback Position

Pre Post

a Mode Slow, Medium, Fast

Switches Pitch Shifter mode

b Pitch Shift [1/2tone]

24+24 Sets the pitch shift amount by steps of a semitone

Src OffTempo Selects the modulation source of pitch shift amount

Amt 24+24 Sets the modulation amount of pitch shift amount

c Fine [cents] 100+100 Sets the pitch shift amount by steps of a cent

Amt 100+100 Sets the modulation amount of pitch shift amount

d Delay Time [msec]

02000 Sets the delay time

e Feedback Position

Pre, Post Switches the feedback connection

f Feedback 100+100 Sets the feedback amount

High Damp [%] 0100 Sets the damping amount in the high range

g Input Level Dmod [%]

100+100 Sets the modulation amount of the input level

Src OffTempo Selects the modulation source for the input level

h Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |767

a: Mode

This parameter switches the pitch shifter operating mode. With Slow, tonal quality will not be changed too much. With Fast, the effect becomes a Pitch Shifter that has a quick response, but may change the tone. Medium is in- between these two. If you do not need to set too much pitch shift amount, set this parameter to Slow. If you wish to change the pitch significantly, use Fast.

b: Pitch Shift [1/2tone]

b: Src

b: Amt

c: Fine [cents]

c: Amt

The amount of pitch shift will use the value of the Pitch Shift plus the Fine value. The amount of modulation will use the b: Amt value plus the c: Amt.

The same Modulation Source is used for both Pitch Shift and Fine.

e: Feedback Position

f: Feedback

When Feedback Position is set to Pre, the pitch shifter output is again input to the pitch shifter. Therefore, if you specify a higher value for the Feedback parameter, the pitch will be raised (or lowered) more and more each time feedback is repeated.

If Feedback Position is set to Post, the feedback signal will not pass through the pitch shifter again. Even if you specify a higher value for the Feedback parameter, the pitch-shifted sound will be repeated at the same pitch.

768| Effects for the Sounds

Pitch Shifter BPM

This pitch shifter enables you to set the delay time to match the song tempo.

BPM BPM Base Note x Times

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Input Level

Input Level

+ High Damp

Delay

Feedback

Pitch Shifter

Feedback Position

Pre Post

Tempo

a Mode Slow, Medium, Fast

Switches Pitch Shifter mode

b Pitch Shift [1/2tone] 24+24 Sets the pitch shift amount in steps of a semitone

Src OffTempo Selects the modulation source of pitch shift amount

Amt 24+24 Sets the modulation amount of pitch shift amount

c Fine [cents] 100+100 Sets the pitch shift amount in steps of one cent

Amt 100+100 Sets the modulation amount of pitch shift amount

d BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Time Over? ---, OVER! Displays an error message when the delay time exceeds the upper limit

e Delay Base Note Selects the type of notes to specify the delay time

Times x1x32 Sets the number of notes to specify the delay time

f Feedback Position Pre, Post Switches the feedback connection

g Feedback 100+100 Sets the feedback amount

High Damp [%] 0100 Sets the damping amount in the high range

h Input Level Dmod [%] 100+100 Sets the modulation amount of the input level

Src OffTempo Selects the modulation source for the input level

Effect parameters |769

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

d: BPM

e: Delay Base Note

e: Times

The delay time is the duration of Times number of Delay Base Note note values at the BPM tempo (or if BPM is set to MIDI, the tempo determined by MIDI Clock).

d: Time Over?

You can set the delay time up to 5,290msec. If the delay time exceeds this limit, the error message OVER! appears on the display. Set the delay time parameters so that this message will not appear. Time Over? is only a display parameter.

770| Effects for the Sounds

Pitch Shift Mod (Pitch Shift Modulation)

This effect modulates the detuned pitch shift amount using an LFO, adding a clear spread and width to the sound by panning the effect sound and dry sound to the left and right. This is especially effective when the effect sound and dry sound output from stereo speakers are mixed.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

LFO: Tri / Sqr

Pan

+ Pitch Shifter

a Pitch Shift [cents] 100+100 Sets the pitch difference from the input signal

b LFO Waveform Triangle, Square Selects the LFO Waveform

c LFO Frequency [Hz]

0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

e Depth 100+100 Sets the LFO modulation depth for pitch shift amount

Src OffTempo Selects the modulation source of the depth of modulation

Amt 100+100 Sets the modulation amount of the depth of mod- ulation

f Pan L, 1 : 9999 : 1, R Sets the panning effect sound and dry sound separately

Effect parameters |771

g Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Pitch Shift [cents]

e: Depth

These parameters set the amount of pitch shift and amount of modulation by means of the LFO.

Pitch

H ig

he r

Pitch Shift Mod - Pitch Shift / Depth

Lo w

er

Original Pitch Pitch Shift (+ value)

LFO Waveform=Triangle Depth (+value)

LFO Waveform=Square Depth (value)

g: Pan

h: Wet/Dry

The Pan parameter pans the effect sound and dry sound to the left and right. With L, the effect sound is panned left, and the dry sound is panned right. With a Wet/Dry = Wet setting, the effect and dry sound will be output in a proportion of 1:1.

772| Effects for the Sounds

St. Pitch Shifter (Stereo Pitch Shifter)

This is a stereo pitch shifter. The pitch shift amount for the left and right channels can be reversed from each other.

Left

Right

Feedback Spread

FX Amt

FX Amt

Stereo In - Stereo Out

High Damp

High Damp

Input Level

Input Level

Feedback Position Pre

Pre

Post

Post

DelayPitch Shifter

DelayPitch Shifter

a Mode Slow, Medium, Fast

Switches Pitch Shifter mode

L/R Pitch Normal, Up/Down

Determines whether or not the L/R pitch shift amount is inverted

b Pitch Shift [1/2tone] 24+24 Sets the pitch shift amount in steps of a semitone

Src OffTempo Selects the modulation source of pitch shift amount

Amt 24+24 Sets the modulation amount of pitch shift amount

c Fine [cents] 100+100 Sets the pitch shift amount in steps of one cent

Amt 100+100 Sets the modulation amount of pitch shift amount

d L Delay [msec] 02000 Sets the delay time for the left channel

e R Delay [msec] 02000 Sets the delay time for the right channel

f Feedback 100+100 Sets the feedback amount

High Damp [%] 0100 Sets the damping amount in the high range

g Feedback Position Pre, Post Switches the feedback connection

Spread 100+100 Sets the width of the stereo image of the effect sound

h Input Level Dmod [%] 100+100 Sets the modulation amount of the input level

Src OffTempo Selects the modulation source for the input level

Effect parameters |773

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: L/R Pitch

When you select Up/Down for this parameter, the pitch shift amount for the right channel will be reversed. If the pitch shift amount is positive, the pitch of the left channel is raised, and the pitch of the right channel is lowered.

St. PitchShift BPM (Stereo Pitch Shifter BPM)

This stereo pitch shifter enables you to set the delay time to match the song tempo.

Tempo

BPM BPM Base Note x Times

Base Note x Times

Left

Right

Feedback Spread

FX Amt

FX Amt

Stereo In - Stereo Out

High Damp

High Damp

Input Level

Input Level

Feedback Position Pre

Pre

Post

Post

DelayPitch Shifter

DelayPitch Shifter

a Mode Slow, Medium, Fast Switches Pitch Shifter mode

L/R Pitch Normal, Up/Down

Determines whether or not the L/R pitch shift amount is inverted

b Pitch Shift [1/2tone] 24+24 Sets the pitch shift amount in steps of a semitone

Src OffTempo Selects the modulation source of pitch shift amount

Amt 24+24 Sets the modulation amount of pitch shift amount

774| Effects for the Sounds

c Fine [cents] 100+100 Sets the pitch shift amount in steps of one cent

Amt 100+100 Sets the modulation amount of pitch shift amount Sets the modulation amount of pitch shift amount

d BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Time Over? L ---, OVER! Display the error message if the left chan- nel delay time exceeds the upper limit

R ---, OVER! Display the error message if the right channel delay time exceeds the upper limit

e L Delay Base Note Selects the type of notes to specify the left channel delay time

Times x1x32 Sets the number of notes to specify the left channel delay time

f R Delay Base Note Selects the type of notes to specify the right channel delay time

Times x1x32 Sets the number of notes to specify the right channel delay time

g Feedback Position Pre, Post Switches the feedback connection

Spread 100+100 Sets the width of the stereo image of the effect sound

h Feedback 100+100 Sets the feedback amount

High Damp [%] 0100 Sets the damping amount in the high range

i Input Level Dmod [%]

100+100 Sets the modulation amount of the input level

Src OffTempo Selects the modulation source for the in- put level

j Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |775

MISC (Miscellaneous)

Stereo Decimator

This effect creates a rough sound like a cheap sampler by lowering the sam- pling frequency and data bit length. You can also simulate noise unique to a sampler (aliasing).

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

Pre LPF

Pre LPF

High Damp Output Level

High Damp Output Level

Sampling Frequency

Decimator

Decimator

D-mod

LFO

Resolution

Resolution

a Pre LPF Off, On Selects whether the harmonic noise caused by a decrease in sampling frequency is generated or not

High Damp [%] 0100 Sets the ratio of cut of the high range

b Sampling Freq [Hz] 1.00k 48.00k

Sets the sampling frequency

Src OffTempo Selects the modulation source of the sampling frequency

Amt 48.00k +48.00k

Sets the modulation amount of the sampling frequency

c LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

776| Effects for the Sounds

e Depth 0100 Sets the depth of the sampling frequency LFO modulation

Src OffTempo Selects the LFO modulation source of the sam- pling frequency

Amt 100+100 Sets the LFO modulation amount of the sam- pling frequency

f Resolution 424 Sets the data bit length

g Output Level 0100 Sets the output level

Src OffTempo Selects the modulation source for the output level

Amt 100+100 Sets the modulation amount of the output level

h Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Pre LPF

If a sampler with a very low sampling frequency receives very high-pitched sound that could not be heard during playback, it could generate pitch noise that is unrelated to the original sound. Set Pre LPF to On to prevent this noise from being generated.

If you set the Sampling Freq to about 3 kHz and set Pre LPF to Off, you can create a sound like a ring modulator.

f: Resolution

g: Output Level

If you set a smaller value for the Resolution parameter, the sound may be distorted. The volume level may also be changed. Use Output Level to adjust the level.

Effect parameters |777

St. Analog Record (Stereo Analog Record)

This effect simulates the noise caused by scratches and dust on analog re- cords. It also reproduces some of the modulation caused by a warped turn- table.

Left

Right

FX Amt

FX Amt

Stereo In - Stereo Out

Analog Record Simulation

Pre EQ

Pre EQ

EQ Trim

EQ Trim

a Speed [RPM] 33 1/3, 45, 78 Sets the r.p.m. of a record

b Flutter 0100 Sets the modulation depth

c Noise Density 0100 Sets the noise density

Noise Tone 0100 Sets the noise tone

d Noise Level 0100 Sets the noise level

Src OffTempo Selects the modulation source for the noise level

Amt 100+100 Sets the modulation amount of the noise level

e Click Level 0100 Sets the click noise level

Src OffTempo Selects the modulation source for the click noise level

Amt 100+100 Sets the modulation amount of the click noise level

f EQ Trim 0100 Sets the EQ input level

g Pre EQ Cutoff [Hz] 30010.00k Sets the EQ center frequency

Q 0.510.0 Sets the EQ band width

Gain [dB] 18.0+18.0 Sets the EQ gain

h Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

778| Effects for the Sounds

b: Flutter

This parameter enables you to set the depth of the modulation caused by a warped turntable.

e: Click Level

This parameter enables you to set the level of the click noise that occurs once every rotation of the turntable. This simulation reproduces record noise, and the noise generated after the music on a vinyl record finishes.

Doppler

This effect simulates the Doppler effect of a moving sound with a changing pitch, similar to the siren of an passing ambulance. Mixing the effect sound with the dry sound will create a unique chorus effect.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Pan Depth

D-mod

+

Trigger LFO Mode = 1-Shot

Doppler

LFO

Effect parameters |779

a LFO Mode Loop, 1-Shot Switches LFO operation mode

Src OffTempo Selects the modulation source of LFO reset

b LFO Sync Off, On Switches between LFO reset on and off when LFO Mode is set to Loop

c LFO Frequency [Hz]

0.0220.00 Sets the speed of the LFO

Src OffTempo Selects a modulation source for LFO speed

Amt 20.00 +20.00

Sets the modulation amount of LFO speed

d MIDI Sync Off, On When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency

BPM MIDI, 40.00 300.00

MIDI syncs to the system tempo; 40300 sets the tempo manually for this individual effect

Base Note Selects the type of notes that specify the LFO speed

Times x1x32 Sets the number of notes that specify the LFO speed

e Pitch Depth 0100 Sets the pitch variation of the moving sound

Src OffTempo Selects the modulation source of pitch variation

Amt 100+100 Sets the modulation amount of pitch variation

f Pan Depth 100+100 Sets the panning of the moving sound

Src OffTempo Selects the modulation source of panning

Amt 100+100 Sets the modulation amount of panning

g Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: LFO Mode

a: Src

b: LFO Sync

The LFO Mode parameter switches LFO operation mode. When Loop is selected, the Doppler effect will be created repeatedly. If LFO Sync is set to On, the LFO will be reset when the modulation source specified with the Src parameter is turned on.

When LFO Mode is set to 1-Shot, the Doppler effect is created only once when the modulation source specified in the Src field is turned on. At this

780| Effects for the Sounds

time if you do not set the Src parameter, the Doppler effect will not be cre- ated, and no effect sound will be output.

The effect is off when a value for the modulation source specified for the Src parameter is smaller than 64, and the effect is on when the value is 64 or higher. The Doppler effect is triggered when the value changes from 63 or smaller to 64 or higher.

e: Pitch Depth

With the Doppler effect, the pitch is raised when the sound approaches, and the pitch is lowered when the sound goes away. This parameter sets this pitch variation.

f: Pan Depth

This parameter sets the width of the stereo image of the effect sound. With larger values, the sound seems to come and go from much further away. With positive values, the sound moves from left to right; with negative val- ues, the sound moves from right to left.

Pitch

H ig

he r

Doppler - Pitch / Pan Depth

Lo w

er

Original Pitch

Left Center Right

Pitch Depth

Pan Depth < < < < < <<<<<< >>>>>> > > > > >

VolumeLouder Louder

Pan Depth = () value

Pan Depth = (+) value

Effect parameters |781

Scratch

This effect is applied by recording the input signal and moving the modula- tion source. It simulates the sound of scratches you can make using a turn- table.

Input

D-mod

Envelope Select

D-mod Envelope Control

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+ Scratch Direct Mix

D-mod

Rec Control Scratch

a Scratch Source OffTempo Selects the modulation source for simulation control

b Response 0100 Sets the speed of the response to the Scratch Src

c Envelope Select D-mod, Input Selects whether the start and end of recording is controlled via the modulation source or the input signal level

Src OffTempo Selects the modulation source that controls record- ing when Envelope Select is set to D-mod

d Threshold 0100 Sets the recording start level when Envelope Select is set to Input

e Response 0100 Sets the speed of the response to the end of record- ing

f Direct Mix Always On, Always Off, Cross Fade

Selects how a dry sound is mixed

g Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

782| Effects for the Sounds

a: Scratch Source

b: Response

The Scratch Source parameter enables you to select the modulation source that controls simulation. The value of the modulation source corresponds to the playback position. The Response parameter enables you to set the speed of the response to the modulation source.

+ MaxZero

Scratch! D-mod

Max JS X Ribbon

JS+Y JSY etc

Zero + Max

Scratch Source

Recorded Sound

Scratch Source

Start abac oition nd

c: Envelope Select

c: Src

d: Threshold

When Envelope Select is set to D-mod, the input signal will be recorded only when the modulation source value is 64 or higher.

When Envelope Select is set to Input, the input signal will be recorded only when its level is over the Threshold value.

The maximum recording time is 2,730msec. If this is exceeded, the recorded data will start being erased from the top.

e: Response

This parameter enables you to set the speed of the response to the end of recording. Set a smaller value when you are recording a phrase or rhythm pattern, and set a higher value if you are recording only one note.

f: Direct Mix

With Always On, a dry sound is usually output. With Always Off, dry sounds are not output. With Cross Fade, a dry sound is usually output, and it is muted only when scratching.

Set Wet/Dry to 100 to use this parameter effectively.

Effect parameters |783

Auto Reverse

This effect records the input signal and automatically plays it in reverse (the effect is similar to a tape reverse sound).

Input

D-mod

Envelope Select

D-mod Envelope Control

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+ Auto Reverse Direct Mix

Rec/Reverse Play Control

a Rec Mode Single, Multi Sets the recording mode

b Reverse Time [msec]

202640 Sets the maximum duration of the reverse playback

c Envelope Select D-mod, Input Selects whether the start and end of recording is con- trolled via the modulation source or the input signal level

Src OffTempo Selects the modulation source that controls record- ing when Envelope Select is set to D-mod

d Threshold 0100 Sets the recording start level when Envelope Select is set to Input

e Response 0100 Sets the speed of the response to the end of recording

f Direct Mix Always On, Always Off, Cross Fade

Selects how a dry sound is mixed

g Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: Rec Mode

b: Reverse Time [msec]

When Rec Mode is set to Single, you can set up to 2,640msec for Reverse Time. If recording starts during the reverse playback, the playback will be interrupted.

784| Effects for the Sounds

When Rec Mode is set to Multi, you can make another recording during the reverse playback. However, the maximum Reverse Time is limited to 1,320msec.

If you wish to record a phrase or rhythm pattern, set Rec Mode to Single. If you record only one note, set Rec Mode to Multi.

The Reverse Time parameter specifies the maximum duration of the re- verse playback. The part in excess of this limit will not be played in reverse. If you wish to add short pieces of the reverse playback of single notes, make the Reverse Time shorter.

RecRec

Mode/Reverse Time

Input

Mode = Single

Mode = Multi

Time

Reverse Time Reverse Time

Envelope Select = InputReverse Reverse

c: Envelope Select

c: Src

d: Threshold

These parameters select the source to control the start and end of record- ing.

When Envelope Select is set to D-mod, the input signal will be recorded only when the value of the modulation source selected by the Src parameter is 64 or higher.

When Envelope Select is set to Input, the input signal will be recorded only when its level exceeds the Threshold level.

When recording is completed, reverse playback starts immediately.

Effect parameters |785

P4EQ - Cho/Flng (Parametric 4-Band EQ - Chorus/Flanger)

This effect combines a mono four-band parametric equalizer and a chorus/ flanger.

Left

Right

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Trim +

Parametric 4Band EQ Chorus/Flanger

FX Amt

Chorus/Flanger

Feedback

LFO: Tri / Sine

Cho/Flng FX Amt

Normal

Wet Invert Output Mode+

P4EQ

a [E]Trim 0100 Sets the parametric EQ input level

b [E]B1 Cutoff [Hz] 201.00k Sets the center frequency of Band 1

Q 0.510.0 Sets the bandwidth of Band 1

Gain [dB] 18+18 Sets the gain of Band 1

c [E]B2 Cutoff [Hz] 505.00k Sets the center frequency of Band 2

Q 0.510.0 Sets the bandwidth of Band 2

Gain [dB] 18+18 Sets the gain of Band 2

d [E]B3 Cutoff [Hz] 30010.00k Sets the center frequency of Band 3

Q 0.510.0 Sets the bandwidth of Band 3

Gain [dB] 18+18 Sets the gain of Band 3

e [E]B4 Cutoff [Hz] 50020.00k Sets the center frequency of Band 4

Q 0.510.0 Sets the bandwidth of Band 4

Gain [dB] 18+18 Sets the gain of Band 4

CHOrUS/FLaNGEr

f [F]LFO Frequency [Hz]

0.0220.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

g [F]Delay Time [msec]

0.01350.0 Sets the delay time

Depth 0100 Sets the depth of LFO modulation

Feedback 100+100 Sets the feedback amount

786| Effects for the Sounds

h [F]Cho/Flng Wet/ Dry

-Wet, -1:99 Dry99:1, Wet

Sets the effect balance of the chorus/flanger

Src OffTempo Selects the Wet/Dry modulation source for the cho- rus/flanger

Amt 100+100 Sets the Wet/Dry modulation amount for the cho- rus/flanger

i [F]Output Mode Normal, Wet Invert

Selects the output mode for the chorus/flanger

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

i: Output Mode

When Wet Invert is selected, the right channel phase of the chorus/flanger effect sound is inverted. This creates pseudo-stereo effects and adds spread.

However, if a mono-input type effect is connected after this effect, the left and right sounds may cancel each other, eliminating the chorus/flanger ef- fects.

P4EQ - Phaser (Parametric 4-Band EQ - Phaser)

This effect combines a mono four-band parametric equalizer and a phaser.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

Trim +

Parametric 4Band EQ Phaser

Phaser

Resonance

LFO: Tri / Sine

Phaser FX Amt

Normal

Wet Invert Output Mode

+

Effect parameters |787

P4EQ

a [E]Trim 0100 Sets the parametric EQ input level

b [E]B1 Cutoff [Hz] 201.00k Sets the center frequency of Band 1

Q 0.510.0 Sets the bandwidth of Band 1

Gain [dB] 18+18 Sets the gain of Band 1

c [E]B2 Cutoff [Hz] 505.00k Sets the center frequency of Band 2

Q 0.510.0 Sets the bandwidth of Band 2

Gain [dB] 18+18 Sets the gain of Band 2

d [E]B3 Cutoff [Hz] 30010.00k Sets the center frequency of Band 3

Q 0.510.0 Sets the bandwidth of Band 3

Gain [dB] 18+18 Sets the gain of Band 3

e [E]B4 Cutoff [Hz] 50020.00k Sets the center frequency of Band 4

Q 0.510.0 Sets the bandwidth of Band 4

Gain [dB] 18+18 Sets the gain of Band 4

PHaSEr

f [P]LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

g [P]Manual 0100 Sets the frequency to which the effect is ap- plied

Depth 0100 Sets the depth of LFO modulation

Resonance 100+100 Sets the resonance amount

h [P]Phaser Wet/Dry -Wet, -1:99 Dry99:1, Wet

Sets the phaser effect balance

Src OffTempo Selects the Wet/Dry modulation source for the phaser

Amt 100+100 Sets the Wet/Dry modulation amount for the phaser

i [P]Output Mode Normal, Wet Invert

Selects the phaser output mode

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

788| Effects for the Sounds

P4EQ - Mt. Delay (Parametric 4-Band EQ - Multitap Delay)

This effect combines a mono four-band parametric equalizer and a multitap delay.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Trim +

Parametric 4Band EQ Multitap Delay

Feedback

High Damp Delay

(2)(1) Mt.Dly FX Amt

P4EQ

a [E]Trim 0100 Sets the parametric EQ input level

b [E]B1 Cutoff [Hz] 201.00k Sets the center frequency of Band 1

Q 0.510.0 Sets the bandwidth of Band 1

Gain [dB] 18+18 Sets the gain of Band 1

c [E]B2 Cutoff [Hz] 505.00k Sets the center frequency of Band 2

Q 0.510.0 Sets the bandwidth of Band 2

Gain [dB] 18+18 Sets the gain of Band 2

d [E]B3 Cutoff [Hz] 30010.00k Sets the center frequency of Band 3

Q 0.510.0 Sets the bandwidth of Band 3

Gain [dB] 18+18 Sets the gain of Band 3

e [E]B4 Cutoff [Hz] 50020.00k Sets the center frequency of Band 4

Q 0.510.0 Sets the bandwidth of Band 4

Gain [dB] 18+18 Sets the gain of Band 4

MULtItaP DELaY

f [D]Tap1 Time [msec] 0.01360.0 Sets the Tap1 delay time

Tap1 Level 0100 Sets the Tap1 output level

g [D]Tap2 Time [msec] 0.01360.0 Sets the Tap2 delay time

Feedback (Tap2) 100+100 Sets the Tap2 feedback amount

h [D]High Damp [%] 0100 Sets the damping amount in the high range

Effect parameters |789

i [D]Mt.Delay Wet/Dry Dry, 1:9999:1, Wet

Sets the multitap delay effect balance

Src OffTempo Selects the Wet/Dry modulation source for the multitap delay

Amt 100+100 Sets the Wet/Dry modulation amount for the multitap delay

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Comp - Wah (Compressor - Wah/Auto Wah)

This effect combines a mono compressor and a wah. You can change the order of the connection.

Left

Right

FX Amt

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Compressor Routing

Wah/Auto Wah

Wah

D-mod

Envelope Sweep Mode

D-mod Auto

LFO

LFO

LEQ HEQEQ Trim

Output Level

Envelope - Control

Comp

790| Effects for the Sounds

COMPrESSOr

a [C] Sensitivity

1100 Sets the sensitivity

b [C]Attack 1100 Sets the attack level

Output Level 0100 Sets the compressor output level

c [C]EQ Trim 0100 Sets the EQ input level

d [C]Pre LEQ Gain [dB] 15+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] 15+15 Sets the gain of High EQ

WaH

e [W]Frequency Bottom 0100 Sets the lower limit of the wah center frequen- cy

Frequency Top 0100 Sets the upper limit of the wah center frequen- cy

f [w]Sweep Mode Auto, D-mod, LFO

Selects the control from auto-wah, modulation source, and LFO

Src OffTempo Selects the modulation source for the wah when Sweep Mode=D-mod

g [W]LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

Resonance 0100 Sets the resonance amount

LPF Off, On Switches the wah low pass filter on and off

h [W]Wet/Dry Dry, 1 : 9999 : 1, Wet

Sets the wah effect balance

Src OffTempo Selects the Wet/Dry modulation source for the wah

Amt 100+100 Sets the Wet/Dry modulation amount for the wah

i Routing Comp Wah, Wah Comp

Switches the order of the compressor and wah

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |791

Comp - P4EQ (Compressor - Parametric 4-Band EQ)

This effect combines a mono compressor and a four-band parametric equal- izer. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Routing Compressor

Trim

Parametric 4Band EQ

Output Level

Envelope - Control

Comp

COMPrESSOr

a [C]Sensitivity 1100 Sets the sensitivity

b [C]Attack 1100 Sets the attack level

Output Level 0100 Sets the compressor output level

P4EQ

c [E]Trim 0100 Sets the parametric EQ input level

d [E]B1 Cutoff [Hz] 201.00k Sets the center frequency of Band 1

Q 0.510.0 Sets the bandwidth of Band 1

Gain [dB] 18+18 Sets the gain of Band 1

e [E]B2 Cutoff [Hz] 505.00k Sets the center frequency of Band 2

Q 0.510.0 Sets the bandwidth of Band 2

Gain [dB] 18+18 Sets the gain of Band 2

f [E]B3 Cutoff [Hz] 30010.00k Sets the center frequency of Band 3

Q 0.510.0 Sets the bandwidth of Band 3

Gain [dB] 18+18 Sets the gain of Band 3

g [E]B4 Cutoff [Hz] 50020.00k Sets the center frequency of Band 4

Q 0.510.0 Sets the bandwidth of Band 4

Gain [dB] 18+18 Sets the gain of Band 4

h Routing Comp P4EQ, P4EQ Comp

Switches the order of the compressor and para- metric EQ

792| Effects for the Sounds

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Comp - Cho/Flng (Compressor - Chorus/Flanger)

This effect combines a mono compressor and a chorus/flanger. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

+

Routing Compressor Chorus/Flanger

Chorus/Flanger

Feedback

LFO: Tri / Sine

Cho/Flng FX Amt

Normal

Wet Invert Output Mode

+

LEQ HEQEQ Trim Comp

Output Level

Envelope - Control

COMPrESSOr

a [C] Sensitivity

1100 Sets the sensitivity

b [C]Attack 1100 Sets the attack level

Output Level 0100 Sets the compressor output level

c [C]EQ Trim 0100 Sets the EQ input level

d [C]Pre LEQ Gain [dB] 15+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] 15+15 Sets the gain of High EQ

CHOrUS/FLaNGEr

e [F]LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

f [F]Delay Time [msec] 0.01350.0 Sets the delay time

Depth 0100 Sets the depth of LFO modulation

Feedback 100+100 Sets the feedback amount

Effect parameters |793

g [F]Cho/Flng Wet/Dry -Wet, -1:99 Dry99:1, Wet

Sets the effect balance of the chorus/ flanger

,

Src OffTempo Selects the Wet/Dry modulation source for the chorus/flanger

Amt 100+100 Sets the Wet/Dry modulation amount for the chorus/flanger

h [F]Output Mode Normal, Wet Invert

Selects the output mode for the chorus/ flanger

i Routing Comp Flanger, Flanger Comp

Switches the order of the compressor and chorus/flanger

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

h: [F]Output Mode

i: Routing

When Wet Invert is selected, the right channel phase of the chorus/flanger effect sound is inverted. This creates pseudo-stereo effects and adds spread.

However, if a mono-input type effect is connected after this effect, the left and right sounds may cancel each other, eliminating the chorus/flanger ef- fects.

When Routing is set to Flanger/Comp, [F]Output Mode will be set to Nor- mal.

794| Effects for the Sounds

Comp - Phaser (Compressor - Phaser)

This effect combines a mono compressor and a phaser. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

+

Routing Compressor

LEQ HEQEQ Trim Comp

Output Level

Envelope - Control

Phaser

Phaser

Resonance

LFO: Tri / Sine

Phaser FX Amt

Normal

Wet Invert Output Mode

+

COMPrESSOr

a [C] Sensitivity

1100 Sets the sensitivity

b [C]Attack 1100 Sets the attack level

Output Level 0100 Sets the compressor output level

c [C]EQ Trim 0100 Sets the EQ input level

d [C]Pre LEQ Gain [dB] 15+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] 15+15 Sets the gain of High EQ

PHaSEr

e [P]LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

f [P]Manual 0100 Sets the frequency to which the effect is ap- plied

Depth 0100 Sets the depth of LFO modulation

Resonance 100+100 Sets the resonance amount

g [P]Phaser Wet/Dry -Wet, -1:99 Dry99:1, Wet

Sets the phaser effect balance

Src OffTempo Selects the Wet/Dry modulation source for the phaser

Amt 100+100 Sets the Wet/Dry modulation amount for the phaser

h [F]Output Mode Normal, Wet Invert

Selects the phaser output mode

i Routing Comp Phaser, Phaser Comp

Switches the order of the compressor and phaser

Effect parameters |795

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Comp - Mt. Delay (Compressor - Multitap Delay)

This effect combines a mono compressor and a multitap delay. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Routing Compressor

LEQ HEQEQ Trim

Output Level

Envelope - Control

Multitap Delay

Feedback

High Damp Delay (2)(1)

Mt.Dly FX Amt

Comp

COMPrESSOr

a [C]Sensitivity 1100 Sets the sensitivity

b [C]Attack 1100 Sets the attack level

Output Level 0100 Sets the compressor output level

c [C]EQ Trim 0100 Sets the EQ input level

d [C]Pre LEQ Gain [dB] 15+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] 15+15 Sets the gain of High EQ

MULtItaP DELaY

e [D]Tap1 Time [msec] 0.01360.0 Sets the Tap1 delay time

Tap1 Level 0100 Sets the Tap1 output level

f [D]Tap2 Time [msec] 0.01360.0 Sets the Tap2 delay time

Feedback (Tap2)

100+100 Sets the Tap2 feedback amount

g [D]High Damp [%] 0100 Sets the damping amount in the high range

796| Effects for the Sounds

h [D]Mt.Delay Wet/Dry Dry, 1 : 9999 : 1, Wet

Sets the multitap delay effect balance

Src OffTempo Selects the Wet/Dry modulation source for the multitap delay

Amt 100+100 Sets the Wet/Dry modulation amount for the multitap delay

i Routing Comp Mt.Delay, Mt.Delay Comp

Switches the order of the compressor and mul- titap delay

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Limiter - P4EQ (Limiter - Parametric 4-Band EQ)

This effect combines a mono limiter and a four-band parametric equalizer. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Routing Limiter

Trim

Parametric 4Band EQ

Limiter

Gain Adjust

Envelope - Control

LIMItEr

a [L]Ratio 1.0 : 1 50.0 : 1, Inf : 1

Sets the signal compression ratio

Threshold [dB] 400 Sets the level above which the compressor is ap- plied

b [L]Attack 1100 Sets the attack time

Release 1100 Sets the release time

c [L]Gain Adjust [dB] Inf, 38+24

Sets the limiter output gain

Effect parameters |797

P4EQ

d [E]Trim 0100 Sets the parametric EQ input level

e [E]B1 Cutoff [Hz] 201.00k Sets the center frequency of Band 1

Q 0.510.0 Sets the bandwidth of Band 1

Gain [dB] 18+18 Sets the gain of Band 1

f [E]B2 Cutoff [Hz] 505.00k Sets the center frequency of Band 2

Q 0.510.0 Sets the bandwidth of Band 2

Gain [dB] 18+18 Sets the gain of Band 2

g [E]B3 Cutoff [Hz] 30010.00k Sets the center frequency of Band 3

Q 0.510.0 Sets the bandwidth of Band 3

Gain [dB] 18+18 Sets the gain of Band 3

h [E]B4 Cutoff [Hz] 50020.00k Sets the center frequency of Band 4

Q 0.510.0 Sets the bandwidth of Band 4

Gain [dB] 18+18 Sets the gain of Band 4

i Routing Limiter P4EQ, P4EQ Limiter

Switches the order of the limiter and parametric EQ

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

a: [L]Ratio

a: Threshold [dB]

c: [L]Gain Adjust [dB]

This parameter sets the signal compression [L]Ratio. Compression is ap- plied only when the signal level exceeds the Threshold value.

798| Effects for the Sounds

Adjust the output level using the Gain Adjust parameter, since compres- sion causes the entire level to be reduced.

Input Level

Output Level

Threshold

Ratio=1.0 : 1

Ratio=2.0 : 1 Ratio=4.0 : 1

Ration=Inf : 1

Louder Lo

ud er

Time

Level

Threshold

Ratio=Inf : 1

Ratio=2.0 : 1 Ratio=4.0 : 1

Dry Ratio=1.0 : 1

Limiter - Threshold / Ratio

Limiter - Cho/Flng (Limiter - Chorus/Flanger)

This effect combines a mono limiter and a chorus/flanger. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

+

Routing Chorus/Flanger

Feedback Cho/Flng FX Amt

Normal

Wet Invert Output Mode

+

Limiter

Limiter

Gain Adjust

Envelope - Control

LEQ HEQEQ Trim Chorus/Flanger

LFO: Tri / Sine

LIMItEr

a [L]Ratio 1.0 : 1 50.0 : 1, Inf : 1

Sets the signal compression ratio

Threshold [dB] 400 Sets the level above which the compressor is applied

b [L]Attack 1100 Sets the attack time

Release 1100 Sets the release time

Effect parameters |799

c [L]Gain Adjust [dB] Inf, 38+24

Sets the limiter output gain

CHOrUS/FLaNGEr

d [F]LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

e [F]Delay Time [msec] 0.01350.0 Sets the delay time

Depth 0100 Sets the depth of LFO modulation

Feedback 100+100 Sets the feedback amount

f [F]EQ Trim 0100 Sets the EQ input level

g [F]Pre LEQ Gain [dB] 15+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] 15+15 Sets the gain of High EQ

h [F]Cho/Flng Wet/Dry -Wet, -1:99 Dry99:1, Wet

Sets the effect balance of the chorus/flanger

Src OffTempo Selects the Wet/Dry modulation source for the chorus/flanger

Amt 100+100 Sets the Wet/Dry modulation amount for the chorus/flanger

i [F]Output Mode Normal, Wet Invert

Selects the output mode for the chorus/ flanger

Routing Limiter Flanger, Flanger Limiter

Switches the order of the limiter and chorus/ flanger

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

800| Effects for the Sounds

Limiter - Phaser

This effect combines a mono limiter and a phaser. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

+

Routing Limiter

Limiter Gain Adjust

Envelope - Control

Phaser

Phaser

Resonance

LFO: Tri / Sine

Phaser FX Amt

Normal

Wet Invert Output Mode

+

LIMItEr

a [L]Ratio 1.0 : 1 50.0 : 1, Inf : 1

Sets the signal compression ratio

Threshold [dB] 400 Sets the level above which the compressor is applied

b [L]Attack 1100 Sets the attack time

Release 1100 Sets the release time

c [L]Gain Adjust [dB] Inf, 38+24

Sets the limiter output gain

PHaSEr

d [P]LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

e [P]Manual 0100 Sets the frequency to which the effect is applied

Depth 0100 Sets the depth of LFO modulation

Resonance 100+100 Sets the resonance amount

f [P]Phaser Wet/Dry -Wet, -1:99 Dry99:1, Wet

Sets the phaser effect balance

Src OffTempo Selects the phasers Wet/Dry modulation source

Amt 100+100 Sets the phasers Wet/Dry modulation amount

g [P]Output Mode Normal, Wet Invert

Selects the phaser output mode

h Routing Limiter Phaser, Phaser Limiter

Switches the order of the limiter and phas- er

Effect parameters |801

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Limiter - Mt.Delay (Limiter - Multitap Delay)

This effect combines a mono limiter and a multitap delay. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Routing Multitap Delay

Feedback

High Damp Delay

(2)(1) Mt.Dly FX Amt

Limiter

Limiter Gain Adjust

Envelope - Control

802| Effects for the Sounds

LIMItEr

a [L]Ratio 1.0 : 1 50.0 : 1, Inf : 1

Sets the signal compression ratio

Threshold [dB] 400 Sets the level above which the compressor is ap- plied

b [L]Attack 1100 Sets the attack time

Release 1100 Sets the release time

c [L]Gain Adjust [dB] Inf, 38+24

Sets the limiter output gain

MULtItaP DELaY

d [D]Tap1 Time [msec] 0.01360.0 Sets the Tap1 delay time

Tap1 Level 0100 Sets the Tap1 output level

e [D]Tap2 Time [msec] 0.01360.0 Sets the Tap2 delay time

Feedback 100+100 Sets the Tap2 feedback amount

f [D]High Damp [%] 0100 Sets the damping amount in the high range

g [D]Mt.Delay Wet/Dry Dry, 1:9999:1, Wet

Sets the multitap delay effect balance

Src OffTempo Selects the multitap delays Wet/Dry modula- tion source

Amt 100+100 Sets the multitap delays Wet/Dry modulation amount

h Routing Limiter Mt.Delay, Mt.Delay Limiter

Switches the order of the limiter and multitap delay

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |803

Exciter - Comp (Exciter Compressor)

This effect combines a mono exciter and a compressor. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Routing Compressor

LEQ HEQEQ Trim Comp

Output Level

Envelope - Control

Exciter

Exciter

EXCItEr

a [X]Exciter Blend 100+100 Sets the intensity (depth) of the Exciter effect

b [X]Emphasis Frequency

070 Sets the frequency range to be emphasized

c [X]EQ Trim 0100 Sets the EQ input level

d [X]Pre LEQ Gain [dB] 15+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] 15+15 Sets the gain of High EQ

COMPrESSOr

e [C] Sensitivity

1100 Sets the sensitivity

f [C]Attack 1100 Sets the attack level

Output Level 0100 Sets the compressor output level

g Routing Exciter Comp, Comp Exciter

Switches the order of the exciter and compres- sor

h Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

804| Effects for the Sounds

Exciter Limiter

This effect combines a mono exciter and a limiter. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Routing

LEQ HEQEQ Trim Exciter

Exciter Limiter

Limiter Gain Adjust

Envelope - Control

EXCItEr

a [X]Exciter Blend 100+100 Sets the intensity (depth) of the Exciter effect

b [X]Emphasis Frequency 070 Sets the frequency range to be empha- sized

c [X]Trim 0100 Sets the EQ input level

d [X]Pre LEQ Gain [dB] 15+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] 15+15 Sets the gain of High EQ

LIMItEr

e [L]Ratio 1.0 : 1 50.0 : 1, Inf : 1

Sets the signal compression ratio

f [L]Threshold [dB] 400 Sets the level above which the compres- sor is applied

g [L]Attack 1100 Sets the attack time

Release 1100 Sets the release time

h [L]Gain Adjust [dB] Inf, 38+24

Sets the limiter output gain

i Routing Exciter Limiter, Limiter Exciter

Switches the order of the exciter and lim- iter

j Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |805

Exciter - Cho/Flng (Exciter Chorus/Flanger)

This effect combines a mono limiter and a chorus/flanger.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

+

Chorus/Flanger

Chorus/Flanger

Feedback

LFO: Tri / Sine

Cho/Flng FX Amt

Normal

Wet Invert Output Mode

+

LEQ HEQEQ Trim Exciter

Exciter

EXCItEr

a [X]Exciter Blend 100+100 Sets the intensity (depth) of the Exciter effect

b [X]Emphasis Frequency 070 Sets the frequency range to be empha- sized

c [X]Trim 0100 Sets the EQ input level

d [X]Pre LEQ Gain [dB] 15+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] 15+15 Sets the gain of High EQ

CHOrUS/FLaNGEr

e [F]LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

f [F]Delay Time [msec] 0.01350.0 Sets the delay time

Depth 0100 Sets the depth of LFO modulation

Feedback 100+100 Sets the feedback amount

g [F]Cho/Flng Wet/Dry -Wet, -1:99 Dry99:1, Wet

Sets the effect balance of the chorus/ flanger

Src OffTempo Selects the Wet/Dry modulation source for the chorus/flanger

Amt 100+100 Sets the Wet/Dry modulation amount for the chorus/flanger

h [F]Output Mode Normal, Wet Invert

Selects the output mode for the chorus/ flanger

806| Effects for the Sounds

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Exciter - Phaser

This effect combines a mono limiter and a phaser.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

+ LEQ HEQEQ Trim

Exciter

Exciter Phaser

Phaser

Resonance

LFO: Tri / Sine

Phaser FX Amt

Normal

Wet Invert Output Mode

+

EXCItEr

a [X]Exciter Blend 100+100 Sets the intensity (depth) of the Exciter effect

b [X]Emphasis Frequency 070 Sets the frequency range to be empha- sized

c [X]Trim 0100 Sets the EQ input level

d [X]Pre LEQ Gain [dB] 15+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] 15+15 Sets the gain of High EQ

PHaSEr

e [P]LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

f [P]Manual 0100 Sets the frequency to which the effect is applied

Depth 0100 Sets the depth of LFO modulation

Resonance 100+100 Sets the resonance amount

Effect parameters |807

g [P]Phaser Wet/Dry -Wet, -1:99 Dry99:1, Wet

Sets the phaser effect balance

Src OffTempo Selects the Wet/Dry modulation source for the phaser

Amt 100+100 Sets the Wet/Dry modulation amount for the phaser

h [P]Output Mode Normal, Wet Invert

Selects the phaser output mode

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Exciter - Mt.Delay (Exciter Multitap Delay)

This effect combines a mono exciter and a multitap delay.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Multitap Delay

Feedback

High Damp Delay (2)(1)

Mt.Dly FX Amt

LEQ HEQEQ Trim Exciter

Exciter

EXCItEr

a [X]Exciter Blend 100+100 Sets the intensity (depth) of the Exciter ef- fect

b [X]Emphasis Frequency 070 Sets the frequency range to be emphasized

c [X]Trim 0100 Sets the EQ input level

d [X]Pre LEQ Gain [dB] 15+15 Sets the gain of Low EQ

Pre HEQ Gain [dB] 15+15 Sets the gain of High EQ

MULtItaP DELaY

e [D]Tap1 Time [msec] 0.01360.0 Sets the Tap1 delay time

Tap1 Level 0100 Sets the Tap1 output level

808| Effects for the Sounds

f [D]Tap2 Time [msec] 0.01360.0 Sets the Tap2 delay time

Feedback (Tap2) 100+100 Sets the Tap2 feedback amount

g [D]High Damp [%] 0100 Sets the damping amount in the high range

h [D]Mt.Delay Wet/Dry Dry, 1:9999:1, Wet

Sets the multitap delay effect balance

Src OffTempo Selects the Wet/Dry modulation source for the multitap delay

Amt 100+100 Sets the Wet/Dry modulation amount for the multitap delay

i Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

OD/HG - Cho/Flng (Overdrive/Hi.Gain Chorus/Flanger)

This effect combines a mono overdrive/high-gain distortion and a chorus/ flanger. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

+

Routing Chorus/Flanger

Chorus/Flanger

Feedback

LFO: Tri / Sine

Cho/Flng FX Amt

Normal

Wet Invert Output Mode

+

Overdrive / Hi-Gain

3 Band PEQ

Output Level

Mode: Overdrive / Hi-Gain Drive

Driver

OD/HI-GaIN

a [O]Drive Mode Overdrive, Hi-Gain Switches between overdrive and high-gain distortion

Drive 1100 Sets the degree of distortion

Effect parameters |809

b [O]Output Level 050 Sets the overdrive output level

Src OffTempo Selects the modulation source for the over- drive output level

Amt 50+50 Sets the modulation amount of the overdrive output level

e [O]Low Cutoff [Hz] 201.00k Sets the center frequency for Low EQ (shelv- ing type)

Gain [dB] 18+18 Sets the gain of Low EQ

f [O]Mid1 Cutoff [Hz] 30010.00k Sets the center frequency for Mid/High EQ 1 (peaking type)

Q 0.510.0 Sets the band width of Mid/High EQ 1

Gain [dB] 18+18 Sets the gain of Mid/High EQ 1

g [O]Mid2 Cutoff [Hz] 50020.00k Sets the center frequency for Mid/High EQ 2 (peaking type)

Q 0.510.0 Sets the band width of Mid/High EQ 2

Gain [dB] 18+18 Sets the gain of Mid/High EQ 2

CHOrUS/FLaNGEr

h [F]LFO Frequency [Hz]

0.0220.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

i [F]Delay Time [msec] 0.01350.0 Sets the delay time

Depth 0100 Sets the depth of LFO modulation

Feedback 100+100 Sets the feedback amount

j [F]Cho/Flng Wet/Dry -Wet, -1:99 Dry99:1, Wet

Sets the effect balance of the chorus/flanger

Src OffTempo Selects the Wet/Dry modulation source for the chorus/flanger

Amt 100+100 Sets the Wet/Dry modulation amount for the chorus/flanger

k [F]Output Mode Normal, Wet Invert

Selects the output mode for the chorus/ flanger

Routing OD/HG Flanger, Flanger OD/HG

Switches the order of the overdrive and cho- rus / flanger

l Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

810| Effects for the Sounds

OD/HG - Phaser (Overdrive/Hi.Gain - Phaser)

This effect combines a mono overdrive/high-gain distortion and a phaser. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

+

Routing Overdrive / Hi-Gain

3 Band PEQ

Output Level

Mode: Overdrive / Hi-Gain Drive

Driver

Phaser

Phaser

Resonance

LFO: Tri / Sine

Phaser FX Amt

Normal

Wet Invert Output Mode

+

OD/HI-GaIN

a [O]Drive Mode Overdrive, Hi-Gain Switches between overdrive and high- gain distortion

Drive 1100 Sets the degree of distortion

b [O]Output Level 050 Sets the overdrive output level

Src OffTempo Selects the modulation source for the overdrive output level

Amt 50+50 Sets the modulation amount of the overdrive output level

e [O]Low Cutoff [Hz] 201.00k Sets the center frequency for Low EQ (shelving type)

Gain [dB] 18+18 Sets the gain of Low EQ

f [O]Mid1 Cutoff [Hz] 30010.00k Sets the center frequency for Mid/High EQ 1 (peaking type)

Q 0.510.0 Sets the band width of Mid/High EQ 1

Gain [dB] 18+18 Sets the gain of Mid/High EQ 1

g [O]Mid2 Cutoff [Hz] 50020.00k Sets the center frequency for Mid/High EQ 2 (peaking type)

Q 0.510.0 Sets the band width of Mid/High EQ 2

Gain [dB] 18+18 Sets the gain of Mid/High EQ 2

PHaSEr

h [P]LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

Effect parameters |811

i [P]Manual 0100 Sets the frequency to which the effect is applied

Depth 0100 Sets the depth of LFO modulation

Resonance 100+100 Sets the resonance amount

j [P]Phaser Wet/Dry -Wet, -1:99 Dry99:1, Wet

Sets the phaser effect balance

Src OffTempo Selects the Wet/Dry modulation source for the phaser

Amt 100+100 Sets the Wet/Dry modulation amount for the phaser

k [P]Output Mode Normal, Wet Invert

Selects the phaser output mode

Routing OD/HG Phaser, Phaser OD/HG

Switches the order of the overdrive and phaser

l Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

OD/HG - Mt.Delay (Overdrive/Hi.Gain - Multitap Delay)

This effect combines a mono overdrive/high-gain distortion and a multitap delay.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Multitap Delay

Feedback

High Damp Delay

(2)(1) Mt.Dly FX Amt

Overdrive / Hi-Gain

3 Band PEQ

Output Level

Mode: Overdrive / Hi-Gain Drive

Driver

OD/HI-GaIN

a [O]Drive Mode Overdrive, Hi-Gain Switches between overdrive and high-gain distortion

Drive 1100 Sets the degree of distortion

812| Effects for the Sounds

b [O]Output Level 050 Sets the overdrive output level

Src OffTempo Selects the modulation source for the overdrive output level

Amt 50+50 Sets the modulation amount of the over- drive output level

e [O]Low Cutoff [Hz] 201.00k Sets the center frequency for Low EQ (shelving type)

Gain [dB] 18+18 Sets the gain of Low EQ

f [O]Mid1 Cutoff [Hz] 30010.00k Sets the center frequency for Mid/High EQ 1 (peaking type)

Q 0.510.0 Sets the band width of Mid/High EQ 1

Gain [dB] 18+18 Sets the gain of Mid/High EQ 1

g [O]Mid2 Cutoff [Hz] 50020.00k Sets the center frequency for Mid/High EQ 2 (peaking type)

Q 0.510.0 Sets the band width of Mid/High EQ 2

Gain [dB] 18+18 Sets the gain of Mid/High EQ 2

MULtItaP DELaY

h [D]Tap1 Time [msec] 0.01360.0 Sets the Tap1 delay time

Tap1 Level 0100 Sets the Tap1 output level

i [D]Tap2 Time [msec] 0.01360.0 Sets the Tap2 delay time

Feedback 100+100 Sets the Tap2 feedback amount

j [D]High Damp [%] 0100 Sets the damping amount in the high range

k [D]Mt.Delay Wet/Dry Dry, 1:9999:1, Wet

Sets the multitap delay effect balance

Src OffTempo Selects the Wet/Dry modulation source for the multitap delay

Amt 100+100 Sets the Wet/Dry modulation amount for the multitap delay

l Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |813

Decimator - Comp (Decimator - Compressor)

This effect combines a mono decimator and a compressor. You can change the order of the effects.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+

Decimator Routing

Pre LPF High Damp

Output Level

Decimator Resolution

Compressor

Comp Output Level

Envelope - Control

DECIMatOr

a [D]Pre LPF Off, On Turn the harmonic noise caused by low- ered sampling on and off

High Damp [%] 0100 Sets the ratio of high-range damping

b [D]Sampling Freq [Hz] 1.00k48.00k Sets the sampling frequency

Resolution 424 Sets the data bit length

c [D]Output Level 0100 Sets the decimator output level

COMPrESSOr

d [C]

Sensitivity

1100 Sets the sensitivity

e [C]Attack 1100 Sets the attack level

Output Level 0100 Sets the compressor output level

f Routing Decimator Comp, Comp Decimator

Switches the order of the decimator and compressor

g Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

814| Effects for the Sounds

Cho/Flng - Mt.Dly (Chorus/Flanger - Multitap Delay)

This effect combines a mono chorus/flanger and a multitap delay.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

+ LEQ HEQEQ

Trim

Multitap Delay

Feedback

High Damp

Delay (2) (1)

Chorus/Flanger

Cho/Flng FX Amt

Mt.Dly FX Amt

Chorus/Flanger

Feedback

LFO: Tri / Sine

CHOrUS/FLaNGEr

a [F]LFO Frequency [Hz] 0.0220.00 Sets the speed of the LFO

LFO Waveform Triangle, Sine Selects the LFO Waveform

b [F]Delay Time [msec] 0.01350.0 Sets the delay time

Depth 0100 Sets the depth of LFO modulation

Feedback 100+100 Sets the feedback amount

c [F]EQ Trim 0100 Sets the EQ input level

d [F]PreLEQ Gain [dB] 15+15 Sets the gain of Low EQ

PreHEQ Gain [dB] 15+15 Sets the gain of High EQ

e [F]Cho/Flng Wet/Dry Wet1 : 99, Dry, 1 : 99Wet

Sets the effect balance of the cho- rus/flanger

MULtItaP DELaY

f [D]Tap1 Time [msec] 0.01360.0 Sets the Tap1 delay time

Tap1 Level 0100 Sets the Tap1 output level

g [D]Tap2 Time [msec] 0.01360.0 Sets the Tap2 delay time

Feedback 100+100 Sets the Tap2 feedback amount

h [D]High Damp [%] 0100 Sets the damping amount in the high range

i [D]Mt.DelayWet/Dry Dry, 1:9999:1, Wet Sets the multitap delay effect bal- ance

Src OffTempo Selects the Wet/Dry modulation source for the multitap delay

Amt 100+100 Sets the Wet/Dry modulation amount for the multitap delay

Effect parameters |815

j Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Multitap Cho/Delay (Multitap Chorus/Delay)

This effect has six chorus blocks with different LFO phases. You can produce a complex stereo image by setting a different delay time and depth for each block. You can control the delay output level via a modulation source.

Left

Right

Feedback FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

+

LFO: Triangle

0 [degree] 180 [degree] 60 [degree]

240 [degree] 120 [degree] 300 [degree]

Tap1 Delay Tap2 Delay Tap3 Delay

Tap5 Delay Tap6 Delay

Tap4 Delay

D-mod On/Off Control

Panning Preset

a LFO Frequency [Hz] 0.0213.00 Sets the speed of the LFO

b Tap1 (000) [msec] 02000 Sets the Tap1 (LFO phase=0 degrees) delay time

Depth 030 Sets the Tap1 chorus depth

Status Always On, Always Off, OnOff (Dm), OffOn (Dm)

Selects on, off, or modulation source for the control of Tap1 output

c Tap2 (180) [msec] 02000 Sets the Tap2 (LFO phase=180 de- grees) delay time

Depth 030 Sets the Tap2 chorus depth

Status Always On, Always Off, OnOff (Dm), OffOn (Dm)

Selects on, off, or modulation source for the control of Tap2 output

816| Effects for the Sounds

d Tap3 (060) [msec] 02000 Sets the Tap3 (LFO phase=60 degrees) delay time

Depth 030 Sets the Tap3 chorus depth

Status Always On, Always Off, OnOff (Dm), OffOn (Dm)

Selects on, off, or modulation source for the control of Tap3 output

e Tap4 (240) [msec] 02000 Sets the Tap4 (LFO phase=240 de- grees) delay time

Depth 030 Sets the Tap4 chorus depth

Status Always On, Always Off, OnOff (Dm), OffOn (Dm)

Selects on, off, or modulation source for the control of Tap4 output

f Tap5 (120) [msec] 02000 Sets the Tap5 (LFO phase=120 de- grees) delay time

Depth 030 Sets the Tap5 chorus depth

Status Always On, Always Off, OnOff (Dm), OffOn (Dm)

Selects on, off, or modulation source for the control of Tap5 output

g Tap6 (300) [msec] 02000 Sets the Tap1 (LFO phase=300 de- grees) delay time

Depth 030 Sets the Tap6 chorus depth

Status Always On, Always Off, OnOff (Dm), OffOn (Dm)

Selects on, off, or modulation source for the control of Tap6 output

h Panning Preset 1 : L 1 2 3 4 5 6 R, 2 : L 135 246 R, 3 : L 1 3 5 2 4 6 R, 4 : L 1 4 5 6 3 2 R

Selects the stereo panning pattern for each tap

i Tap1 Feedback 100+100 Sets the Tap1 feedback amount

Src OffTempo Selects the modulation source for the Tap output level, feedback amount, and effect balance

Amt 100+100 Sets the modulation amount of Tap1 feedback amount

j Wet/Dry Dry, 1:9999:1, Wet Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |817

b, c, d, e, f, g: Status

These parameters set the output status of each Tap.

Always On: Output is always on. (No modulation)

Always Off: Output is always off. (No modulation)

On/Off (dm): Output level is switched from on to off depending on the modu- lation source.

Off/On (dm): Output level is switched from off to on depending on the modu- lation source.

Combining these parameters, you can change from 4-phase chorus to two- tap delay by crossfading them gradually via the modulation source during a performance.

h: Panning Preset

This parameter selects combinations of stereo images of the tap outputs.

818| Effects for the Sounds

PianoBody/Damper (PianoBody/Damper Simulation)

This effect simulates the resonance of the piano sound board caused by the string vibration, and also simulates the resonance of other strings that are not being played when you press the damper pedal. It will create a very real- istic sound when applied to acoustic piano sounds.

Left

Right

FX Amt

FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out

D-mod

Piano Body/Damper Simulation

Damper

+

a Sound Board Depth 0100 Sets the intensity of resonance of the sound board

b Damper Depth 0100 Sets the intensity of the string resonance created when the damper pedal is pressed

Src OffTempo Selects the modulation source of damper effect

c Tone 1100 Sets tonal quality of effect sound

d Mid Shape 036 Sets the mid range of tonal quality

e Tune 50+50 Fine tuning

f Wet/Dry Dry, 1:9999:1, Wet

Balance between the wet and dry signal

Src OffTempo See the list of DMS (Dynamic Modulation Sources) at the beginning of this part

Amt 100+100 Amount of modulation source

Effect parameters |819

a: Sound Board Depth

This parameter sets the intensity of resonance of the piano sound board.

b: Damper Depth

b: Src

This parameter sets the resonance intensity of the other strings created when the damper pedal is pressed. The Src parameter selects the modula- tion source from which the damper effect is applied. Usually, select Damper #64 Pdl (Damper pedal).

The effect is off when a value for the modulation source specified for the Src parameter is 63 or smaller, and the effect is on when the value is 64 or higher.

c: Tone

d: Mid Shape

These parameters control the tonal quality of the effect sound.

e: Tune

Since this effect simulates the resonance of the strings, the sound varies de- pending on the pitch. If you have changed tuning using the Master Tuning (Global > General Controls > Basic), adjust this parameter value.

820|

|821

Part IX: KaOSS EFFECtS

822| KAOSS Effects

Using the KAOSS effects |823

46 Using the KaOSS effects

the KaOSS page

What are the KAOSS effects?

KAOSS is a KORG technology, allowing for live generation of MIDI events and simultaneous control of multiple parameters via a control surface. In Pa4X, it lets you transform the music flow, or do creative and interactive liquid mixing.

For example, you can smoothly morph between Variations and Drum Kit types, to create an evolving and always renewed arrangement. You can let KAOSS help you improvise on pre-recorded music, by reshaping rhythm, pitch inversion or changing note density. You can make the mix sparser, to leave a solo player be heard better or let you interact with your audience.

There are also DJ-style note-crunching effects, for more radical changes. And you can use the KAOSS as a sophisticated arpeggiator, or an old tape delay machine.

You can choose between several preset KAOSS effects. You will then con- trol the effects parameters on an XY surface, called the KAOSS pad.

824| KAOSS Effects

Going to the KAOSS page

You can go to the KAOSS page by touching the KAOSS tab in the main page of the Style Play or Song Play mode.

In Style Play mode:

Recognized chord KAOSS pad

Selected Preset

Favorite Presets

Effects parameters Tabs recalling other panes

In Song Play mode:

Songs Tempo and Beat KAOSS pad

Selected Preset

Favorite Presets

Effects parameters Tabs recalling other panes

When you leave this page, the KAOSS is automatically stopped.

Using the KAOSS effects |825

Choosing the KaOSS Presets

Choosing a KAOSS Preset or Favorite Presets

A series or KAOSS Presets is already supplied with the instrument. You can choose a separate KAOSS Preset for the Style Play and the Song Play mode.

Choose a KAOSS Preset from the library

Use the pop-up menu in the top left corner of the page to choose one of the presets from the library containing all the presets.

Choose a KAOSS Favorite Presets from the dedicated buttons

Touch one of the Favorite Presets to choose the corresponding preset.

The selected presets for each mode will remain selected.

826| KAOSS Effects

Assigning a KAOSS Preset to one of the Favorite Preset buttons

You can assign any of the presets from the library to one of the Favorite Preset buttons. This way, you will have a set of favorite presets always ready.

The Favorites can be different for the Style Play and Song Play mode.

1 Choose one of the KAOSS Presets by using the pop-up menu in the top left corner of the page.

2 Touch the Assign button under the Favorite Preset buttons.

3 When the Select Destination dialog appears, touch one of the buttons to choose a destination.

Using the KAOSS effects |827

KaOSS Preset list

The following table contains all the Factory KAOSS Presets. Some of the pre- sets can be chosen both in Style Play and Song Play mode. Some can only be chosen in Style Play mode.

Please note that time-based effects can require a few moments, before starting to work.

Preset for the Style Play and Song Play modes

KaOSS Preset X-axis Y-axis Works on

Repeater1&Filter Loop Length Cutoff&Resonance Style, Song Tracks

Repeater1&Bending Loop Length Bending&Cutoff

Repeater2&LFO Loop Length LFO Depth

Repeater2&Transp Loop Length Transpose

Repeater Filt&Trps Cutoff&Resonance Transpose

Repeater Halo&Bend FX&Release Bending&Cutoff

Repeater Filt&Tape Cutoff&Resonance Tape Speed

Ending Rep&Shift Loop Length Note Shift

Ending Rep&LFO Loop Length LFO Depth

Ending Halo&Bend FX&Release Bending&Cutoff

Tape Machine BPM Bending

Tape & Filter Tape Speed Cutoff&Resonance

Tape & Balance Tape Speed D&B Balance

Bending & LFO Bending LFO Depth

Delay & Balance Delay Length D&B Balance

Delay & LFO Delay Length LFO Depth

Tripletizer&Filter Tripletizer Cutoff&Resonance

Tripletizer&Envelope Tripletizer Attack&Decay

Tripletizer&Balance Tripletizer D&B Balance

RhythmRig&Halo Rig Set FX&Release

RhythmRig&Balance Rig Set D&B Balance

TimeMirror&Envelope Time Mirror Attack&Decay

TimeMirror&Filter Time Mirror Cutoff&Resonance

828| KAOSS Effects

KaOSS Preset X-axis Y-axis Works on

HalfDouble&Bending D&B Speed Attack&Decay Style, Song Tracks

HalfDouble&Halo D&B Speed FX&Release

HalfDouble&Filter D&B Speed Cutoff&Resonance

RhytSpeed&Balance D&B Speed D&B Balance

DrumDecim&Filter Drum Decimator Cutoff&Resonance

DrumDecim&Envelope Drum Decimator Attack&Decay

Decimator&Halo Decimator FX&Release

Decimator&Balance Decimator D&B Balance

Decimator&Transp Decimator Transpose

NoteMirror&Transp Mirror Note Transpose

NoteMirror&Balance Mirror Note D&B Balance

Arpeggio 2/Beat ARP Shape ARP Expression Upper Sounds

Arpeggio 3/Beat ARP Shape ARP Expression

Arpeggio 4/Beat ARP Shape ARP Expression

Arpeggio 6/Beat ARP Shape ARP Expression

Arpeggio UpCycle ARP Speed ARP Expression

Arpeggio DownCycle ARP Speed ARP Expression

Arpeggio UpOneBeat ARP Speed ARP Expression

Arpeggio Random ARP Speed ARP Expression

Arpeggio WeirdShift ARP Shift ARP Expression

Using the KAOSS effects |829

Preset for the Style Play only

KaOSS Preset X-axis Y-axis Works on

Density1&Filter Density Cutoff&Resonance Style Tracks

Density1&RhythmRig Density Rig Set

Density1&HalfDouble Density D&B Speed

Density2&DrumDecim Density Drum Decimator

Density2&Halo Density FX&Release

Density2&Repeater2 Density Loop Length

Density3&Filter Density Cutoff&Resonance

Density3&Balance Density D&B Balance

Density4&Halo Density FX&Release

Ending Den1&Rep Density Loop Length

Repeater Den1&Bend Density Bending&Cutoff

Var & DrumDecim Variation Drum Decimator

Var & HalfDouble Variation D&B Speed

Var & Mute1 Variation Muting

Var & Mute2 Variation Muting

VarPad1 & DrumDecim Variation&Pad Drum Decimator

VarPad1 & Mute1 Variation&Pad Muting

VarPad2 & Decimator Variation&Pad Decimator

Double Var&Balan Variation D&B Balance

Half Var&Halo Variation FX&Release

DrumDecim&Mute1 Drum Decimator Muting

Decimator&Mute2 Decimator Muting

RhythmRig&Mute1 Rig Set Muting

RhythmRig&Mute2 Rig Set Muting

830| KAOSS Effects

Using the KaOSS effects

Using the KAOSS effects is just a matter of letting the instrument play, or playing some notes, and swiping your finger in the KAOSS pad area to change the music flow.

Starting the original music flow

Transformation vs. Arpeggiator

There are two general categories of KAOSS effects:

Transformation effects, where the music flow generated by the Arranger or Player is processed to create new music.

Arpeggiator effects, where the latest recognized chord, or the notes you play on the Upper part of the keyboard, are used to generate an arpeggio. The name of these presets begin with Arpeggio.

Choose the original music flow

Go to the Style Play or Song Play mode, and either choose a Style or a MIDI Song.

If you want to play an arpeggio, choose a Keyboard Set including the Sounds you want to arpeggiate.

Choose a KAOSS preset

Choose a KAOSS Preset or Favorite Preset, as seen above.

If you want to play an arpeggio, choose a preset whose name begins with Arpeggio.

Start the accompaniment or the Song

Depending on whether you are in Style Play or Song Play mode, start the accompaniment or the Song as usual.

If you are using an Arpeggiator preset, play a chord or some notes on the Upper part of the keyboard and touch the pad. You do not need to start the accompaniment or Song.

Using the KAOSS effects |831

Using the KAOSS pad

Check the effects parameters assigned to the X/Y axis

See the name of the parameters under the pad.

axis Meaning

X Finger movement from left to right, right to left.

Y Finger movement from top to bottom, bottom to top.

Change the parameters value

To change the parameters value, move your finger in the KAOSS pad.

Touch the pad area

Parameters value

Depending on the selected preset, the grid in the KAOSS pad will change. Each cell corresponds to a block of values (also called a step). The lighter grey cells are the default value for the corresponding parameter.

When no grid lines appear in the pad, values are continual, without interme- diate steps, changing with a finer detail.

When you release your finger, the default values are reset.

832| KAOSS Effects

Freeze the current values

Do one of the following:

Keep the SHIFT button pressed, and touch an area of the KAOSS pad, then release the SHIFT button and finally raise your finger.

You are free to continue moving your finger, or to release it to freeze the current values.

Press the SHIFT button while the finger is touching the KAOSS pad, then raise your finger and finally release the SHIFT button.

The values of the latest position of your finger will be frozen. The processed music flow will go on by following those values.

When the values are frozen, an F appears in the point of freezing.

Using the Damper pedal to hold notes

When you are using an Arpeggio preset, pressing down the Damper pedal will not sustain the generated notes, but will hold the notes or chord you played. You are free, therefore, to lift your hand from the keyboard, and let the arpeggiator go on.

|833

Part X: CONtrOLLErS

834| Controllers

Hand controllers |835

47 Hand controllers

Programming the joystick

Assigning functions to the joystick

The left/right (X-, X+) movement of the joystick usually controls Pitch Bend. It can however controls a Sound parameter, depending on the Sound pro- gramming.

The up/forward movement (Y+) is usually Modulation, and sometimes a dif- ferent Sound parameter, depending on the Sound programming. The down/ backward movement (Y-) can be assigned to various controls, or is left unused.

Assigning Sound parameters to the joystick can be done in Sound Edit.

Assigning the joystick to the Sounds

You can activate/deactivate the Joystick on each Keyboard Sound.

1 Go to the Keyboard/Ensemble > Joystick/Pedal page.

2 Use the Joystick X checkbox to turn the left/right Joystick movements on/ off on each Sound.

3 Use the Joystick Y checkbox to turn the up/down Joystick movements on/ off on each Sound.

4 Write the changes to a Keyboard Set.

836| Controllers

Setting the Pitch Bend range

Pitch Bend range is defined for each Sound set, and can change with differ- ent Keyboard Sets, SongBook Entries or Styles.

1 Go to the Mixer/Tuning > Tuning page.

2 Use the Pitch Bend Sens(itivity) knobs to set the Pitch Bend range for each Sound.

PB Sensitivity Meaning

0 No pitch bend allowed.

1 12 Maximum up/down pitch bend range (in semitones). 12 = 1 octave.

3 Write the changes to a Sound set (Keyboard Set, Style Settings).

Hand controllers |837

Programming the keyboards velocity and aftertouch

Assigning functions to velocity and aftertouch

Velocity usually controls the Sounds loudness, while aftertouch controls modulation. However, they can be assigned to other roles by each individual Sound. Assigning Sound parameters can be done in Sound Edit.

Assigning aftertouch to the Sounds

You can activate/deactivate aftertouch on each Keyboard Sound.

1 Go to the Keyboard/Ensemble > Ribbon/Aftertouch page.

2 Use the Aftertouch checkbox to turn the aftertouch on/off on each Keyboard Sound.

3 Write the changes to a Keyboard Set.

Adjusting the velocity and aftertouch sensitivity

You can define how the keyboard responds to your striking velocity and af- tertouch pressure.

1 Go to the Global > Controllers > Hand page.

838| Controllers

2 Use the Velocity Curve parameter to set the sensitivity of the keyboard to your playing strength.

Velocity Curve Meaning

Fixed No dynamic control available. Dynamic values are fixed, as in classic organs. When this option is chosen, you can set the fixed velocity value.

Soft1 Hard3 Curves, from the lightest one to the hardest one.

3 Use the Aftertouch Curve parameter to set the sensitivity of the keyboard to the pressure you apply after playing a key.

a.touch Curve Meaning

Soft1 Hard3 Curves, from the lightest one to the hardest one.

Off The aftertouch is turned off.

Hand controllers |839

Programming the ribbon controller

Assigning functions to the ribbon controller

The function controlled by the ribbon depends on the selected Sounds. Assigning Sound parameters to the ribbon controller can be done in Sound Edit.

Assigning the ribbon controller to the Sounds

You can activate/deactivate the ribbon on each Keyboard Sound.

1 Go to the Keyboard/Ensemble > Ribbon/Aftertouch page.

2 Use the Ribbon checkbox to turn the ribbon on/off on each Sound.

3 Write the changes to a Keyboard Set.

840| Controllers

Adjusting the ribbon controllers sensitivity

You can define how sensitive is the ribbon controller to your fingers swipe.

1 Go to the Global > Controllers > Hand page.

2 Use the Ribbon > Sensitivity parameter to set the ribbons response.

Hand controllers |841

Programming the assignable sliders

How the sliders work depend on the status of the SLIDER MODE indicator. The status of this button is saved with each Keyboard Set, but can be freely changed by repeatedly pressing the button.

Choosing the slider mode

1 Use the SLIDER MODE button to select one of the slider modes.

Slider mode Meaning

Volume Each of the sliders controls the volume of the corresponding Sound/ part/track. Pressing the TRACK SELECT button will change the set, as shown by the labels around the sliders.

Keep the SHIFT button pressed, and move one of the sliders to pro- portionally change the volume of all similar parts/tracks (for exam- ple, all the Upper parts or all of a Styles accompaniment tracks).

Please note that this cannot work on MIDI Song tracks while in Song Play mode, since their volume is always controlled by the internal MIDI data.

Drawbars Each slider controls the corresponding drawbar of the selected Digital Drawbars Sound.

Assign. A/B Two sets of eight freely assignable controls, that can be programmed in the Global > Controllers > Sliders page.

2 Write the changes to a Keyboard Set.

842| Controllers

Programming the assignable sets

1 Go to the Global > Controllers > Sliders page.

2 Choose a function for each of the sliders.

There are two sets (Assignable A and Assignable B), that you can recall by selecting the corresponding slider mode.

Functions assignable to the sliders

Slider function Meaning

Off No function assigned

Master Volume Master Volume control

Keyboard Expression Relative Volume of the Keyboard Sounds. All the other Sounds will not be varied.

Style Drum&Perc.Vol.(Gbl) The same as the Style Volume sliders in the Global > Mode Preferences > Styles 2 page.

Style Bass Vol.(Gbl)

Style Accomp.Vol.(Gbl)

Kbd Upper 1 Volume Volume of the corresponding Keyboard Sound.

Kbd Upper 2 Volume

Kbd Upper 3 Volume

Kbd Lower Volume

Pad Volume Pads volume control

Pad 14 Volume Volume of the corresponding Pad.

Style Drum Volume Volume of the corresponding Style track.

Style Perc Volume

Style Bass Volume

Style Acc 15 Volume

Hand controllers |843

Slider function Meaning

Song Track 116 Volume Volume of the corresponding MIDI Song track.

SMF Melody Volume Volume of the corresponding MIDI Songs special tracks (select- ed in the Global > Mode Preferences > Song & Seq page).

SMF Drum&Bass Mode Vol.

Joystick X+ Replicates the joystick right movement

Joystick X- Replicates the joystick left movement

Joystick Y+ Replicates the joystick forward movement

Joystick Y- Replicates the joystick backward movement

Upper VDF Cutoff Filter cutoff (for Sounds assigned to the Upper tracks)

Upper VDF Resonance Filter resonance (for Sounds assigned to the Upper tracks)

Mic Lead Voice Level Continuous controls assigned to the Voice Processor

Mic Harmony Level

Mic Double Level

Mic Filter Level

Mic uMod Level

Mic Delay Level

Mic Reverb Level

Mic EQ Gain Low

Mic EQ Gain Mid

Mic EQ Gain High

FX CC12 Ctrl Standard FX controllers, used as DMS modulations. How they work depends on the Effects programming.

FX CC13 Ctrl

844| Controllers

Programming the assignable switches

Assigning a function to the assignable switches

You can program the ASSIGNABLE SWITCHES in a different way for each Keyboard Set. Choosing a different set of Sounds may therefore change the controls assigned to these switches, to match the different types of Sounds.

1 Go to the Style Play/Song Play > Pad/Switch > Switch page.

2 Use one of the Switch 13 menus to choose a command to be assigned to the corresponding switch.

3 Write the changes to a Keyboard Set.

Functions assignable to the assignable switches

Switch function Meaning

Off No function assigned

Ritardando Slowing down or making the Tempo faster, according to the curves programmed in the Global > General Controls > Basic page.Accelerando

Style Up Selects the next Style

Style Down Selects the previous Style

Kbd Set Library Up Selects the next Keyboard Set from the KEYBOARD SET LIBRARY

Kbd Set Library Down Selects the previous Keyboard Set from the KEYBOARD SET LIBRARY

Sound Up Selects the next Sound

Sound Down Selects the previous Sound

Hand controllers |845

Switch function Meaning

Synchro Start Same functions as the control panel buttons with the same name

Synchro Stop

Style Drum Mute Mute of the corresponding track

Style Perc Mute

Style Bass Mute

Style Acc15 Mute

Style Acc 1-5 Mute Mute/Unmute all the Acc tracks at once

Song Melody Mute Mutes the MIDI Song track set as the Melody track (Global > Mode Preference > Song & Seq.)

Vocal Remover Removes the lead voice from the MP3 Song

Song Drum&Bass Mode Mute of all MIDI Song tracks, except the Bass and Drum tracks (as set in the Global > Mode Preference > Song & Seq. page). It doesnt work on MP3 Songs.

Solo Selected Track Turns track solo on/off

Bass&Lower Backing When the Style is not playing and the keyboard is in Split mode, you can play the Lower Sound with your left hand, while the Bass still plays the chord root.

QuarterTone Turns Quarter Tone on/off

Retune Style Makes the instrument wait for a chord. The root of the chord will be the new root of the scale used by some of the Accompaniment tracks.

Global-Scale When the switch or footswitch is pressed, the Global > Tuning > Scale page is recalled

SubScale Preset 115 - SC115

Same functions as the Scale Preset buttons in the display

Mic Talk Switch controls assigned to the Voice Processor

Mic Lead On/Off

Mic Filter On/Off

Mic HardTune On/Off

Mic uMod On/Off

Mic Delay On/Off

FX CC12 Switch Standard FX switches. How they work depends on the Effects programming.

FX CC13 Switch

Rotary Spkr On/Off Rotary Speaker effect controls

Rotary Spkr Fast/Slow

Drawbar Perc On/Off Turns Drawbar Percussion on/off

Text Page Next These options let you move to the previous or next page, when reading a text file automatically loaded with a Song or SongBook Entry, or manually loaded from the Lyrics page.Text Page Prev

846| Controllers

Switch function Meaning

Set List Next Moves to the next SongBook Entry in the selected Set List

Set List Prev Moves to the previous SongBook Entry in the selected Set List

Sound Controller 1 DNC Sound Controllers (CC#80 and CC#81). They control the function assigned in Sound Edit in DNC Sounds.

Sound Controller 2

Setting the Accelerando/Ritardando times

Accelerando and Ritardando are controls you can assign to an assignable switch or footswitch. While the switch is kept pressed, Tempo will start grad- ually speeding up or down.

1 Go to the Global > General Controls > Basic page.

2 Use the Accelerando/Ritardando > Step parameter to set the speed of Tempo change (from 1 to 6).

With higher values, the step change will be greater, and the speed will change faster. With lower values, the step change will be smaller, and the speed will change more slowly.

3 Use the Accelerando/Ritardando > Curve parameter to set the curve of Tempo change (from 1 to 3).

Experiment the various options, to see the one that best fits your taste.

Foot controllers |847

48 Foot controllers

Programming the damper pedal

You can connect a footswitch, or a dedicated damper pedal, to the PEDAL > DAMPER connector on the back of the instrument. This pedal always works as a Damper pedal.

Assigning the Damper pedal to the Sounds

You can activate/deactivate the damper pedal on each Keyboard Sound. This is useful, for example, to only sustain some Upper Sounds and not the others.

1 Go to the Keyboard/Ensemble > Joystick/Pedal page.

2 Use the Damper checkbox to turn the Damper pedal on/off on each Keyboard Sound.

3 Write the changes to a Keyboard Set.

848| Controllers

Programming the assignable pedal/ footswitch

Assigning a function to the pedal/footswitch

You can connect a footswitch or expression pedal to the PEDAL > ASSIGNABLE connector on the back of the instrument. Depending on the connected type of pedal, you will choose a suitable function.

1 Connect the pedal or footswitch to the PEDAL > ASSIGNABLE connector.

2 Go to the Global > Controllers > Foot page.

3 Use the Function pop-up menu to choose a control function.

Foot controllers |849

Functions assignable to a footswitch

Footswitch function Meaning

Off No function assigned

Style Start/Stop Same functions as the control panel buttons with the same name

Play/Stop Player 1

Play/Stop Player 2

Go to Beginning Player 1

Go to Beginning Player 2

Chord Seq. Record

Chord Seq. Play

Synchro Start

Synchro Stop

Tap Tempo/Reset

Tempo Lock

Ritardando Slowing down or making the Tempo faster, according to the curves programmed in the Global > General Controls > Basic page.Accelerando

Tempo Up Same functions as the control panel buttons with the same name

Tempo Down

Intro 13/Count In Selects the corresponding Intro

Ending 13 Selects the corresponding Ending

Fill 14 Selects the corresponding Fill

Break Selects the Break

Variation 14 Selects the corresponding Variation

Variation Up Selects the next Variation

Variation Down Selects the previous Variation

Fade In/Out Same functions as the control panel button with the same name

Memory

Bass Inversion

Manual Bass

Split

Style Up Selects the next Style

Style Down Selects the previous Style

Style to Kbd Set Same function as the control panel button with the same name

Kbd Set 14 Selects the corresponding Keyboard Set from the KEYBOARD SET section under the display

850| Controllers

Footswitch function Meaning

Kbd Set Up Selects the next Keyboard Set from the KEYBOARD SET section under the display

Kbd Set Down Selects the previous Keyboard Set from the KEYBOARD SET sec- tion under the display

Kbd Set Library Up Selects the next Keyboard Set from the KEYBOARD SET LIBRARY

Kbd Set Library Down Selects the previous Keyboard Set from the KEYBOARD SET LIBRARY

Sound Up Selects the next Sound

Sound Down Selects the previous Sound

Transpose (b) Same functions as the control panel buttons with the same name

Transpose (#)

Upper Octave Up

Upper Octave Down

Punch In/Out Turns Punch Recording on/off

Kbd Upper13 Mute Mute of the corresponding Sound.

Kbd Lower Mute

Style Drum Mute

Style Perc Mute

Style Bass Mute

Style Acc15 Mute

Style Acc1-5 Mute Mute/Unmute all the Acc tracks at once

Song Melody Mute Mutes the MIDI Song track set as the Melody track (Global > Mode Preference > Song & Seq.).

Vocal Remover Removes the lead voice from the MP3 Song

Song Drum&Bass Mode Mute of all MIDI Song tracks, except the Bass and Drum tracks (as set in the Global > Mode Preference > Song & Seq. page). It doesnt work on MP3 Songs.

Solo Selected Track Turns track solo on/off

Damper Pedal Damper function. Corresponds to the right pedal of an acoustic piano. It holds the notes played when the pedal is pressed down.

Soft Pedal Soft function. Corresponds to the una corda pedal of an acous- tic piano. Makes the sound softer.

Sostenuto Pedal Sostenuto function. Corresponds to the left pedal of a grand piano. It holds the notes already held when pressing the pedal down.

Bass&Lower Backing When the Style is not playing and the keyboard is in Split mode, you can play the Lower Sound with your left hand, while the Bass still plays the chord root.

Ensemble Turns Ensemble on/off

Foot controllers |851

Footswitch function Meaning

QuarterTone Turns Quarter Tone on/off

Retune Style Makes the instrument wait for a chord. The root of the chord will be the new root of the scale used by some of the Accompaniment tracks.

Global-Scale When the switch or footswitch is pressed, the Global > Tuning > Scale page is recalled.

SubScale Preset 115 - SC115

Same functions as the Scale Preset buttons in the display

Chord Latch Holds the recognized chord until the pedal is released

Glide When the pedal is pressed, affected notes on Upper tracks are bent down, according to settings for the Pitch Bend on the same tracks. When the pedal is released, notes return to the normal pitch, at the speed defined in the Global > General Controls > Basic page.

Mic In Mute Switch controls assigned to the Voice Processor

Mic Talk

Mic Lead On/Off

Mic Harmony On/Off

Mic Double On/Off

Mic Filter On/Off

Mic Hard Tune On/Off

Mic uMod On/Off

Mic Delay On/Off

Mic Reverb On/Off

FX CC12 Switch Standard FX switches. How they work depends on the Effects programming.

FX CC13 Switch

Rotary Spkr On/Off Rotary Speaker effect controls

Rotary Spkr Fast/Slow

Drawbar Perc On/Off Turns Drawbar Percussion on/off

Text Page Next These options let you move to the previous or next page, when reading a text file automatically loaded with a Song or SongBook Entry, or manually loaded from the Lyrics page.Text Page Prev

Set List Next Moves to the next SongBook Entry in the selected Set List.

Set List Prev Moves to the previous SongBook Entry in the selected Set List.

Pad 14 Same functions as the control panel buttons with the same name

Pad Stop

Sound Controller 1 DNC Sound Controllers (CC#80 and CC#81). They control the function assigned in Sound Edit in DNC Sounds.

Sound Controller 2

852| Controllers

Functions assignable to an expression pedal

Pedal function Meaning

Master Volume Master Volume control

Accompaniment Volume Volume of the Accompaniment Sounds

Keyboard Expression Relative Volume of the Keyboard Sounds. All the other Sounds will not be varied.

Pad Volume Volume of the MP3 Songs

Joystick X+ Replicates the joystick right movement

Joystick X- Replicates the joystick left movement

Joystick Y+ Replicates the joystick forward movement

Joystick Y- Replicates the joystick backward movement

Upper VDF Cutoff Filter cutoff (for Sounds assigned to the Upper tracks)

Upper VDF Resonance Filter resonance (for Sounds assigned to the Upper tracks)

Mic In Volume Continuous controls assigned to the Voice Processor

Mic Lead Voice Level

Mic Harmony/Double Level

Mic Harmony Level

Mic Double Level

Mic Filter Level

Mic uMod Level

Mic Delay/Reverb Level

Mic Delay Level

Mic Reverb Level

Mic EQ Gain Low

Mic EQ Gain Mid

Mic EQ Gain High

FX CC12 Ctrl Standard FX controllers, used as DMS modulations. How they work depends on the Effects programming.

FX CC13 Ctrl

Foot controllers |853

Choosing a curve presets for the expression pedal

With some functions assigned to an expression pedal, you can choose a curve, shaping how the pedal will affect the function. When a curve cant be applied, the curve diagrams will appear dimmed.

Choosing a curve preset

1 Be sure to have connected an expression pedal, calibrated it, and selected a function. Curve presets can only be selected with some functions.

2 While in the Global > Controllers > Foot page, touch one of the Curve buttons to select a curve preset.

Curve Meaning

Linear response.

Exponential response. The function value will change faster toward the top of the pedal range.

Logarithmic response. The function value will change slower toward the top of the pedal range.

S-shaped response. The function value will change faster toward the bottom and the top of the pedal range, and will be smoother in the middle.

S-shaped with offset response. As the previous one, but starting from a value higher than zero.

854| Controllers

Assigning the Expression pedal to the Sounds

Expression is a relative level control, always subtracted from the Volume value. It can be assigned to any continuous pedal (also called a Volume/ Expression pedal).

As an example, imagine you have a Piano sound assigned to Upper 1, and a Strings sound assigned to Upper 2. If you turn the Expression switch on on Upper 2, and off on Upper 1, you can use a continuous pedal to control only the Strings volume, while the Piano remains unchanged.

1 Go to the Keyboard/Ensemble > Joystick/Pedal page.

2 Use the Expression checkbox to turn the Expression pedal on/off on each Keyboard Sound.

3 Write the changes to a Keyboard Set.

Setting the Glide time

Glide is a control you can assign to a footswitch or EC5 switch. When the ped- al is pressed, affected notes on Upper parts are bent down, according to set- tings for the Pitch Bend on the same parts. When the pedal is released, notes return to the normal pitch, at the speed defined by the Time parameter.

Change the Pitch Bend values

1 Go to the Mixer/Tuning > Tuning page.

Foot controllers |855

2 Use the PB Sensitivity parameter to set the Pitch Bend range (in semitones).

3 Write the changes to a Keyboard Set.

Change the Glide time

1 Go to the Global > General Controls > Basic page.

2 Use the Glide > Time parameter to set the glide time.

856| Controllers

Calibrating the pedals and setting their polarity

If needed, you might have to calibrate the pedals to use their full range of values, without any dead spot. Also, this procedure allows to choose a ped- als polarity, in case you are using a pedal working in reverse.

1 Go to the Global > Controllers > Foot page.

2 Touch the Calibration button in the area of the pedal to calibrate, to make the Damper & Pedal/Footswitch Calibration dialog appear.

3 Fully press the pedal down, and while continuing to press touch the Push button to confirm the maximum value.

4 When the following dialog appears, release the pedal.

5 Touch the Push button in the display to confirm the minimum value. Check if the pedal is working properly. In case it isnt, repeat the procedure.

6 Press the EXIT button to return to the previous page.

Foot controllers |857

Programming the EC5 multiswitch

Programming the EC5 switches

You can connect a KORG EC5 multiswitch controller to the EC5 connector on the back of the instrument. This will give you a set of five programmable switches.

1 Connect the EC5 multiswitch to the EC5 connector.

2 Go to the Global > Controllers > EC5 page.

3 Use the AE pop-up menus to choose a control function to each of the switches.

858| Controllers

Functions assignable to an EC5 switch

EC5 function Meaning

Off No function assigned

Style Start/Stop Same functions as the control panel buttons with the same name

Play/Stop Player 1

Play/Stop Player 2

Go to Beginning Player 1

Go to Beginning Player 2

Chord Seq. Record

Chord Seq. Play

Synchro Start

Synchro Stop

Tap Tempo/Reset

Tempo Lock

Ritardando Slowing down or making the Tempo faster, according to the curves programmed in the Global > General Controls > Basic page.Accelerando

Tempo Up Same functions as the control panel buttons with the same name

Tempo Down

Intro 13/Count In Selects the corresponding Intro

Ending 13 Selects the corresponding Ending

Fill 14 Selects the corresponding Fill

Break Selects the Break

Variation 14 Selects the corresponding Variation

Variation Up Selects the next Variation

Variation Down Selects the previous Variation

Fade In/Out Same functions as the control panel button with the same name

Memory

Bass Inversion

Manual Bass

Split

Style Up Selects the next Style

Style Down Selects the previous Style

Style to Kbd Set Same function as the control panel button with the same name

Kbd Set 14 Selects the corresponding Keyboard Set from the KEYBOARD SET section under the display

Foot controllers |859

EC5 function Meaning

Kbd Set Up Selects the next Keyboard Set from the KEYBOARD SET section under the display

Kbd Set Down Selects the previous Keyboard Set from the KEYBOARD SET sec- tion under the display

Kbd Set Library Up Selects the next Keyboard Set from the KEYBOARD SET LIBRARY

Kbd Set Library Down Selects the previous Keyboard Set from the KEYBOARD SET LIBRARY

Sound Up Selects the next Sound

Sound Down Selects the previous Sound

Transpose (b) Same functions as the control panel buttons with the same name

Transpose (#)

Upper Octave Up

Upper Octave Down

Punch In/Out Turns Punch Recording on/off

Kbd Upper13 Mute Mute of the corresponding Sound.

Kbd Lower Mute

Style Drum Mute

Style Perc Mute

Style Bass Mute

Style Acc15 Mute

Style Acc1-5 Mute Mute/Unmute all the Acc tracks at once

Song Melody Mute Mutes the MIDI Song track set as the Melody track (Global > Mode Preference > Song & Seq.).

Vocal Remover Removes the lead voice from the MP3 Song

Song Drum&Bass Mode Mute of all MIDI Song tracks, except the Bass and Drum tracks (as set in the Global > Mode Preference > Song & Seq. page). It doesnt work on MP3 Songs.

Solo Selected Track Turns track solo on/off

Damper Pedal Damper function. Corresponds to the right pedal of an acoustic piano. It holds the notes played when the pedal is pressed down.

Soft Pedal Soft function. Corresponds to the una corda pedal of an acous- tic piano. Makes the sound softer.

Sostenuto Pedal Sostenuto function. Corresponds to the left pedal of a grand piano. It holds the notes already held when pressing the pedal down.

Bass&Lower Backing When the Style is not playing and the keyboard is in Split mode, you can play the Lower Sound with your left hand, while the Bass still plays the chord root.

Ensemble Turns Ensemble on/off

860| Controllers

EC5 function Meaning

QuarterTone Turns Quarter Tone on/off

Retune Style Makes the instrument wait for a chord. The root of the chord will be the new root of the scale used by some of the Accompaniment tracks.

Global-Scale When the switch or footswitch is pressed, the Global > Tuning > Scale page is recalled.

SubScale Preset 115 - SC115

Same functions as the Scale Preset buttons in the display

Chord Latch Holds the recognized chord until the pedal is released

Glide When the pedal is pressed, affected notes on Upper tracks are bent down, according to settings for the Pitch Bend on the same tracks. When the pedal is released, notes return to the normal pitch, at the speed defined in the Global > General Controls > Basic page.

Mic In Mute Switch controls assigned to the Voice Processor

Mic Talk

Mic Lead On/Off

Mic Harmony On/Off

Mic Double On/Off

Mic Filter On/Off

Mic Hard Tune On/Off

Mic uMod On/Off

Mic Delay On/Off

Mic Reverb On/Off

FX CC12 Switch Standard FX switches. How they work depends on the Effects programming.

FX CC13 Switch

Rotary Spkr On/Off Rotary Speaker effect controls

Rotary Spkr Fast/Slow

Drawbar Perc On/Off Turns Drawbar Percussion on/off

Text Page Next These options let you move to the previous or next page, when reading a text file automatically loaded with a Song or SongBook Entry, or manually loaded from the Lyrics page.Text Page Prev

Set List Next Moves to the next SongBook Entry in the selected Set List.

Set List Prev Moves to the previous SongBook Entry in the selected Set List.

Pad 14 Same functions as the control panel buttons with the same name

Pad Stop

Sound Controller 1 DNC Sound Controllers (CC#80 and CC#81). They control the function assigned in Sound Edit in DNC Sounds.

Sound Controller 2

|861

Part XI: GLOBaL SEttINGS aND PrEFErENCES

862| Global settings and preferences

Customizing the user interface |863

49 Customizing the user interface

Display and control panel preferences

Choosing the chords and alphanumeric keyboard language

You can choose the language used to show chord names and the characters that can be inserted using the alphanumeric virtual keyboard. Please note that some of the characters can only be used when editing SongBook Entry names.

1 Since the instrument must be restarted at the end of this procedure, be sure to first save all unsaved data.

2 Go to the Global > General Controls > Interface page.

3 Use the Language pop-up menu to select one of the available languages.

4 Touch the Change button to apply the selected language.

5 A message will ask you to reboot the instrument. Touch the OK button to close the message window.

6 Turn off, then restart the instrument to activate the new language.

864| Global settings and preferences

Control panel illumination

You can adjust the button indicators brightness, to adapt the control panel glowing/luminosity to the ambient light.

1 Go to the Global > General Controls > Interface page.

2 Use the Panel Backlight pop-up menu to select one of the available luminos- ity degrees.

Automatically closing the Select windows

You may prefer to leave a Select window open after you have chosen a Sound, Keyboard Set, Style, Pad or Voice Preset, to continue trying other elements in that window. Or, you may prefer it automatically closes after you have completed your choice. This is determined by the Display Hold parameter.

1 Go to the Global > General Controls > Interface page.

2 Select the Display Hold checkbox to let the Select windows remain open until you press the EXIT button. Deselect it to let the Select windows auto- matically close after you choose an element.

Customizing the user interface |865

Program Change and activity indicators

Showing/Hiding the Program Change number

You can make Program Change numbers be shown next to Sound names in the Sound Select window.

Please note that Program Change numbers are always shown in the various Track Info areas.

1 Go to the Global > General Controls > Interface page.

2 Select/deselect the Program Change > Show checkbox.

866| Global settings and preferences

Showing/Hiding the tracks activity

You can turn on/off the Track Activity display. When it is turned on, you can monitor events coming from the internal Sounds or the MIDI messages. Incoming events are shown by the color changing on each tracks label.

1 Go to the Global > General Controls > Interface page.

2 Select/deselect the Track Activity > Show checkbox.

Automatic selection and locking |867

50 automatic selection and locking

automatically choosing Styles and Keyboard Sets

Preferred Styles and Keyboard Sets can be assigned to the STYLE and KEYBOARD SET LIBRARY buttons. They are also assigned to the side tabs in the Style Select and Keyboard Set Library Select windows.

Automatically selecting the Styles

When the Auto Select > Style parameter is activated, pressing one of the STYLE buttons, or touching the name of a bank in the Style Select window, automatically selects the Style you latest selected in that bank. This way, you can assign your preferred Style to each control panels button, and select it just with a single press.

However, the Style Select window will still appear, so that you can select a different item if desired.

1 Choose a Style for each STYLE button you want to program.

2 Go to the Global > General Controls > Interface page.

3 Select the Style checkbox in the Auto Select section.

4 Touch the Save button to save the Style assignment to all banks.

868| Global settings and preferences

Automatically selecting the Keyboard Sets from the library

When the Auto Select > Keyboard Set Library parameter is activated, press- ing one of the KEYBOARD SET LIBRARY buttons, or touching the name of a bank in the Keyboard Set Library Select window, automatically selects the Keyboard Set you latest selected in that bank. This way, you can assign your preferred Keyboard Set to each control panels button, and select it just with a single press.

However, the Keyboard Set Library Select window will still appear, so that you can select a different item if desired.

1 Choose a Keyboard Set for each KEYBOARD SET LIBRARY button you want to program.

2 Go to the Global > General Controls > Interface page.

3 Select the Keyboard Set Library checkbox in the Auto Select section.

4 Touch the Save button to save the Keyboard Set assignment to all buttons.

Automatic selection and locking |869

Locking parameters to prevent changes

In various pages, next to some parameters, you can find a lock ( ) icon. All these locks are collected in the Global > General Controls > Lock pages for easy access.

Locking the Tuning parameters

1 Go to the Global > General Controls > Lock > Tuning page.

2 Select/deselect the desired locks.

tuning lock Meaning

Master Transpose Prevents Master Transpose from changing when choosing a SongBook Entry. It also prevents transposing when loading a Standard MIDI File created by Pa4X or any instrument of the KORG Pa-Series.

Sub Scale/Quarter Tone

Prevents the Sub-Scale or Quarter Tone value from changing when choosing a Keyboard Set or SongBook Entry.

SubScale/Quarter Tone Keyboard Set 1-4

Prevents the Sub-Scale or Quarter Tone value from changing when choosing a Keyboard Set by pressing the KEYBOARD SET buttons under the display.

Auto Octave Depending on the status of this lock, the Upper Sounds can be auto- matically transposed when turning the SPLIT on and off.

If locked, turning the SPLIT on or off will not cause Upper Sounds transposition.

If unlocked, when turning the SPLIT button off (Full keyboard mode) the Upper Sounds Octave Transpose will be automatically set to 0. When turning the SPLIT button on (Split keyboard mode) the Upper Sounds Octave Transpose will be automatically set to -1.

870| Global settings and preferences

SongBook Entries, Keyboard Sets, and the sub-scale

If you want that choosing a SongBook Entry also changes the sub-scale, the SubScale/Quarter Tone has to be unlocked.

However, if you dont want that choosing a Keyboard Set (by pressing one of the KEYBOARD SET buttons under the display) also changes the sub-scale, lock the SubScale/Quarter Tone Keyboard Set 1-4.

Locking the Control parameters

1 Go to the Global > General Controls > Lock > Control page.

2 Select/deselect the desired locks.

Automatic selection and locking |871

Control lock Meaning

Assignable Switches When locked, selecting a Keyboard Set will not change the functions assigned to the Assignable Switches.

Upper 1 FXs When choosing the Upper 1 Sound, the Sounds or the Keyboard Sets effect settings can be selected.

If this lock is closed, the Keyboard Sets effect parameters are left unchanged.

If this lock is open, the Sounds effect parameters are selected.

To avoid sudden and unmusical effect changes, if the Sounds ef- fects are not compatible with the effects already assigned to the FX B block, the Master FX Send values on the other Keyboard Sounds will be automatically set to zero.

For example, assume a chorus effect is assigned to the B2 Master FX processor. If the new Sound assigns a distortion effect to the B2 Master FX processor, the B2 Master FX Send value on the Upper 2, Upper 3, and Lower Sounds will be set to zero, to avoid these Sounds to sound odd. This way, the Upper 1 Sound (usually the most impor- tant one for solo playing) will sound with the needed effects, while the other Keyboard Sounds will just sound dry.

Pad When locked, selecting a Style or SongBook Entry will not change the Pads.

Lower When this lock is closed, the Lower Sound remains unchanged when a different Keyboard Set or Style is selected.

This is useful if, for example, you prefer to only play chords with the left hand, while leaving the Sound in mute.

Hint: If you want the same Lower settings to be used during all your shows, save your preferred Lower settings to the MY SETTING Keyboard Set (automatically selected on startup), and close this lock.

Keyboard Mode (Split/ Full)

When this lock is closed, the status of the SPLIT button (therefore of the keyboard mode) remains unchanged when a different Keyboard Set is selected.

This is useful if, for example, you prefer to always play in Full Keyboard mode, with chords recognized on the full keyboard range.

Hint: If you want the same Lower settings to be used during all your shows, save your preferred Lower settings to the MY SETTING Keyboard Set (automatically selected on startup), and close this lock.

Keyboard Set 1-4 When this lock is closed, the four currently selected Keyboard Sets are preserved, when choosing a different Style or SongBook Entry.

With this lock open, selecting a Style or SongBook Entry will select the four Keyboard Sets they contain.

Slider Mode When locked, selecting a Keyboard Set or SongBook Entry will not change the status of the SLIDER MODE indicator.

872| Global settings and preferences

Locking the Style parameters

1 Go to the Global > General Controls > Lock > Style page.

2 Select/deselect the desired locks.

Style locks Meaning

Style Tracks Volume When this lock is closed, choosing a different Style does not change the volume of the accompaniment tracks.

This is useful when you create your own User Styles, and prefer to dynamically adjust the volume by using the internal mixer. It is not recommended with Factory Styles, each one already mixed at its best right at the factory.

Style Tracks Play/Mute When this lock is closed, choosing a Style does not change the Play/ Mute status of the accompaniment tracks. This way, you can, for ex- ample, turn the bass track off during a whole show, to allow your bassist to play the part live. Also, you could mute all the Acc tracks, to only play with the Drum and Bass tracks.

Style Element When this lock is closed, choosing a Style does not change the se- lected Style Element (Variation, Intro...). This lock does not apply to the Fills and Break.

This lock has no effect on the Styles automatically selected when choosing a SongBook Entry. In this case, the Style Element memo- rized in the SongBook Entry is always selected.

Bass Inversion When locked, choosing a Keyboard Set will not change the Bass Inversion status.

Manual Bass When locked, choosing a Keyboard Set will not change the Manual Bass status.

Chord Sequence When locked, choosing a Style or SongBook Entry will not change the Chord Sequence in memory.

Fill Mode When locked, the selected Fill Mode will not change when choosing a different Style or SongBook Entry.

System preferences |873

51 System preferences

Setting the date and time for file saving

Pa4X includes a battery-backed system calendar and clock. This allows for automatically adding a time-stamp to the files, when they are created or edited.

1 Go to the Global > General Controls > Clock & Power page.

2 Set the Month/Day/Year and Time values.

Use the Time numeric field to input the time, in the hour:minute:second format.

3 After having edited all calendar and time fields, touch the Apply button to apply the changes.

Date and time from older data

Starting with OS v1.1, date and time are assigned to each single musical re- source (a single Sound, a single Style), instead of a whole bank. When sav- ing a musical resource, the current date and time are updated. Older, un- saved resources in the same bank take the same date and time of the saved resource.

Since the date and time of the older, unsaved resources are not the real date and time they were last modified, they will appear dimmed in a file list.

874| Global settings and preferences

automatic power off

Pa4X can automatically enter standby after two hours of not being used, to save power and help preserving the environment.

1 Go to the Global > General Controls > Clock & Power page.

2 Select/deselect the Auto Power Off checkbox.

When this parameter is checked, a few minutes before automatic standby a message will warn you that the instrument is going to be put in standby. All unsaved data currently in editing or recording will be lost.

At this message, you can let the instrument enter standby, or you can touch the display, press any button on the display, or play the keyboard to leave it turned on and continue using it.

Master Transpose and Tuning |875

52 Master transpose and tuning

Master tuning

You can fine tune the instrument (in cents of a semitone), to adapt it to an acoustic instrument that is not possible to tune (for example an acoustic piano without a professional tuner or the right tools, or a period instrument).

1 Go to the Global > Tuning > Master page.

2 Use the Master Tuning parameter to fine tune the instrument.

tuning Meaning

-100 cents Lowest pitch (half a semitone down)

0 cents Standard pitch (A4 = 440Hz)

+100 cents Highest pitch (half a semitone up)

876| Global settings and preferences

Master transpose

Transposing the whole instrument

The instruments key can be transposed to make singing or playing together with another instrument more comfortable. Master Transpose settings are also sent to any GM-compliant instrument.

The transpose value is usually shown in the page header.

Transpose down from the control panel

Use the TRANSPOSE > FLAT ( ) button to lower the Master Transpose in steps of one semitone.

Transpose up from the control panel

Use the TRANSPOSE > SHARP ( ) button to raise the Master Transpose in steps of one semitone.

Reset transposition

Press both TRANSPOSE buttons together.

SongBook and Master Transpose

When saving a SongBook Entry, the Master Transpose is also saved. Master Transpose might therefore change when choosing a SongBook Entry. To avoid this to happen, you may lock the Master Transpose in Global > General Controls > Lock > Tuning.

Saving the Master Transpose with a Keyboard Set, Style or Song

If you want to save the Master Transpose value together with the Keyboard Sets, Styles or Songs, you can create a new SongBook Entry based on them. Choose the desired data and settings, then keep the SONGBOOK button pressed for about one second to create a new SongBook Entry.

Master Transpose and Tuning |877

MP3 Songs and Master Transpose

MP3 Songs can be transposed inside the range of -5+6 semitones. This range is enough to cover all keys, while avoiding excessive audio degrada- tion. Any further transposing will be reversed to fit the range. So, you might see a +7 transpose value (Just Fifth Up) shown in the display, but the MP3 Song will actually play 5 semitones lower (Just Fourth Down).

MIDI Songs and Master Transpose

Saving Master Transpose with the Song

When saving a MIDI Song from the Sequencer mode, the Master Transpose value is saved with the Song. This value is preserved when playing back the Song in Song Play mode.

Preventing unwanted transposition

When loading a MIDI Song containing Master Transpose data, the instru- ments Master Transpose is modified. This may cause problems with other Songs or when playing the Styles. To avoid this to happen, you may lock the Master Transpose in Global > General Controls > Lock > Tuning.

If you still want to transpose the Song, use the Transpose function found in the Sequencer > Song Edit > Transpose page to transpose the MIDI data contained in the MID file.

As a general rule, you should use the Master Transpose (TRANSPOSE but- tons on the control panel) when you want to transpose the Keyboard Sounds together with the Song. You should use the Song Edits Transpose function when only the Song has to be transposed.

878| Global settings and preferences

Transposing the score and chord symbols

When using the TRANSPOSE buttons, the music score and chord symbols may also be transposed in the Lyrics and Score pages, depending on the Master Transpose settings. You can combine the tranpose options in the fol- lowing three ways.

transpose options Score and Chord symbols

A Keyboard: Immediate/Next Measure

Player: On

Not transposed. Read by the keyboard player.

B Keyboard: Off

Player: On

Transposed. Read by the keyboard player and a musician partner.

C Keyboard: Immediate/Next Measure

Player: Off

Transposed. Read by the keyboard player.

When no transposition is applied, the score and chord symbols always ap- pear as in the original file.

Score and chord symbols can be read in the internal display and/or an exter- nal monitor. They can be useful for you the keyboard player and/or your musician partner (a guitar player, a sax player).

Please note that chords contained in a linked TXT file or shown in a CDG file are not transposed.

Master Transpose and Tuning |879

A) Transposing the Keyboard and Songs, but not the Score and the Chord

symbols

Choose this option to let Pa4X transpose what you play live, together with the songs, to a key that is more comfortable for your musician partner. You will be the one to read the (non-transposed) score and chord symbols.

For example you may want to play a song in the original C# Maj key, because you learned it in that key. Your musician partner, on the contrary, prefers to play it in D Maj, that might be more comfortable for her/him. By choosing a transpose value of +1, the songs will be transposed to D Maj. You will play in C# Maj, but your notes will be transposed to D Maj. When playing the key- board, a C will be transposed to sound as a C#.

The score and chord symbols will not change, so you will still be able to read and play the score in the original key of C#.

1 Go to the Global > Tuning > Transpose Control page.

2 Set the Style and Keyboard Tracks option to Immediate (or Next Measure), and select the Player checkbox.

When changing the Master Transpose value, the keyboard and the songs will be transposed. The score and chord symbols will NOT be transposed.

880| Global settings and preferences

B) Transposing the Songs, Score and Chord symbols, but not the Keyboard

Choose this option when you want to let Pa4X transpose the songs to a key that is more comfortable for your musician partner. You will play in the trans- posed key. You and your musician partner will be able to read the (trans- posed) score and chord symbols.

For example, both you and your musician partner want to play a song, origi- nally in the key of C# Maj, in D Maj, because it is easier for both of you. By choosing a transpose value of +1, the songs will be transposed to D Maj. The keyboard will not be transposed, so you will play right in D Maj. When playing the keyboard, a C will still be a C.

The score and chord symbols will change, so you will be able to read and play the score in the transposed key of D Maj.

1 Go to the Global > Tuning > Transpose Control page.

2 Set the Style and Keyboard Tracks option to Off, and select the Player checkbox.

When changing the Master Transpose value, the keyboard will NOT be trans- posed, while the songs, score and chord symbols will be transposed.

Master Transpose and Tuning |881

C) Transposing the Keyboard, Score and Chord symbols, but not the Songs

Choose this option to transpose what you play live to a more comfortable key, and let your musician partner play in the original key. You will be the one to read the (transposed) score and chord symbols.

For example, if you find a song in C# Maj too difficult to play, you can play it in C Maj. By choosing a transpose value of +1, what you play on the keyboard will be transposed to C# Maj. When playing the keyboard, a C will be trans- posed to sound as a C#.

The score and chord symbols will be transposed accordingly, so that you can read them in the altered key.

The songs will not be transposed, so your musician partner will be in tune with them.

1 Go to the Global > Tuning > Transpose Control page.

2 Set the Style and Keyboard Tracks option to Immediate (or Next Measure), and deselect the Player checkbox.

When changing the Master Transpose value, the keyboard, score and chord symbols will be transposed. The songs will NOT be transposed.

882| Global settings and preferences

When is Master Transpose applied?

You can decide when the Master Transpose will take effect.

1 Go to the Global > Tuning > Transpose Control page.

2 Use the Mode > Style and Keyboard Tracks pop-up menu to choose when transposition will apply.

transpose Meaning

Off No Master Transpose is applied to Accompaniment and Keyboard Sounds. Chords shown in the Lyrics page are, however, transposed.

Next Measure When you press either of the TRANSPOSE buttons, the new trans- pose setting will not take effect until the first beat of the next mea- sure is reached.

Immediate When you press either of the TRANSPOSE buttons, the new trans- pose setting will separately occur when the next note is played by the Accompaniment or Keyboard Sounds. If, for example, you play a note on the keyboard when the Accompaniment is still play- ing a chord, only the Keyboard Sounds will be transposed, and the Accompaniment Sounds will only be transposed at the next chord.

Master Transpose and Tuning |883

Transposing the Songs and the MIDI IN notes

Master Transpose can be separately applied to the Song Player and to the notes entering the MIDI IN or USB DEVICE port.

1 Go to the Global > Tuning > Transpose Control page.

2 Use the Mode > Player checkbox to activate/deactivate transposition on the internal Players.

3 Use the Mode > Midi In Notes checkbox to activate/deactivate transposition on the incoming MIDI notes.

884| Global settings and preferences

Master Transpose and Scale

You can define the relation between the Scale and the Master Transpose.

1 Go to the Global > Tuning > Transpose Control page.

2 Use the Position > Scale and Transpose pop-up menu to choose where transposition will apply in relation to the Scale.

transpose position Meaning

Post-KB/Pre-Scale When this option is selected, notes will be transposed immediate- ly after they leave the keyboard. The Scale will be applied to the transposed notes. For example, if you altered an E, and then set the Master Transpose to +1, the E key will play a real F, and the altered key will still be E (that will play an altered E).

Scale Tone generatorTranspose

Post-KB & Scale When this option is selected, all notes are transposed immediately before they enter the internal tone generator, or are sent to the MIDI OUT or USB DEVICE port, and after the Scale. For example, if you altered an E, and set the Master Transpose to +1, the altered key will still be E (that will play an altered F).

Scale Tone

generatorTranspose

Drum Kits and Master Transpose

Drum Kits are never transposed. If you want that an ordinary Sound is not transposed as well, assign it to a track set to Drum mode in the Style Play/ Song Play > Track Controls > Mode page.

Scale |885

53 Scale

Main Scale

Choosing the main scale

The main scale is usually applied to all or most of the Sounds. Some Sounds may use an alternative sub-scale. Some Style Elements may use alternative sub-scales. The main scale is used wherever there is no sub-scale assigned.

Choose the main scale

1 Go to the Global > Tuning > Scale page.

2 Use the Main Scale pop-up menu to choose the main scale of the instrument.

All Sounds, apart for those for which a different sub-scale has been selected by a Keyboard Set, will use this scale.

If needed, choose a root key

Use the Key parameter (needed with some scales) to set the scale root (therefore, the Sounds tuning).

886| Global settings and preferences

Scales list

Scale Description

Equal Equal tuning, the standard scale for modern Western music. It is made of 12 identical semitones.

Pure Major Major chords in the selected key are perfectly tuned.

Pure Minor Minor chords in the selected key are perfected tuned.

Arabic An Arabic scale, using quarters of tone. Set the Key parameter as fol- lows:

C - for the rast C/bayati D scale

D - for the rast D/bayati E scale

F - for the rast F/bayati G scale

G - for the rast G/bayati A scale

A# - for the rast Bb/bayati C scale

Pythagorean Pythagorean scale, based on the music theories of the great Greek phi- losopher and mathematician Pythagoras. It is most suitable for melo- dies.

Werckmeister Late Baroque and early Classic age scale. Very suitable for 18th Century music.

Kirnberger Harpsichord scale, very common during the 18th Century.

Slendro Scale of the Indonesian Gamelan. The octave is divided in five notes (C, D, F, G, A). The remaining notes are tuned as in the Equal tuning.

Pelog Scale of the Indonesian Gamelan. The octave is divided in seven notes (all white keys, when Key is = C). The black keys are tuned as in the Equal tuning.

Stretch Simulates the stretched tuning of an acoustic piano. Basically an equal tuning, the lowest notes are slightly lower, while the highest notes are slightly higher than the standard.

User User scale, only available as a sub-scale. The User scale can be saved to a Keyboard Set, the Style Settings or a MIDI Song. You cant select it as the main scale in the Global.

Scale |887

Sub-Scale

Choosing a sub-scale for the Keyboard and/or Accompaniment Sounds

You can assign a different scale (a sub-scale) to the Keyboard Sounds. This will allow, for example, to play a piano solo with the Stretch tuning, while the backing tracks continue to play in the Equal tuning. A different sub-scale can be associated to each Keyboard Set.

You can also assign a sub-scale to all the Sounds of the Style, separate from the Sounds of a MIDI Song (that will still use the main scale). So, you will be able to play the Styles with a sub-scale, and the Songs with the main scale.

Choosing a sub-scale

1 Go to the Sub-Scale pane from the main page of the Style Play and Song Play modes.

2 Use the Scale pop-up menu to choose the sub-scale. See above for a list of the available scales.

If needed, use the Key parameter (requested by some scales) to set the pre- ferred key.

888| Global settings and preferences

Assigning the sub-scale to the Keyboard and/or Accompaniment Sounds

1 Go to the Global > Mode Preferences > Style 2 page.

2 Use the Scale Mode parameter to choose the Sounds to which to apply the sub-scale. All the other Sounds will use the main scale.

Scale Mode Meaning

Keyboard Tracks The sub-scale will affect all the Keyboard Sounds

Upper Tracks The sub-scale will only affect the Upper 1-3 Keyboard Sounds

All Tracks The sub-scale will affect the Keyboard Sounds and the Accompaniment Sounds. It will not affect the MIDI Song Sounds.

Editing a sub-scale for each Style Element and Accompaniment Sound

While in Style Record, you can edit a separate sub-scale for each Style Element, and enable the sub-scale on each track of the Style Element. This sub-scale will prevail over any other scale.

1 Go to the Style Record > Element Track Controls > Scale page.

Scale |889

2 Program the User scale, as explained below. To make programming easier, this sub-scale can only be a User scale.

3 Select the checkbox corresponding to the track(s) to which you want to apply the sub-scale.

The root key of this scale can dynamically change while you play, to allow for retuning the Style depending on the song section. How to retune the Style is explained later in this chapter.

Choosing and editing the User sub-scale

In addition to the supplied scales, you can program your own User sub-scale. This allows, for example, to have a different scale for each Keyboard Set.

Choose the User sub-scale

1 Go to the Sub-Scale pane from the main page of the Style Play and Song Play modes.

2 Use the Scale pop-up menu to choose the User sub-scale.

A Style Elements Scale is always a User scale.

Edit the User sub-scale

When the User sub-scale is selected, the keyboard diagram will become ac- tive, letting you program a custom scale.

890| Global settings and preferences

Use the numbers appearing in each note of the keyboard diagram to fine tune each note pitch. Detuning is referred to Equal tuning considered as zero detune.

Detuning Meaning

-99 +99 Note detuning in cents or a semitone. Zero is no detuning (Equal tun- ing), 50 is a full quarter tone up or down, 99 is nearly one whole semitone up or down.

Memorize the User sub-scale into a Sound set

Write the changes to a Sound set (Keyboard Set, Style Settings, Style).

Scale |891

Quarter tone Sub-Scale (Scale Presets)

Editing a Quarter Tone sub-scale (Scale Preset)

Quarter Tone scales (Scale Presets) are custom scales where detuning can be activated or deactivated while playing. Changing note tuning while play- ing is typical of Middle East/Arabic music. The detuning interval is usually next to a quarter tone.

You can save up to fifteen Quarter Tone scales into the Scale Presets. The Scale Presets are global and do not change with Keyboard Sets, Styles or Songs.

Quarter Tone settings are also sent to other Pa-Series instruments.

Program a Quarter Tone scale

1 Go to the Global > Tuning > Scale page.

2 Touch one of the Scale buttons to choose a Scale Preset to be edited.

3 Program the User Quarter Tone sub-scale.

In the left-side scale diagram, fine tune each note of the scale.

Detuning Meaning

-99 +99 Note detuning in cents or a semitone. Zero is no detuning, 50 is a full quarter tone up or down, 99 is nearly one whole semitone up or down.

892| Global settings and preferences

In the right-side scale diagram, turn on (black dot shown) the scale degree you want to be detuned, and turn off (black dot hidden) the scale degree that will use the standard tuning.

When no preset is selected, a default scale is automatically recalled. This scale assigns a -50 cent value (equivalent to a quarter tone down) to all notes, and turns all scale degrees off.

Memorize the new Quarter Tone sub-scale into a Scale Preset

1 Choose the Write Quarter Tone SC Preset command from the page menu to open the Write Quarter Tone Scale Preset dialog.

2 Touch the Text Edit ( ) button if you want to assign the Scale Preset a new name.

3 Choose one of the Scale Preset locations to save the new scale, then con- firm by touching the OK button.

Scale |893

Using the Quarter Tone sub-scales (Scale Presets)

You can instantly recall a Quarter Tone sub-scale, by just choosing one of the Scale Presets.

Activate the Quarter Tone sub-scale

1 Go to the Sub-Scale pane from the main page of the Style Play and Song Play modes.

2 Touch the Quarter Tone button to make it appear selected. The Scale Preset buttons will appear.

Choose a Scale Preset

Touch one of the Scale Preset buttons to choose the corresponding Scale Preset.

The saved Quarter Tone sub-scale will be selected.

Touch the same Scale Preset button to deactivate the selected scale.

894| Global settings and preferences

Use the Quarter Tone sub-scale

Touch any note whose pitch you want to lower, making a big dot appear on the note diagram.

Touch the note again to make the dot disappear, and reset to standard tun- ing.

Scale alteration made in this page is momentary and is not memorised. It is only meant to allow for quick scale alteration while playing.

Deactivate the Quarter Tone sub-scale

Touch the Quarter Tone button to make it appear deselected. The Scale Preset buttons will disappear. The main scale will be in use again.

Activating the Quarter Tone function by using a switch or footswitch

To make realtime changes faster, you can assign the Quarter Tone function to an assignable switch, a footswitch or an EC5 switch. This will make those sudden scale changes, typical of the Middle East/Arabic music, quick and easy.

Since these changes are not saved anywhere, the scale is easily wiped-out when selecting a different Keyboard Set, or when pressing the Quarter Tone switch again.

Program the switch or footswitch to be the Quarter Tone switch

Go to the Style Play/Song Play > Pad/Switch > Switch page, and assign the Quarter Tone function to one of the assignable switches.

Go to the Global > Controllers > Foot page, and assign the Quarter Tone function to the footswitch.

Go to the Global > Controllers > EC5 page, and assign the Quarter Tone func- tion to one of the EC5 switches.

Please note that programming an assignable switch will tie the Quarter Tone function to a particular Keyboard Set or SongBook Entry, dedicated to a particular Song. On the contrary, programming the footswitch or EC5 switch will offer a global option, that will not change when choosing a different Keyboard Set or SongBook Entry.

Scale |895

Use the Quarter Tone function

1 Lower some note pitches.

Keep the Quarter Tone switch or footswitch pressed. The keyboard will not play at this time. Press the notes whose pitch you want to lower. Release the switch or footswitch.

The black dots will appear in the keyboard diagram of the Sub-Scale pane from the main page of the Style Play and Song Play modes.

2 Play with your new scale. The pitch of the notes you pressed are now low- ered.

3 Reset the original scale.

Press and release the Quarter Tone switch or footswitch again, without play- ing any note. All pitches will be reset, and the original scale will be recalled.

Choosing a Scale Preset by using a switch or footswitch

You can also select a Scale Preset by assigning the relevant function to the footswitch.

Go to the Style Play/Song Play > Pad/Switch > Switch page, and assign the SubScale Preset function to one of the assignable switches.

Go to the Global > Controllers > Foot page, and assign the SubScale Preset function to the footswitch.

Go to the Global > Controllers > EC5 page, and assign the SubScale Preset function to one of the EC5 switches.

896| Global settings and preferences

retuning the Style while playing

Style Element Scale, Chord Follow, Retune Style

While in the Style Record > Element Track Controls > Scale page, you can program a sub-scale for each Style Element, and enable the sub-scale on each track of the Style Element.

This scale starts from a root key, that can change with each recognized chord, or after a deliberate command. Depending on your style of music, you will choose how to retune the Style.

How you choose the scales root key will depend on two concurrent param- eters: the Chord Follow option inside the Style, and the Retune Style param- eter assigned to an assignable switch, footswitch or EC5 switch.

retune Style Chord Follow Scales root Key

On From each recognized chord.

Off From the chord recognized when the accompaniment is not playing.

Assigned On From the chord recognized while the accompaniment is not playing, or after pressing the assignable switch.

Off

Enabling the Chord Follow option

1 Go to the Style Record > Element Track Controls > Scale page.

2 Use the Chord Follow checkbox to turn the option on or off. See the table above to see how it works.

While each Style Element can have its own scale, this option is common to all Style Elements in the Style.

Scale |897

Assigning the Retune Style command to an assignable switch, footswitch or EC5 switch

Assign the Retune Style command to an assignable switch

1 Go to the Style Play/Song Play > Pad/Switch > Switch page.

2 Use one of the Switch 13 menus to choose a command to be assigned to the corresponding switch. Since the first two switches are usually assigned to the Sound Controllers, we suggest you use Switch #3.

3 Write the changes to a Keyboard Set. Writing to the special MY SETTING Keyboard Set makes this setting available when turning the instrument on.

4 Be sure the lock is closed; this will leave the assignable switch functions un- changed when choosing different Keyboard Sets.

Assign the Retune Style command to a footswitch or EC5 switch

1 Go to the Global > Controllers > Foot or EC5 page.

2 Use the Function or one of the AE menus to choose a command to be as- signed to the corresponding switch.

Using the Retune Style command

When the Retune Style command is assigned to an assignable switch, foot- switch or EC5 switch, use it to change the Style Element Scales root key.

After choosing a Style, check the main page of the Style Play mode. If at least one of the Style Elements has a sub-scale assigned, and it is enabled on at least one of the tracks, the Key parameter will appear in the Style area.

Retune with an assignable switch

1 Just before having to retune the Style, press the assignable switch. The indicator will start flashing.

2 Play a chord in the chord recognition area. The root of the chord will be the new root of the scale. The indicator will stop flashing.

898| Global settings and preferences

Retune with a footswitch or EC5 switch

1 Just before having to retune the Style, press the footswitch or EC5 switch.

2 Play a chord in the chord recognition area. The root of the chord will be the new root of the scale.

|899

Part XII: MIDI

900| MIDI

Connecting MIDI devices |901

54 Connecting MIDI devices

Introduction to MIDI

Ports, channels, messages

What is MIDI?

MIDI stands for Musical Instruments Digital Interface. This interface lets you connect two musical instruments, or a computer and various musical instruments.

From a software point of view, MIDI is a protocol that describes messages for playing notes and controlling them. It is sort of a grammar to let different instruments and computers speak the same language, and let the one tell the other what to do.

From a physical point of view, MIDI messages travel across the classic MIDI interface or the USB port, a connector replacing the MIDI ports with a single port and cable. Personal computers, tablets and external controllers can be connected with a single USB cable.

Pa4X can be connected to a Windows or Mac computer with no need of spe- cial software. However, for full and easy use of all its MIDI features, we sug- gest that you install the KORG USB MIDI Driver, a special software that you can download from our web site (www.korg.com).

No audio signal is transmitted through MIDI. MIDI only consists of control messages.

Channels and messages

Basically, a MIDI or USB cable transmits 16 channels of data. Think to each MIDI channel as a TV channel: the receiver must be set on the same channel of the transmitter. The same happens with MIDI messages: when you send a Note On message on channel 1, it will be received on channel 1 only. This allows for multitimbrality: you can have more than one sound playing on the same MIDI instrument one for each MIDI channel.

902| MIDI

There are various messages, but here are the most commonly used:

MIDI Message CC# Meaning

Note On This message instructs an instrument to play a note on a specific channel. Notes have both a name (C4 standing for the center C) and a number (60 being the equivalent for C4). A Note Off message is often used to say the note has been released.

Together with the Note On message, a Velocity value is always sent. This value tells the instrument how loud the note must play.

Pitch Bend (PB) You can generate this message acting on the joystick (X direction). The pitch is translated up or down.

Program Change (PC) When you select a Sound, a Program Change message is generated on the channel. Use this message, together with Control Change 00 and 32, to remotely select Pa4X data from a sequencer or a master keyboard.

Control Change (CC) This is a wide array of messages, controlling most of the instrument parameters. Some examples:

Bank Select MSB 00 This message pair is used to select a Sound Bank. Together with the Program Change message, they are used to select a Sound.Bank Select LSB 32

Modulation 01 This is the equivalent of pressing up the joystick. A vibrato effect is usually triggered on.

Volume 07 Use this controller to set the channels volume.

Pan 10 This one sets the channels position on the stereo front.

Expression 11 Use this controller to set the relative volume of tracks, with the maximum value matching the current setting of the CC07 control.

Damper Pedal 64 Use this controller to simulate the Damper pedal.

Tempo

Tempo is a global MIDI message, that is not tied to a particular channel. Each MIDI Song includes Tempo data.

Lyrics

Lyric Meta Events are intended to display text together with the music. Pa4X can read many of the available Lyrics format on the market.

Connecting MIDI devices |903

MIDI standards

Standard MIDI Files

Standard MIDI Files (abbreviated as SMF) are a practical way of exchanging songs between different instruments and computers. Pa4X uses the SMF format as its default MIDI Song format, so reading a song from a computer, or saving a song that a computer software can read, is not a problem at all.

The internal Players are compatible with SMFs format 0 (all data in one track; it is the most common format) and 1 (multitrack). Pa4X can read SMFs in Song Play mode and modify/save them in Sequencer mode. It can save a Song in SMF format 0 from Sequencer mode.

When in Song Play mode, Pa4X can also display SMF lyrics and chord abbre- viations in various formats available on the market.

Standard MIDI Files usually have the .mid or .kar filename extension.

The General MIDI standard

Some years ago, the musical instruments world felt a need for some further standardization. Then, the General MIDI Standard (GM) was born. This exten- sion of the basic MIDI sets new rules for compatibility between instruments:

A minimum of 16 MIDI channels was required.

A basic set of 128 Sounds, correctly ordered, was mandatory.

The Drum Kit had a standard order.

Channel 10 had to be devoted to the Drum Kit.

Pa4X is compatible with the GM1 and GM2 standards.

The XG standard

Pa4X is compatible with the Sounds and Drum Kits of the XG standard.

904| MIDI

Special MIDI channels

The Control channel

You can set a MIDI IN channel as the Control channel (in the Global > MIDI > MIDI IN Channels page), to select Styles, Keyboard Sets and SongBook Entries from an external device (see the Appendix for a list of messages corresponding to Pa4Xs internal data). On this special channel you can also send controls to start/stop the Arranger and Players, and select the Style Elements (see later in this part).

A MIDI OUT channel set as the Control channel (set in the Global > MIDI > MIDI OUT Channels page) can be used to send messages when selecting SongBook Entries.

The Global channel

Any MIDI channel can be set as a Global channel (in the Global > MIDI > MIDI IN Channels page), and can simulate the Pa4X integrated keyboard. When Pa4X is connected to a master keyboard, transmission should usually take place over the Global channel of Pa4X.

MIDI messages received over a Global channel are affected by the status of the SPLIT button, as well as by the split point. Therefore, if the SPLIT buttons indicator is lit up, notes arriving to Pa4X over this channel will be divided by the split point into the Upper (above the split point) and Lower (below the split point) parts.

Notes received on a Global channel are used for the chord recognition of the automatic accompaniment. If the SPLIT indicator is turned on, only the notes below the split point will be used.

Connecting MIDI devices |905

The Chord 1 and Chord 2 channels

Two special Chord channels (programmed in the Global > MIDI > MIDI IN Control page) can be used to receive notes for chord recognition. These notes will be combined with the notes received on the special Global channel.

Contrary to the Global channel, the Chord channels are not affected by the split point. However, the status of the SPLIT button will change the way chords are recognized on the Chord channels:

Split status Chord recognition mode

On Decided by the Chord Recognition parameter of the Global > Mode Preferences > Style page. You can play a single note to play a Major chord.

Off Always Fingered or Expert, depending on the previous situation. You have to play at least three notes in order for the chord to be detected.

These two channels are especially useful for accordion players, that wish to assign a different Chord channel to the chords and the bass played with the left hand. This way, chords and bass will both contribute to the chord recog- nition for the automatic accompaniment.

906| MIDI

Connecting to another device: an overview

You can use either the MIDI or USB connectors for connecting Pa4X to other devices. When an USB connector is available, it is the easier (therefore pre- ferred) connection.

Connecting Pa4X to a personal computer or tablet

You can use the USB DEVICE port to connect Pa4X to personal computer or tablet. As an alternative, connect them through the MIDI IN and OUT con- nectors and a dedicated MIDI interface on the computer.

Connecting Pa4X to an external controller

You can use the MIDI IN connector to connect external controllers (master keyboard, MIDI guitar, wind controller, MIDI accordion) to Pa4X. You can also use the USB HOST port for a simpler connection to an external control- ler.

Connecting Pa4X to additional musical instruments

You can use the MIDI OUT connector to connect additional musical instru- ments (for example, your preferred piano expander) to be controlled from Pa4X.

What are the various connectors used for

Use the USB DEVICE connector to communicate with a computer or tablet. Connect it to the other devices USB port (Type-A, sometimes named TO DEVICE).

Use the USB HOST connector to receive data from an external controller. Connect it to the controllers USB port (Type-B, sometimes named TO HOST).

Use the MIDI OUT connector to send MIDI data to another musical instru- ment or computer. Connect it to the other devices MIDI IN port.

Use the MIDI IN connector to receive MIDI data from a controller or com- puter. Connect it to the other devices MIDI OUT port.

To know how to match Sounds and MIDI channels, see Programming the MIDI channels on page 929.

Connecting MIDI devices |907

Connecting Pa4X to a personal computer or tablet

You can program a new song on a personal computer or tablet connected to Pa4X. The computer has to run sequencing or notation software. When a song is ready, you can transfer it to the internal drive of Pa4X, and read it with the internal Players.

Connection and settings

1 Install the KORG USB MIDI Driver, as explained in the next page.

2 Connect Pa4X and the computer or tablet via the USB DEVICE port.

USB DEVICE USB

3 On the computer, activate the MIDI Thru function (please refer to the soft- wares user manual).

4 On Pa1000, go to the Global > MIDI > General Controls page and choose one of the Player or Tablet MIDI Preset.

5 Still in the Global > MIDI > General Controls page, deselect the Local Control checkbox to set the instrument to the Local Off status.

6 Press the SEQUENCER button to go to the Sequencer mode.

7 Play the keyboard.

908| MIDI

Notes played on the keyboard will go from the USB port of Pa4X to the USB port of the computer or tablet. Notes generated by the computer are sent from the USB port of the computer to the USB port of Pa4X.

The Sounds

The song that is played back by the sequencer can select Pa4X Sounds through the MIDI messages Bank Select MSB, Bank Select LSB (bank selec- tion, two messages), and Program Change (Sound selection). See the list of Sounds and corresponding MIDI values in the Appendix.

As a hint for those who program songs on computer: even though it is not mandatory, for a wider compatibility you should set bass on channel 2, mel- ody on channel 4, drum kit on channel 10, controls for an harmonizer on channel 5.

Connecting MIDI devices |909

Installing the KOrG USB-MIDI Driver

The USB DEVICE port can be used for MIDI communication between Pa4X and a personal computer or tablet. Use a standard A-to-B USB cable to con- nect your instrument and computer. A dedicated software driver can be found in our web site.

KORG USB-MIDI Driver system requirements

Be sure your personal computer meets the requirements, as described in the documents accompanying the driver.

Copyright notice

Copyright to all software included in this product is the property 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 indicate your acceptance of this agreement.

Installing the KORG USB-MIDI Driver on a Windows PC

Please connect Pa4X to the computer via an USB cable only after having installed the KORG USB-MIDI Driver Tools.

1 Double-click on KORG USB-MIDI Driver Tools Setup v.n.nn.exe to run the installer (n.nn meaning the version number).

2 Follow the instructions appearing on screen. At the end, the tools will be installed.

3 When installation is completed, connect the USB DEVICE port of your Pa4X to one of the USB ports of your Windows PC by using a standard A-to-B USB cable. The Auto Installer will immediately start.

4 When finished, the USB-MIDI driver will be installed, and Pa4X will be able to communicate with your computer via USB.

You can access the tools and manuals from the Start menu.

910| MIDI

Installing the KORG USB-MIDI Driver on a Mac

1 Double-click on KORG USB- MIDI Driver v.n.n.n.dmg to open a virtual drive in the Finder (n.n.n meaning the version number).

2 Double-click on KORG USB-MIDI Driver.pkg to run the installer.

3 Follow the instructions appearing on screen.

4 When installation is completed, eject the virtual drive, and connect the USB DEVICE port of your Pa4X to one of the USB ports of your Mac by using a standard A-to-B USB cable.

How Pa4X is seen from a MIDI application

After installation, the following ports will be shown in your MIDI application among the other MIDI devices:

Device Meaning

Pa4X KEYBOARD This allows for reception of MIDI messages from Pa4X (keyboard and controllers) to the MIDI application running on the computer.

Pa4X SOUND This allows for transmission of MIDI messages from the MIDI applica- tion running on the computer, to the internal tone generator of Pa4X.

Connecting MIDI devices |911

Connecting Pa4X to an external controller

You can control Pa4X with an external master controller, like a KORG synthe- sizer, a controller of the KORG micro or nano series, a digital piano, a wind or breath controller, a MIDI pedalboard, guitar or accordion. These devices allow for total replacement of the internal keyboard, or to add new control- lers to play some of the Sounds while still using the internal keyboard. They can also allow for easier mixing, or to play percussions and special effects.

Connection through the USB HOST port

If your controller has an USB port, you can use it to connect it to Pa4X.

Connect the USB HOST port (Type-A) of Pa4X to the USB port of the master controller (Type-B, sometimes named TO HOST).

Pa4Xs USB HOST (Type-A connector)

External controllers USB TO HOST (Type-B connector)

USB HOST USB (TO HOST)

You can use an USB hub to connect more devices to the same USB HOST port (for example, an external keyboard and a breath controller).

912| MIDI

Connection through the MIDI ports

If your controller has a MIDI interface, you can use it to connect it to Pa4X.

Connect the MIDI OUT port of the master controller to the MIDI IN port of Pa4X.

Pa4Xs MIDI IN External controllers MIDI OUT

MIDI IN MIDI OUT

Setting the MIDI channels

Programming the master controller

Match the MIDI channel(s) on which the master controller will send data with those on which Pa4X will receive data.

1 In the master controller, set the MIDI channel(s) on which data will be trans- mitted. Usually, channel 1 is the default setting.

2 If the master controller also includes a sound generator, set it to the Local Off status, to prevent it to sound its own sounds and Pa4Xs sounds at the same time on the same channel(s).

Connecting MIDI devices |913

Programming Pa4X

Configure the MIDI channels on Pa4X.

1 Go to the Global > MIDI pages.

2 Either choose a MIDI Preset, or manually program the MIDI IN channels.

If a MIDI Preset matching your type of connection exists, go to the Global > MIDI > General Controls page and use the Midi Preset pop-up menu to choose the MIDI Preset.

If no MIDI Preset matches your type of connection, go to the Global > MIDI > MIDI IN Channel page and set the MIDI channels to match the incoming data. You can start from an existing MIDI Preset with some of the programming already set to your needs.

3 After having set the MIDI channels, you can save the new configuration into a new MIDI Preset, by choosing the Write Midi Preset command from the page menu.

914| MIDI

Quick settings using MIDI Presets

Using the MIDI Presets

Connecting an instrument to a master keyboard, a personal computer or a tablet, usually requires some programming. To help you configure the MIDI channels, we have provided some MIDI Presets, that will automatically con- figure the MIDI parameters according to your needs.

Choosing a MIDI Preset

1 Go to the Global > MIDI > General Controls page.

2 Use the Midi Preset pop-up menu to choose one of the available MIDI Presets.

Connecting MIDI devices |915

Parameter Default Master Kbd Player 1 Player 2

MIDI IN Channel

1 Ply 1 Tr 1 Global Ply 1 Tr 1 Ply 2 Tr 1

2 Ply 1 Tr 2 Control Ply 1 Tr 2 Ply 2 Tr 2

3 Ply 1 Tr 3 - Ply 1 Tr 3 Ply 2 Tr 3

4 Ply 1 Tr 4 - Ply 1 Tr 4 Ply 2 Tr 4

5 Ply 1 Tr 5 - Ply 1 Tr 5 Ply 2 Tr 5

6 Ply 1 Tr 6 - Ply 1 Tr 6 Ply 2 Tr 6

7 Ply 1 Tr 7 - Ply 1 Tr 7 Ply 2 Tr 7

8 Ply 1 Tr 8 - Ply 1 Tr 8 Ply 2 Tr 8

9 Ply 1 Tr 9 - Ply 1 Tr 9 Ply 2 Tr 9

10 Ply 1 Tr 10 - Ply 1 Tr 10 Ply 2 Tr 10

11 Ply 1 Tr 11 - Ply 1 Tr 11 Ply 2 Tr 11

12 Ply 1 Tr 12 - Ply 1 Tr 12 Ply 2 Tr 12

13 Ply 1 Tr 13 - Ply 1 Tr 13 Ply 2 Tr 13

14 Ply 1 Tr 14 - Ply 1 Tr 14 Ply 2 Tr 14

15 Ply 1 Tr 15 - Ply 1 Tr 15 Ply 2 Tr 15

16 Ply 1 Tr 16 - Ply 1 Tr 16 Ply 2 Tr 16

MIDI OUT Channel

1 Upper 1 Upper 1 Ply 1 Tr 1 Ply 2 Tr 1

2 Upper 2 Upper 2 Ply 1 Tr 2 Ply 2 Tr 2

3 Upper 3 Upper 3 Ply 1 Tr 3 Ply 2 Tr 3

4 Lower Lower Ply 1 Tr 4 Ply 2 Tr 4

5 - - Ply 1 Tr 5 Ply 2 Tr 5

6 - - Ply 1 Tr 6 Ply 2 Tr 6

7 - - Ply 1 Tr 7 Ply 2 Tr 7

8 - - Ply 1 Tr 8 Ply 2 Tr 8

9 - - Ply 1 Tr 9 Ply 2 Tr 9

10 - - Ply 1 Tr 10 Ply 2 Tr 10

11 - - Ply 1 Tr 11 Ply 2 Tr 11

12 - - Ply 1 Tr 12 Ply 2 Tr 12

13 - - Ply 1 Tr 13 Ply 2 Tr 13

14 - - Ply 1 Tr 14 Ply 2 Tr 14

15 - - Ply 1 Tr 15 Ply 2 Tr 15

16 - - Ply 1 Tr 16 Ply 2 Tr 16

Chord 1 Ch. Off 1 Off Off

Chord 2 Ch. Off Off Off Off

Voice Processor Ch. 5 5 5 5

Voice Processor Oct. Trp. 0 0 0 0

MIDI IN Oct. Trp. On On On On

MIDI IN Velocity Normal Normal Normal Normal

MIDI IN Track Mute Active - On

MIDI Filters All Off SysEx In/Out All Off All Off

916| MIDI

Parameter accordion 1 accordion 2 accordion 3 tablet

MIDI IN Channel

1 Global Upper 1 Upper 1 -

2 Lower Lower Lower -

3 Bass - Bass -

4 - Upper 2 Upper 2 -

5 - Upper 3 Upper 3 -

6 - - - -

7 - - - -

8 - - - -

9 - Bass - -

10 Drum Drum Drum -

11 Percussion Percussion Percussion -

12 Acc 1 Acc 1 Acc 1 -

13 Acc 2 Acc 2 Acc 2 -

14 Acc 3 Acc 3 Acc 3 -

15 Acc 4 Acc 4 Acc 4 -

16 Acc 5 Acc 5 Acc 5 Control

MIDI OUT Channel

1 Upper 1 Ply 1 Tr 1 Ply 1 Tr 1 -

2 Upper 2 Ply 1 Tr 2 Ply 1 Tr 2 -

3 Upper 3 Ply 1 Tr 3 Ply 1 Tr 3 -

4 Lower Ply 1 Tr 4 Ply 1 Tr 4 -

5 - Ply 1 Tr 5 Ply 1 Tr 5 -

6 - Ply 1 Tr 6 Ply 1 Tr 6 -

7 - Ply 1 Tr 7 Ply 1 Tr 7 -

8 - Ply 1 Tr 8 Ply 1 Tr 8 -

9 - Ply 1 Tr 9 Ply 1 Tr 9 -

10 - Ply 1 Tr 10 Ply 1 Tr 10 -

11 - Ply 1 Tr 11 Ply 1 Tr 11 -

12 - Ply 1 Tr 12 Ply 1 Tr 12 -

13 - Ply 1 Tr 13 Ply 1 Tr 13 -

14 - Ply 1 Tr 14 Ply 1 Tr 14 -

15 - Ply 1 Tr 15 Ply 1 Tr 15 -

16 - Ply 1 Tr 16 Ply 1 Tr 16 Control

Chord 1 Ch. 2 2 2 Off

Chord 2 Ch. 3 3 Off Off

Voice Processor Ch. 5 5 5 5

Voice Processor Oct. Trp. 0 0 0 0

MIDI IN Oct. Trp. On On On On

MIDI IN Velocity 110 110 Normal Normal

MIDI IN Track Mute Active - - On

MIDI Filters SysEx In/Out SysEx In/Out SysEx In/Out All Off

Connecting MIDI devices |917

Parameter Key Control Mix Control Pad Control X/Y Control

MIDI IN Channel

1 Upper 3 Pad 1 Upper 3 Upper 1

2 - Pad 2 - -

3 - Pad 3 - -

4 - Pad 4 - -

5 - Lower - -

6 - Upper 3 - -

7 - Upper 2 - -

8 - Upper 1 - -

9 - Drum - -

10 - Percussion - -

11 - Bass - -

12 - Acc 1 - -

13 - Acc 2 - -

14 - Acc 3 - -

15 - Acc 4 - -

16 - Acc 5 Chord 1 -

MIDI OUT Channel

1 - - - -

2 - - - -

3 - - - -

4 - - - -

5 - - - -

6 - - - -

7 - - - -

8 - - - -

9 - - - -

10 - - - -

11 - - - -

12 - - - -

13 - - - -

14 - - - -

15 - - - -

16 - - - -

Chord 1 Ch. Off Off 16 Off

Chord 2 Ch. Off Off Off Off

Voice Processor Ch. 5 5 5 5

Voice Processor Oct. Trp. 0 0 0 0

MIDI IN Oct. Trp. On On On On

MIDI IN Velocity Normal Normal Normal Normal

MIDI IN Track Mute Active - -

MIDI Filters All Off All Off All Off All Off

918| MIDI

Parameter Studio Ctrl Breath Ctrl

MIDI IN Channel

1 Upper 1 Upper 1

2 Upper 2 -

3 Upper 3 -

4 Lower -

5 Pad 1 -

6 Pad 2 -

7 Pad 3 -

8 Pad 4 -

9 Drum -

10 Percussion -

11 Bass -

12 Acc 1 -

13 Acc 2 -

14 Acc 3 -

15 Acc 4 -

16 Acc 5 -

MIDI OUT Channel

1 - -

2 - -

3 - -

4 - -

5 - -

6 - -

7 - -

8 - -

9 - -

10 - -

11 - -

12 - -

13 - -

14 - -

15 - -

16 - -

Chord 1 Ch. Off Off

Chord 2 Ch. Off Off

Voice Processor Ch. 5 5

Voice Processor Oct. Trp. 0 0

MIDI IN Oct. Trp. On On

MIDI IN Velocity Normal Normal

MIDI IN Track Mute Active - -

MIDI Filters All Off All Off

Connecting MIDI devices |919

You will use the supplied MIDI Presets in the following cases:

MIDI Preset Use

Default Generic settings, good for most situations

Master Kbd When connecting to an external master keyboard

Player 1 When using an external sound generator (an expander or a virtual instrument) driven by either Player 1 or Player 2. When programming a song on an external sequencer and Pa4Xs Sequencer mode.Player 2

Accordion 1 Play all the Upper parts with the right hand, the Lower part with the chord section, the Bass part with the bass section. Chords to the arranger are sent with the chord+bass sections combined. If the se- lected Chord Scan mode is Upper or Upper+Lower, you can also play chords with the right hand.

Accordion 2 Play the Upper 1 part with the right hand, the Lower part with the chord section. Chords to the arranger are sent with the chord+bass sections combined.

Accordion 3 Play the Upper 1 part with the right hand, the Lower part with the chord section, the Bass part with the bass section. Chords to the ar- ranger are sent from a single MIDI channel.

Tablet When connecting to a tablet, to remotely select SongBook Entries, or send MIDI messages when selecting them.

Key Control To play the Upper 3 Sound with an external keyboard.

Mix Control To control the Volume and Pan of each Sound with an external con- troller.

Pad Control To play percussive sounds or special effects (on the Upper 3) from an external set of pads. You can also use it to send chords to the internal arranger.

X/Y Control To control two sound parameters on the Upper 1 with an external X/Y controller.

Studio Ctrl To connect various different controllers at the same time.

Breath Ctrl To control one or more sound parameters on the Upper 1 with a breath controller.

920| MIDI

Editing the MIDI Presets

Editing a MIDI Preset

1 Choose a MIDI Preset containing programming similar to what you want to achieve.

2 While in the Global > MIDI pages, edit the various parameters.

MIDI Presets can be considered as a starting point that can be freely tweaked. Once you have selected the most appropriate MIDI Preset for the connection to be made, you can modify the parameters as needed.

The parameters that will be saved to a MIDI Preset are the ones shown in the above table.

Writing a MIDI Preset

Open the Write Midi Preset dialog

1 Go to the any page of the Global > MIDI section.

2 Choose the Write Midi Preset command from the page menu to open the Write Midi Preset dialog.

Write over the current MIDI Preset

If you want to overwrite the current Preset, just touch the OK button.

Write to a different MIDI Preset location

1 If you want to choose a different location, use the Midi Preset pop-up menu.

2 If you want to change the name of the MIDI Preset, touch the Text Edit ( ) icon to open the virtual keyboard and edit the name.

3 When done editing the name, confirm by touching the OK button under the virtual keyboard.

4 When back at the Write Midi Preset dialog, confirm the Write operation by touching the OK button.

Connecting MIDI devices |921

Synchronizing tempo with other instruments

Sending the MIDI Clock

The Arranger or the selected MIDI Song can send a synchronization mes- sage to the other devices.

1 Go to the Global > MIDI > General Controls page.

2 Select the Clock Send parameter to send the internal MIDI Clock to the MIDI IN and USB ports.

When the MIDI Clock signal is sent, you can slave another instrument to the Pa4X Tempo, Start/Stop and Play/Stop commands.

This parameter is automatically deactivated each time the instrument is turned on.

Receiving the MIDI Clock

In Style Play, Sequencer or Sound mode, you can receive synchronization messages from the internal Arranger or Player, or from an external device.

In Song Play mode, the MIDI Clock is always generated by the internal Players. While in this mode, Pa4X cannot receive MIDI Clock messages from another device.

922| MIDI

1 Go to the Global > MIDI > General Controls page.

2 Use the Clock Source pop-up menu to choose a MIDI Clock source for the Style Play and Sequencer modes.

Clock Source Meaning

Internal MIDI Clock is generated by the Pa4Xs Arranger or Players internal metronome. When in Song Play mode, the Internal clock is always used.

External MIDI MIDI Clock is received from the MIDI IN or USB port. In Style Play or Sequencer mode, Pa4X is slaved to an external device. The Start/ Stop and Play/Stop commands, as well as the Tempo value, cannot be selected from Pa4X. Use the external device to set the Tempo and Start or Stop the Arranger or Players.

External USB

This parameter is automatically set to Internal each time the instrument is turned on.

Connecting MIDI devices |923

MIDI data routing, processing and transposing

Connecting the keyboard to the internal or external sounds

The local controls (keyboard, physical controllers) can be connected to the internal sounds directly, or echoed back from an external device.

1 Go to the Global > MIDI > General Controls page.

2 Use the Local Control parameter to connect or disconnect the keyboard and controllers to the internal sounds.

Local Control Meaning

On When you play the keyboard, MIDI data are sent to the internal sound generator. If Sounds are assigned to a MIDI OUT channel, data are also sent to the MIDI OUT and USB ports.

Off The keyboard is connected to the MIDI OUT and USB ports, but can- not play the internal sound generator.

This is very useful when working with an external sequencer, to send notes and various MIDI messages from the integrated keyboard and controllers to the external sequencer, and then let the sequencer send them back to the sound generator, without overlapping and MIDI echo effects.

This parameter is automatically activated each time the instrument is turned on.

924| MIDI

Converting notes to RX Noises

RX Noises are special ambience or mechanical sounds that allow Sounds to be more realistic. They are usually located above C7, depending on the Sound.

1 Go to the Global > MIDI > General Controls page.

2 Select the Note to RX Noise checkbox to convert incoming notes to RX Noises.

When this parameter is turned on, notes received from the MIDI IN or USB ports, or performed by the internal Players, in the RX Noises range, are rec- ognized and converted to RX Noises.

This parameter is automatically activated each time the instrument is turned on.

Connecting MIDI devices |925

Transposing the notes received

Applying master and octave transposition to the notes received

1 Go to the Global > Tuning > Transpose Control page.

2 Use the Mode > Midi In Notes checkbox to determine if notes received on the MIDI IN and USB ports have to be transposed.

Midi In transpose Meaning

On Notes received on the MIDI IN and USB ports are transposed accord- ing to the Master Transpose.

Off Data received on the MIDI IN and USB ports are not transposed.

Applying octave transposition to the notes received

1 Go to the Global > MIDI > MIDI IN Controls page.

2 Use the Octave Transpose checkbox to determine if notes received on the MIDI IN and USB ports have to be octave-transposed.

926| MIDI

Midi In Octave Meaning

On Notes received on the MIDI IN and USB ports are transposed accord- ing to the Octave Transpose setting for each Sound.

Off Data received on the MIDI IN and USB ports are not transposed.

Applying octave transposition to the Upper and Lower parts

1 Go to the Global > MIDI > MIDI IN Controls page.

2 Use the Upper Trk Octave Transp. and Lower Trk Octave Transp. param- eters to transpose the MIDI notes received on the Upper and Lower parts.

Upper/Lower Octave Meaning

-20+2 Notes received on the MIDI IN and USB ports are transposed by the number of selected octaves. For example, if you select the +1 value, a C4 received via MIDI will play a C5 on Pa4X.

These parameters may be useful to many MIDI accordion players, whose MIDI interface may be transmitting on an unexpected octave.

Connecting MIDI devices |927

Playing muted tracks via MIDI

1 Go to the Global > MIDI > MIDI IN Controls page.

2 Use the Track Mute Active checkbox to determine if notes received on the USB port will play on muted tracks.

track Mute active Meaning

On No received MIDI data can play on muted tracks.

Off Received MIDI data can play on muted tracks.

Choosing a fixed velocity value for the incoming notes

You can set a fixed velocity value for the notes received from MIDI.

1 Go to the Global > MIDI > MIDI IN Controls page.

928| MIDI

2 Use the Note Velocity Value parameter to set a fixed Note On velocity value for all the notes received via MIDI. This is useful when playing Pa4X with an organ or a MIDI accordion, often sending a fixed velocity value.

Depending on the status of the Fixed Note Off Velocity parameter, this may also affect the Note Off Velocity value.

Note Velocity Value Effect on the received Note On Velocity values

Normal Received velocity values are left unchanged.

40 127 All received velocity values are converted to the selected value.

3 Use the Fixed Note Off Velocity parameter to set a fixed Note Off velocity value for all the notes received via MIDI. This is useful when playing with a controller sending a too high Note Off velocity value, that may cause issues with the sounds of Pa4X.

The effect of this parameter also depends on the status of the Note Velocity Value parameter.

Fixed Note Off Velocity

Note Velocity Value

Effect on received Note Off Velocity values

On Any value All Note Off Velocity values are set to 25.

Off Normal All values are left unchanged.

40 127 All values are set to the value specified by the Note Velocity Value parameter.

Connecting MIDI devices |929

Programming the MIDI channels

Programming the MIDI IN channels

1 Go to the Global > MIDI > MIDI IN Channels page.

2 Use the Channel pop-up menus to assign an instruments track to each MIDI channel.

track Meaning

Off Nothing assigned

Lower Keyboards Lower Sound

Upper 1...3 One of the Keyboards Upper Sounds

Pad 1...4 One of the Pad Sounds

Drum Styles Drum Sound

Percussion Styles Percussion Sound

Bass Styles Bass Sound

Acc 1...5 One of the Styles Accompaniment Sounds

Ply 1/2 Tr 01...16 One of the Players tracks (Sounds).

Global Special channel to simulate Pa4Xs integrated controllers (keyboard, pedals, joystick) with an external keyboard or controller. MIDI mes- sages coming on this channel are seen as if they were generated by Pa4Xs integrated controllers.

Control On this special channel, Pa4X receives MIDI messages to remotely select Keyboard Sets, Styles, Style Elements and SongBook Entries. See the tables in the Appendix, and later in this chapter, for more information about the data received.

930| MIDI

Programming the MIDI OUT Channels

1 Go to the Global > MIDI > MIDI OUT Channels page.

2 Use the Channel pop-up menus to assign an instruments track to each MIDI channel.

track Meaning

Off Nothing assigned

Lower Keyboards Lower Sound

Upper 1...3 One of the Keyboards Upper Sounds

Pad 1...4 One of the Pad Sounds

Drum Styles Drum Sound

Percussion Styles Percussion Sound

Bass Styles Bass Sound

Acc 1...5 One of the Styles Accompaniment Sounds

Ply 1/2 Tr 01...16 One of the Players tracks (Sounds).

Chord Use this channel to send notes recognized by the Chord Recognition engine to the MIDI OUT or USB port. This is useful, for example, to control an external Harmonizer playing on the Lower part (even if the part is muted).

Control On this special channel, Pa4X sends messages corresponding to the selected SongBook Entry.

Connecting MIDI devices |931

Filtering out MIDI messages

You can set up to eight filters for the MIDI data received or sent. Filters are applied to all MIDI channels at the same time.

1 Go to the Global > MIDI > Filters page.

2 Use the Midi In Filters pop-up menus to choose filters on the data received.

3 Use the Midi Out Filters pop-up menus to choose filters on the data sent.

Filter Meaning

Off No filter

Pitch Bend Pitch Bend

MonoTouch Mono (or Channel) After Touch

PolyTouch Poly After Touch

PrgChange Program Change

SysExcl System Exclusive

All CC All Control Change messages

0 127 Control Change message #0...127. See the Appendix for a list of avail- able Control Change messages.

Notes Note events

932| MIDI

Programming the special Chord channels

1 Go to the Global > MIDI > MIDI IN Controls page.

2 Use the Chord 1 Channel and Chord 2 Channel parameters to assign the special Chord channels to a MIDI channel.

Chord channel Meaning

Off Special Chord channel not activated.

116 Assigned Chord channel. Two special Chord channels can be used to receive notes for chord recognition. These notes will be combined with the notes that go through the channel set as Global (Global notes are recognized only under the split point, if the SPLIT indica- tor is lit up).

Connecting MIDI devices |933

Control Change messages

The following is a table including all Control Change messages, and their ef- fect on various functions of the instrument. Note that not all controllers are available in all operative modes.

CC# CC Name Pa4X Function

0 Bank Select Sound selection

1 Modulation 1 (Y+) Joystick forward

2 Modulation 2 (Y-) Joystick backward

3 Undefined controller

4 Foot controller

5 Portamento time

6 Data entry

7 Volume Track volume

8 Balance

9 Undefined controller

10 Pan Pot Track panning

11 Expression Expression

12 FX controller 1 CC#12

13 FX controller 2 CC#13

14-15 Undefined controller

16 Gen.pc.1

17 Gen.pc.2

18 Slider

19 Gen.pc.4

20-31 Undefined controller

Control Change #32-63 are the LSB (Least Significant Bytet) of Control Change #0-31, i.e. the MSB (Most Significant Byte), and are changed according to their MSB counterparts.

64 Damper Damper pedal

65 Portamento

66 Sostenuto Sostenuto pedal

67 Soft Soft pedal

68 Legato

69 Hold 2

70 Sustain level

71 Filter Resonance Hp Filter resonance

934| MIDI

CC# CC Name Pa4X Function

72 Release Release time

73 Attack Attack time

74 Filter cutoff Filter cutoff (Brilliance)

75 Decay Time Decay time

76 Lfo1 Speed Vibrato speed

77 Lfo1 Dpt Vibrato depth

78 Lfo1 Dly Vibrato initial delay

79 FilterEg

80 Gen.pc.5 Sound Controller 1

81 Gen.pc.6 Sound Controller 2

82 Gen.pc.7

83 Gen.pc.8

84 Portamento control

85-90 Undefined controller

91 FX 1 depth A/B Master FX 1 (reverb) send level

92 FX 2 controller

93 FX 3 depth A/B Master FX 2 (modul.) send level

94 FX 4 controller

95 FX 5 controller

96 Data Increment

97 Data Decrement

98 NRPN LSB See table below(*)

99 NRPN MSB* See table below(*)

100 RPN LSB See MIDI Implementation Chart

101 RPN MSB See MIDI Implementation Chart

102-119 Undefined controller

120 AllSOff

121 Res Ctl Reset All Controllers

122 LocalCt

123 NoteOff

124 OmniOff

125 Omni On

126 Mono On

127 Poly On

Connecting MIDI devices |935

(*) The following NRPN messages are recognized in Song Play and Sequencer mode only. These controls are reset when stopping a Song, or choosing a dif- ferent Song.

NrPN CC#99

(MSB)

CC#98

(LSB)

CC#06

(Data Entry)

Vibrato Rate 1 8 0127

Vibrato Depth 1 9 0127(a)

Vibrato Decay 1 10 0127(a)

Filter Cutoff 1 32 0127(a)

Resonance 1 33 0127(a)

EG Attack Time 1 99 0127(a)

EG Decay Time 1 100 0127(a)

EG Release Time 1 102 0127(a)

Drum Filter Cutoff 20 dd 0127(a)

Drum Filter Resonance 21 dd(b) 0127(a)

Drum EG Attack Time 22 dd(b) 0127(a)

Drum EG Decay Time 23 dd(b) 0127(a)

Drum Coarse Tune 24 dd(b) 0127(a)

Drum Fine Tune 25 dd(b) 0127(a)

Drum Volume 26 dd(b) 0127

Drum Panpot 28 dd(b) 0127(a)

Drum Rev Send (FX 1) 29 dd(b) 0127(a)

Drum Mod Send (FX 2) 30 dd(b) 0127(a)

Drum Send #3 (FX 3) 31 dd(b) 0127(a)

(a). 64 = No change to the original parameters value

(b). dd = Drum Instrument No. 0127 (C0C8)

(*) The following NRPN messages are recognized in Style Play and Song Play mode only.

NrPN CC#99

(MSB)

CC#98

(LSB)

CC#06

(Data Entry)

SongBook Entry 2 64 099

936| MIDI

Controlling the arranger and Players via MIDI

You can remotely control the Arranger and Players via MIDI. Please note that the Program Change and Control Change numbers shown in this page follow the 0-127 numbering system.

Selecting the Style Elements

You can remotely select the various Style Elements, by sending Program Change messages on the Control channel.

PC Style Element PC Style Element PC Style Element PC Style Element

80 Intro 1 81 Intro 2 82 Intro 3/Count In 83 Variation 1

84 Variation 2 85 Variation 3 86 Variation 4 87 Fill 1

88 Fill 2 89 Fill 3 90 Fill 4 91 Break

92 Ending 1 93 Ending 2 94 Ending 3

Selecting the Style and Player controls

You can remotely send various commands to the Arranger or Players, by sending them Program Change messages on the Control channel.

PC Control PC Control PC Control

95 Fade In/Out 96 Style to Kbd Set 97 Auto Fill

98 Memory 99 Bass Inversion 100 Manual Bass

101 Tempo Lock 103 Start/Stop (Arranger) 104 Play/Stop (Player 1)

105 Play/Stop (Player 2) 106 Synchro Start 107 Synchro Stop

Connecting MIDI devices |937

Selecting the Keyboard Sets (from a Style or SongBook Entry)

You can remotely select the Keyboard Sets of a Style or SongBook Entry (buttons under the display).

With Styles, you will send Bank Select MSB (CC#0), Bank Select LSB (CC#32) and Program Change messages on the Control channel. If a Style is already selected, just send the Program Change message.

CC00 CC32 PC KBD PC KBD PC KBD PC KBD

The same as the Style to which the Keyboard Set belongs

64 KBD SET 1

65 KBD SET 2

66 KBD SET 3

67 KBD SET 4

With SongBook Entries, you will first choose an Entry. First send (on the Control channel) an initialization string, made of the NRPN Control Change messages #99 (MSB, with value 2) and #98 (LSB, with value 64) in fast suc- cession. Then send a selection string, made of the two Control Change mes- sages CC#06 (Data Entry MSB) for the thousands and hundreds, and CC#38 (Data Entry LSB) for the tens and units.

After having selected the Entry, you will send a Program Change messag- es corresponding to the Keyboard Set (again on the Control channel). If a SongBook Entry is already selected, just send the Program Change message.

CC99/98 CC06/38 PC KBD PC KBD PC KBD PC KBD

The same as the SongBook Entry to which the Keyboard Set belongs

64 KBD SET 1

65 KBD SET 2

66 KBD SET 3

67 KBD SET 4

938|

|939

Part XIII: FILE MaNaGEMENt

940| File management

Managing files in the internal memory |941

55 Managing files in the internal memory

Copying, renaming and deleting

Copying musical data

You can copy the following data into a User/Direct location.

type User Direct type User Direct

Keyboard Set Sound

Style Pad

Voice Preset

Copying Factory/Local data into User/Direct locations would make them ed- itable.

If you want to overwrite Factory/Local data, remove protection by uncheck- ing the Protect > Factory parameter in the Global > Mode Preferences > Media page.

1 Open the Keyboard Set Library, Sound, Style, Pad, or Voice Preset Select window.

2 Browse through the items in the Select window.

942| File management

3 Touch the name of the item you want to copy.

To select more items, keep the SHIFT button pressed and touch all the items to be copied.

If you want to copy a whole bank, choose the Select All (Bank) command from the page menu to select all the items in the current bank.

You can deselect one of the selected items by touching it while still keeping the SHIFT button pressed. You can deselect all items by touching a single item.

4 Choose the Copy and Paste command from the page menu to copy the se- lected items.

5 Select the target location. In case you are copying more than a single item, all subsequent items will sequentially follow the first one. If there arent enough locations available, the procedure will be cancelled.

Warning: If you confirm, any item already existing at the target locations will be overwritten!

A good idea is to paste to a blank location, identified by a series of dashes ().

6 When done, press the EXIT button to return to the previous page.

Managing files in the internal memory |943

Copying Keyboard Sets between Styles and/or SongBook Entries

You can copy Keyboard Sets between Styles and SongBook Entries.

Select the source

While in the main page of the Style Play or Song Play mode, or in any page of the SongBook, choose the source Style or SongBook Entry from which to copy the Keyboard Set(s).

Access the Copy dialog

Choose the Copy Keyboard Set command from the page menu.

The Copy Keyboard Set dialog will appear.

Copy all, or only a single Keyboard Set

Decide if you want to copy all the Keyboard Sets contained in the source Style or SongBook Entry, or just one of them.

944| File management

Select the All option to copy all four the Keyboard Sets.

Select a single Keyboard Set to copy only that one.

Choose the target(s)

1 Use the To pop-up menu to choose whether the target of the copy will be a Style or a SongBook Entry.

2 Touch the Select button to choose the target Style or SongBook Entry.

Please note that you can only copy to non-protected Styles (the target Style has to be of the User or Direct type, or of the Factory type when the Factory protection is removed).

When in this page, touch the target Style or SongBook Entry name to select it. If you are choosing a Style, you may also have to press the EXIT button on the control panel to close the Style Select window.

If you want to select multiple Styles or SongBook Entries as the target, se- lect a first item, then press and keep the SHIFT button pressed while select-

Managing files in the internal memory |945

ing the other items. When the last item has been selected, release the SHIFT button.

To deselect one or more items, keep SHIFT pressed and touch the item to be deselected. To deselect everything, select any other item in the list.

For detailed information on how multiple selection works, please see Selecting multiple items on page 946.

If you prefer to cancel the operation and close the Select window, dont select anything, and either press the EXIT button on the control panel, or touch the Cancel button on the display.

Confirm the copy

When back to the Copy Keyboard Set dialog, touch the OK button to confirm the copy.

946| File management

Selecting multiple items

In some windows, you can select multiple items. To do it, select the first item, then press and keep the SHIFT button pressed while selecting the other items. When the last item has been selected, release the SHIFT but- ton.

To deselect one or more items, keep SHIFT pressed and touch the item to be deselected. To deselect everything, select any other item in the list.

When in a list, you can select either a set of adjacent items, or separate items. To decide how selection will work, use the Select Mode button that appears on the right of the page command buttons.

Select Mode Meaning

Choose this option to select the items separately (i.e., with other items in the middle).

Choose this option to select the items consecutively (i.e., in a row).

To select multiple items separately, touch the Select Mode button to choose the appropriate way of working. Select the first item to be selected. Then, press and keep the SHIFT button pressed while selecting a second item to be se- lected. While keeping the SHIFT button pressed, continue selecting the other items to be selected. At the end, release the SHIFT button.

To select multiple items consecu- tively, touch the Select Mode button to choose the appropriate way of work- ing. Select the first item to be selected. Then, press and keep the SHIFT button pressed while selecting the last item to be selected. Release the SHIFT button.

Managing files in the internal memory |947

Copying Keyboard Sets to/from the Library

You can copy Keyboard Sets to and from the Library.

Copying a Keyboard Set to the Library

1 Choose the Style or SongBook Entry from which to copy the Keyboard Set.

2 Choose the Keyboard Set by using the KEYBOARD SET buttons under the display.

3 Open the Write Kbd Set to Library dialog, either by keeping one of the KEYBOARD SET LIBRARY buttons pressed for about one second, or by choosing the Write Kbd Set to Library command from the page menu.

4 Select a target location, then touch OK to write the Keyboard Set to the Library.

Copying a Keyboard Set from the Library to a Style

1 Choose a Keyboard Set from the Library.

2 Be sure the STYLE TO KBD SET indicator is turned off.

If this indicator was turned on, choosing a Style would also select a different Keyboard Set.

3 Choose the Style where you want to copy the Keyboard Set.

4 Choose the Write Kbd Set to Style command from the page menu to open the Write Kbd Set to Style dialog.

5 Select a target location, then touch OK to write the Keyboard Set to the Style.

948| File management

Copying a Keyboard Set from the Library to a SongBook Entry

1 Chose the SongBook Entry where you want to copy the Keyboard Set.

2 Choose a Keyboard Set from the Library.

3 Go to the SongBook > Write page.

4 Be sure the Keyboard Set > Write checkbox is selected. Deselect all the oth- er Write options to be sure no other parameters will get overwritten.

5 Choose the target Keyboard Set location.

6 Touch the Write button to save over the existing SongBook Entry.

Managing files in the internal memory |949

Renaming musical data

You can change the name of any Keyboard Set, Sound, Style, Pad, or Voice Preset. If Factory/Local data are protected, remove protection by uncheck- ing the Protect > Factory checkbox in the Global > Mode Preferences > Media page.

Please note that you cannot rename multiple items at once.

1 While in the Keyboard Set Library, Sound, Style, Pad, or Voice Preset Select window, select the item to be renamed.

2 Choose the Rename command from the page menu to open the virtual key- board.

3 Edit the name, then confirm by touching OK.

Deleting musical data

You can delete any Keyboard Set, Sound, Style, Pad, Voice Preset. If Factory/ Local data are protected, remove protection by unchecking the Protect > Factory parameter in the Global > Mode Preferences > Media page.

1 While in the Keyboard Set Library, Sound, Style, Pad, or Voice Preset Select window, select the item to be deleted.

To select more items, keep the SHIFT button pressed and touch all the items to be deleted.

2 Choose the Delete command from the page menu, then confirm.

Warning: If you confirm, any of the selected item will be deleted!

950| File management

the Local data

Local data are Sounds, Keyboard Sets, Styles, Pads and Voice Presets, Demo Songs, residing in an area of the internal memory reserved to Factory data customized for a particular country.

Local data can be found in the Local banks of each Select window.

Add-Ons are usually created by KORG Distributors to add localized data. For detailed information on the Add-On content, and instructions on how to in- stall an Add-On, please check the manuals coming with the package.

Add-Ons cant be installed in Pa4X MUSIKANT and ORIENTAL, already in- cluding their own customized data.

Managing files in the internal memory |951

the Direct data

Direct data are additional Keyboard Sets, Styles, Pads, Voice Presets, SongBook Entries and Set Lists, residing in a storage device like the internal drive or a removable USB drive. They can be considered as an extension of the internal memory.

Direct Keyboard Sets, Styles, Pads and Voice Presets are immediately ac- cessed when pressing the USER/DIRECT button in the STYLE or KEYBOARD SET LIBRARY area, or by selecting the Direct type of data while in the rel- evant Select window.

Direct SongBook Entries and Set Lists are automatically mixed with the in- ternal Entries and Set Lists, making a more extensive database.

You can choose any standard SET folder as the Direct folder.

Selecting the Direct folder

A Direct folder has to be selected before being used.

1 Connect the external storage device containing the Direct data.

2 Go to the Global > Mode Preferences > Media page.

3 Touch the Direct Folder > Browse button to open the file selector.

952| File management

4 Browse though the drives and folders, and select the SET folder to be used as the Direct set of banks.

5 Touch the Select button to confirm.

Please note that you can only have a single Direct folder for all the types of data.

6 If you select a folder from a different Pa-Series model, you are asked if you want to convert the data to the Pa4X own format. If you confirm, you are prompted to choose a name and position for the new SET folder. (If you touch Cancel, no Direct folder is selected).

7 When done, go to a Select window, and see how the Direct type of data can be selected from the tabs on top of the list.

The Direct SongBook Entries and Set Lists will be automatically added to the internal Entries and Set Lists.

Managing files in the internal memory |953

Deselecting the Direct folder

To speed up selection of the User banks, and avoid the USER/DIRECT button to cycle one step more to access the Direct data, deselect the Direct banks.

1 Go to the Global > Mode Preferences > Media page.

2 Touch the Direct Folder > Browse button to open the file selector.

3 Touch the Deselect button to remove any assignment.

Creating the Direct Keyboard Set, Style, Pad and Voice Preset banks

Load items into the Direct locations

While in the Media > Load page, you can load any Keyboard Set, Style, Pad or Voice Preset into the Direct banks.

Copy & paste onto Direct locations

While in one of the Select windows, choose the Copy and Paste command from the page menu, to copy & paste any Keyboard Set, Style, Pad or Voice Preset into the Direct banks.

954| File management

Save an item into a Direct location

After editing the Keyboard Set, choose the Write Kbd Set to Library com- mand from the page menu, and write the Keyboard Set onto the Direct banks.

While in Style/Pad Record, choose the Write Style/Pad command from the page menu, and write the new or edited Style/Pad onto the Direct banks.

After editing the Voice Preset, choose the Write Voice Preset command from the page menu, and write the Voice Preset onto the Direct banks.

Creating the Direct SongBook

While in the Media > Save page, save a SongBook into a new SET folder, and move it to a storage device.

Using the Direct Keyboard Sets, Styles, Pads, Voice Presets

When choosing a Keyboard Set (Library), Style, Pad, or Voice Preset, touch the Direct type button on top of the list in the relevant Select window.

Using the Direct SongBook

Selecting Entries and Set Lists

The Direct SongBook Entries and Set Lists are mixed with the internal SongBook Entries and Set Lists. They appear as a single extended database.

Creating or deleting Entries and Set Lists

When creating or deleting Entries or Set Lists, you are asked to choose whether you want to save it into the internal or external SongBook.

Managing files in the internal memory |955

renaming the User/Favorite/Direct banks

You can rename the User/Favorite and Direct User/Favorite banks, to create your own sets of Keyboard Sets, Styles, Pads or Voice Presets.

1 Open the Keyboard Set, Style, or Pad Select window, and select the User or Direct type of data.

2 Choose the Rename User Banks command from the page menu to open the Rename User Banks dialog.

3 Assign the User/Favorite or Direct User/Favorite tabs any name you like.

Touch the Text Edit ( ) icon next to the bank to be renamed, and use the virtual keyboard to edit the name. When done, touch OK to confirm.

The assigned name can be spanned over two lines, by separating them with the paragraph character (). For example, to write World Music on two lines, enter WorldMusic.

Be careful not to write words exceeding the width of the side tabs of the Select windows.

4 When back at the Rename User Banks dialog, confirm the operation by touching the OK button.

956| File management

Empty User/Favorite and Direct banks

When Favorite/User and Direct banks or pages are empty, the corresponding side tabs or tabs in the Select windows are dimmed.

Bank containing at least some data

Bank containing no data (dimmed)

Pages containing no data (dimmed)

Pages containing at least some data

Managing files on disk |957

56 Managing files on disk

Overview on file management

You can access the Media pages by pressing the MEDIA button. Media pages are where you manage files and storage devices.

Media page structure

Most Media pages share some basic elements.

Device

Current path

File list Scrollbar

Labels

Browsing through the files

You can see the files and folders in the center of the Media pages.

Scroll the file list by using the scrollbar.

Open the selected folder by touching the Open button.

Close the open folder by touching the Close button.

Selecting and deselecting files

Select a file or folder by touching it.

Deselect it by touching an empty area in the file list, or by touching the Device pop-up menu, and choosing the current device again.

958| File management

Changing the list view

You can touch one of the labels on top of the file list to change the order in which files are shown. For example, by touching the Name label, the list is al- phabetically re-ordered according to the file names. An arrow appears next to the selected label, showing the currently selected ordering.

If you touch the selected label again, the alphabetic order changes from as- cending to descending, or vice-versa. The small arrow next to the label name shows the selected order.

Current path

The place in the drive you are currently exploring is always shown under the file list.

Selecting a storage device (drive)

A device can be selected by using the Device pop-up menu, shown in the lower left corner of most Media pages:

Device pop-up menu

Supported device

Pa4X supports external devices, like hard disk drives or USB memory sticks, formatted FAT16 or FAT32 with long file names.

For maximum compatibility, we recommend to format an external device be- fore writing data on it the first time. Go to the Media > Format page, and format it. Warning: Formatting a storage device will delete all the data it contains!

Managing files on disk |959

You can access the following mass storage device types:

Device type

DISK Main internal drive

HD Secondary internal drive (optional in Pa4X-61)

SD Optional internal microSD

USB-F Optional device connected to the front (F) USB HOST port

USB-R Optional device connected to the rear (R) USB HOST port

Types of files

The following table describes all the file and folder types Pa4X can read or write.

Extension File/folder type

SET All the User data. This is a reserved folder containing other reserved folders.

BKP Backup file, created with the Full Resource Backup function of the Media > Utility page

GBL Global Setup

VOC Voice Preset

MXP MaxxAudio Preset

QTP Quarter Tone Scale Presets

MPR MIDI Presets

PRF Keyboard Set (from the library)

PCG Sound (KORG Pa-Series)

KMP Multisample

PCM Sample

AIF AIFF audio files

WAV WAVE audio files

STY Style

PAD Pad

SBD SongBook

SBL SongBooks Set List

JBX Jukebox

MID Standard MIDI File, SMF (MIDI Song)

960| File management

Extension File/folder type

MP3 MP3 file (MP3 Song)

TXT Plain text file

Pa4X can also read (but not write) the following types of data.

Extension File type

PKG Operating System and Musical Resource files

KAR Karaoke file

CDG CD+Graphics file

PCG KORG Triton Programs

KSF Korg Trinity/Triton Sample

SF2 Sound bank format by Creative Labs.

Ordinary data and reserved data

Each device (and the internal memory) can contain files and folders. Data inside Pa4X is slightly more rigidly structured than data in a computer, due to the pre-configured type of data inside the instruments memory. The dia- gram below shows the global structure of an Pa4X device.

Factory/Local data can only be seen when the Protect > Factory parameter is deselected, and only when loading or saving a single bank, or when eras- ing something (this can be done in the Global > Mode Preferences > Media page, see page 993).

Managing files on disk |961

Media structure MYDATA.SET

GLOBAL

KEYBOARDSET

SETUP.GBL MXPRESET.MXP MIDI.MPR QTPRESET.QTP

BANK01.PRF

1-1 Concert Grand 1-48 Grand Piano

BANK .PRF

BANK11.PRF

11-1 Mandolin 11-48 Asian Flute

SONGBOOK

LISTDB.SBL

SONGDB.SBD

SOUND

USER01.PCG

USERDK.PCG

STYLE

BANK01.STY

1-1 70s Guitar Pop 1-48 Soft Beat 2

BANK .STY

USER01.STY

1-1 User 1 1-48 User 48

USER .STY

USER03.STY

3-1 User 1 3-48 User 48

BANK13.STY

13-1 Libertad Tango 13-48 Chill Out 2

1 Piano 1 128 SynBrass22

1 Standard Ki t 128 Orchestral Kit

USER04.PCG

1 SopranoSax 128 Noise

FAVORITE01.STY

FAVORITE10.STY

1-1 Favorite 1 1-48 Favorite 48

10-1 Favorite 1 10-48 Favorite 48

FAVORITE .STY

MULTISMP

RAM.KMP

VOICEPRESET

BANK01.VOC

1-1 Chord (Harm. Off) 1-128 Hard Tune 2

PAD

BANK01.PAD

1-1 88 Cowbell 1-48 Drum Kit G

BANK .PAD

BANK20.PAD

20-1 Military 1 20-48 Circus 3

PCM

RAM01.PCM

RAM .PCM

USER .PCG

USER01.PRF

1-1 MyPiano1 1-48 MyPiano48

USER .PRF

USER11.PRF

11-1 MyMandolin 11-48 MyAsianFlute

USER01.PAD

1-1 User 1 1-48 User 48

BANK .PAD

USER10.PAD

10-1 User 1 10-48 User 48

USER01.VOC

1-1 User 1 1-128 User 128

962| File management

Loading musical resources and settings

Loading files or folders

You can load all the memory content, a separate type of musical resources, a separate bank, or a single resource.

Choose the data to be loaded

1 Go to the Media > Load page.

2 If loading from an external device, connect the device to one of the USB HOST ports.

3 Use the Device pop-up menu to choose the source device.

4 Touch an item (file or folder) in the file list to select it.

5 Browse through the folders. Touch the Open button to open the selected folder. Touch the Close button to close the current folder.

6 When you see the item you are looking for, select it and touch the Load but- ton to load it.

Load the data

1 When loading single banks or items, choose a target location in memory.

Managing files on disk |963

In this example you are choosing a target where to load a bank of Styles:

Name of the Style bank being loaded

Name of the target bank in memory

In this example you are choosing a target where to load a single Style:

Name of the Style being loaded

Touch here to open the Select window

Name of the target location in memory

2 Touch OK to confirm. After confirming, any item you are overwriting will be deleted.

Loading a SET folder

A SET folder may contain all the data of the internal memory. Loading it may either delete all the data contained in the internal memory, or merge the loaded data with the data already in memory.

Loading a type of data

A folder may contain all the data of a particular type (Styles, Keyboard Sets). Loading it may either delete all the data of the same type contained in the internal memory, or merge the loaded data with the data already in memory.

Loading a bank

You can load single banks of data. All data contained in the target bank in memory are deleted.

964| File management

Loading data from other instruments

Loading Global data from Pa-Series instruments

Being unique to each instrument, Global data (Preferences, MIDI Presets, MaxxAudio settings, etc.) cant be loaded from other KORG Pa-Series instru- ments. They are therefore discarded when loading a SET folder generated by an instrument other than Pa4X.

Loading data from Pa-Series instruments

You can load most data from KORG Pa-Series instruments. The following table shows what you can load from the other instruments.

Please keep in mind that, depending on the actual data, you could not be able to directly load SET folders; in this case, open the folder, and load each bank or individual item separately.

After loading, save the converted data as a new SET folder after loading all the needed data.

Load from Loaded data

Pa3X You can load most data as if they were Pa4X data. There are however a few exceptions to be considered:

Performances and STSs are converted to Keyboard Sets.

Due to the different order in memory, Factory Styles must be manu- ally reassigned to SongBook Entries by using the KORG SongBook Editor software.

Favorite Style banks over #10 are missing and are not loaded. Since Pa4X banks are larger, load the individual Styles into the additional loca- tions of the other banks.

Performance banks over #11 are missing and are not loaded. Since Pa4X Keyboard Set banks are larger, load the individual Performances into the additional locations of the other banks.

Since the number of Insert and Master FX is different, the effects con- figuration can be different.

Voice Processor Presets with the MP3 Audio harmony type are reset.

Global settings are not loaded.

Managing files on disk |965

Load from Loaded data

Pa3XLe, Pa900, Pa600, Pa300, HAVIAN 30

You can load most data as if they were Pa4X data. There are however a few exceptions to be considered:

Performances and STSs are converted to Keyboard Sets.

Due to the different order in memory, Factory Styles must be manu- ally reassigned to SongBook Entries by using the KORG SongBook Editor software.

Favorite Style banks over #10 are missing and are not loaded. Since Pa4X banks are larger, load the individual Styles into the additional loca- tions of the other banks.

When available, Voice Processor Presets with the MP3 Audio harmony type are reset.

Global settings are not loaded.

Pa2X, Pa800, Pa500, Pa588

You can load most data as if they were Pa4X data. There are however a few exceptions to be considered:

Performances and STSs are converted to Keyboard Sets.

Due to the different order in memory, Factory Styles must be manu- ally reassigned to SongBook Entries by using the KORG SongBook Editor software.

Favorite Style banks over #10 are missing and are not loaded. Since Pa4X banks are larger, load the individual Styles into the additional loca- tions of the other banks.

Performance banks over #11 are missing and are not loaded. Since Pa4X Keyboard Set banks are larger, load the individual Performances into the additional locations of the other banks.

Global settings are not loaded.

Pa1X, Pa1X Pro, Pa1X Elite

You can load most data as if they were Pa4X data. There are however a few exceptions to be considered:

Performances and STSs are converted to Keyboard Sets.

Due to the different order in memory, Factory Styles must be manu- ally reassigned to SongBook Entries by using the KORG SongBook Editor software.

Performance banks over #11 are missing and are not loaded. Since Pa4X Keyboard Set banks are larger, load the individual Performances into the additional locations of the other banks.

Global settings are not loaded.

Pa80, Pa60, Pa50, Pa50SD, microARRANGER, Liverpool

You can load most data as if they were Pa4X data. There are however a few exceptions to be considered:

Performances and STSs are converted to Keyboard Sets.

Programs must be converted to Sounds. First load the SET folder, then separately load the PCG files from the PROGRAM folder.

Global settings are not loaded.

966| File management

Loading data from i-Series instruments

Pa4X is compatible with the Styles of the older KORG i-Series instruments. You can load them as if they were ordinary Pa4X data.

1 Copy the old i-Series data into an USB device, or transfer them to the internal drive of Pa4X.

2 Go to the Media > Load page.

3 Use the Device pop-up menu to select the device containing the i-Series data.

4 If you are reading an i30 file, select the SET folder, then touch the Open button.

5 Select the STY folder.

6 At this point, you can load the whole STY folder, or open it and choose a single Style.

To load the whole folder, touch the Load button.

To load a single Style, touch Open in the display to open the STY folder. Since a conversion will be started at this point, please wait some seconds for the operation to be completed.

Select the Style to load, then touch Load. You will be prompted to select a target location in memory. Once the target location is selected, touch Load to load the Style. The Are you sure? message will appear. Touch OK to con- firm.

Please note that loading a whole SET folder from an i30 file may take some time due to format conversion.

7 Go to the Style Play mode, and select (one of) the loaded Style. Adjust the Tempo value, then choose the Write Current Style Settings command from the page menu to write changes.

8 Due to the difference in Sounds, you will probably want to make some adjust- ments to the old Styles, once they are loaded in Pa4X (changing the Sound, Volume, Pan, Tempo, Drum Mapping, Wrap Around).

9 To make the Sound assignment to the Style tracks effective, be sure the Original Style Sounds parameter is not checked (Volume pane, Style track view).

10 Save the Style Settings again, by choosing the Write Current Style Settings command from the page menu.

Managing files on disk |967

Merging data

When loading all User data, or all data of a specified type, most data loaded from a storage device are merged with data already existing in memory. For example, if there is data in all three USER Style banks in memory (USER01, USER02, USER03), and there is only the USER01 Style bank in the storage device, the USER01 bank will be overwritten, while USER02 and USER03 banks will be left unchanged.

As a result, there will be a STYLE folder in memory containing the USER01 bank you just loaded, and the old USER02 and USER03 banks.

Loading data based on User Samples

When loading a SET folder containing Sounds based on User Samples, all existing User Samples in memory are deleted. If there are unsaved User Samples in memory, save them before loading the folder, by selecting the PCM option during a Save All operation (see later in this chapter).

To see if a SET folder contains User Samples, open it and look for a PCM folder.

If you want to load new User Sample without deleting the ones already con- tained in memory, load single Sounds instead of a whole SET folder.

Merging User Samples from various sources

When you load a SET folder, all the User Samples in memory are deleted. To merge samples from several sources, do the following.

1 Load a SET folder containing samples you want to merge with other samples.

2 Load single Sounds from other SET folders.

3 Go to the Sampling mode, and load or import samples from other sources.

4 Save all the content of the memory over the same or a new SET folder.

968| File management

What if loading User Samples is interrupted?

When you load a single User Sound, or a bank of User Sounds, based on User Samples, you might reach the maximum size of sample data, or the maxi- mum number of samples allowed in memory.

In this case, the Load operation is interrupted, and all the samples and mul- tisamples just loaded are removed from the memory. All the samples and multisamples already contained in the memory before starting the Load op- eration are left untouched.

Sounds and Drum Kits are however left in memory. If you select them in the Sound Select window, you may end up with them not sounding, since the referring samples are missing. Please delete them, or repeat loading with selected Sounds or Sound banks.

Managing files on disk |969

Saving musical resources and settings

Saving files or folders

You can save all the memory content, a separate type of musical resources, a separate bank, or a single resource.

Pa4Xs proprietary data has to be saved into special folders with the .set filename extension. These special folders can be saved inside ordinary fold- ers.

Choose the data to be saved

1 Go to the Media > Save page.

2 Touch an item (file or folder) in the file list to select it.

3 Browse through the folders. Touch the Open button to open the selected folder. Touch the Close button to close the current folder.

4 When you see the item you are looking for, select it and touch the Save To button to save it.

970| File management

Choose the target device

After touching Save To, the target device appears:

1 If saving to an external device, connect the device to the USB HOST port.

2 Use the Device pop-up menu to choose the target device.

Choose an existing SET folder

You can save data into an existing SET folder. If you are saving data that is not yet in the target folder, data will be merged. Otherwise, it will be over- written.

Please note that, due to deep file format changes, you cant write into exist- ing SET folders created with older Pa-Series instruments.

Select an existing SET folder, and touch the Save command to confirm.

Create a new SET folder

You can create a new, empty SET folder to save your data without overwrit- ing anything.

1 Touch the New SET button to create a new SET folder. The Create New SET Folder dialog appears:

2 Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name. When done editing the name, confirm by touching the OK button un- der the virtual keyboard.

Managing files on disk |971

3 When back at the Create New SET Folder dialog, touch the OK button to cre- ate the new SET folder and exit the dialog.

Save the data

Save all the memory content, a type or data, single banks or items as de- scribed below.

Saving all data

1 After having selected an existing SET folder or having created a new one, touch the Save button to confirm. A dialog appears, asking you to select the type of data to save:

Save All dialog with the Protect > Factory option activated:

Save All dialog with the Protect > Factory option deactivated:

2 Check all data type you want to save, then touch OK to confirm.

Saving all data of a selected type

1 When saving a type of data (Keyboard Sets, Styles), choose a target loca- tion in the storage device.

2 Touch OK to confirm. After confirming, any item you are overwriting will be deleted.

972| File management

Saving single items

1 When saving single items, choose a target location in the storage device.

In this example you are choosing a target where to save a single Style:

Name of the Style being saved

Name of the target location in the storage device

2 Touch OK to confirm. After confirming, any item you are overwriting will be deleted.

What if saving is interrupted?

If, when saving, there isnt enough free space in the target disk, the Save operation is interrupted. Any new SET folder you were creating is removed. If you were saving over an existing SET folder, this is restored. No data will be saved.

Please choose a different (and bigger) target device, and repeat the Save operation.

Managing files on disk |973

Copying files and folders

Copying files or folders

You can copy files and folders. Folders can be generic or SET folders. In ad- dition, you can copy the content of the generic folder you are in. You can copy inside the same device, or from a device to a different one (both devices must be connected to Pa4X during the copy operation).

To preserve data structure integrity, during Copy operations you cant open SET folders and copy only one of the files it contains. You can only open and get inside generic folders.

Choose the data to be copied

1 Go to the Media > Copy page.

Device

Current path

2 If copying from an external device, connect the device to one of the USB HOST ports.

3 Use the Device pop-up menu to choose the source device.

4 Touch an item (file or folder) in the file list to select it.

If nothing is selected, the content of the current folder will be copied.

If you want to select multiple files, select a first item, then press and keep the SHIFT button pressed while selecting the other items. When the last item has been selected, release the SHIFT button.

To deselect one or more items, keep SHIFT pressed and touch the item to be deselected. To deselect everything, select any other item in the list.

For detailed information on how multiple selection works, please see Selecting multiple items on page 946.

974| File management

5 Browse through the folders. Touch the Open button to open the selected folder. Touch the Close button to close the current folder.

6 When you see the item you are looking for, select it and touch the Copy To button to copy it.

Choose the target device

After touching Copy To, the target device appears:

Device

Current path

1 If copying to an external device, connect the device to one of the USB HOST ports.

2 Use the Device pop-up menu to choose the target device.

Choose a target and confirm copying

Select an existing folder, and touch the Copy command to confirm.

If no folder is selected, you will copy into the current folder.

While copying, a dialog shows the copy progress:

Managing files on disk |975

Overwriting existing files or folders

When copying files, a file or folder with the same name of the file or folder being copied might be found in the target device. In this case, Pa4X will ask you if you want to overwrite it.

When a duplicate file or folder is met, the following dialog will appear:

Overwrite Meaning

Cancel The procedure is interrupted.

No The file or folder is not overwritten. The source file or folder is not copied. The procedure will continue with the other files and folders.

Yes The file or folder is overwritten. The procedure will continue with the other files and folders.

Yes (to) All The file or folder is overwritten. Any following duplicate file or fold- ers will be overwritten as well, without this dialog box appearing again. The procedure will continue with the other files and folders.

What if copying is interrupted?

If, when copying, there isnt enough free space in the target disk, the Copy operation is interrupted. Any new SET folder you were creating is removed. If you were copying over an existing SET folder, this is restored. No data will be saved.

Please choose a different (and bigger) target device, and repeat the Copy operation.

976| File management

Deleting files and folders

Deleting files or folders

You can delete files and folders from a storage device.

Choose the data to be deleted

1 Go to the Media > Delete page.

2 If deleting from an external device, connect the device to one of the USB HOST ports.

3 Use the Device pop-up menu to choose the source device.

4 Touch an item (file or folder) in the file list to select it.

If you want to select multiple files, select a first item, then press and keep the SHIFT button pressed while selecting the other items. When the last item has been selected, release the SHIFT button.

To deselect one or more items, keep SHIFT pressed and touch the item to be deselected. To deselect everything, select any other item in the list.

For detailed information on how multiple selection works, please see Selecting multiple items on page 946.

5 Browse through the folders. Touch the Open button to open the selected folder. Touch the Close button to close the current folder.

6 When you see the item you are looking for, select it and touch the Delete button to delete it.

Managing files on disk |977

Exporting playlists

Exporting a list of Songs as a text file

A list of the Songs contained inside a folder or a Jukebox list, or the SongBook and Set Lists, can be exported, to be printed and be used as the playlist of the show.

Exporting a list of songs contained in a folder

1 Open the Song Select window.

2 Browse through the files and folders, and open the folder whose content you would like to export as a text file.

3 Choose the Export Song List command from the page menu to open the Write Song List dialog.

4 Use the Device pop-up menu to choose a device where to save the list as a TXT file. The file will be saved in the devices root.

When saved, the text file will be named after the selected folder. For ex- ample, a folder named Dummy will generate a Dummy.txt file. If you are saving from the root of the device, a Root.txt file will be generated.

If a file with the same name already exists on the target device, it will be overwritten without waiting for confirmation.

The list will include the progressive number assigned to each Song, the file names, the total number of files in the list.

978| File management

Exporting a Jukebox list

1 While a Jukebox file is assigned to Player 1, choose the Export Jukebox List command from the page menu to open the Write Jukebox List dialog.

2 Use the Device pop-up menu to choose a device where to save the list as a TXT file. The file will be saved in the devices root.

When saved, the text file will be named after the selected Jukebox file. For example, a Jukebox file named Dummy.jbx will generate a Dummy.txt file. A new, unnamed Jukebox file will generate a New_name.txt file.

If a file with the same name already exists on the target device, it will be overwritten without waiting for confirmation.

The list will include the progressive number assigned to each Song, the file names, the total number of files in the list.

Managing files on disk |979

Exporting a SongBook Book list or Custom List

1 While you are in the SongBook > Book or SongBook > Set List page, choose the desired list filtering.

2 Choose the Export as Text File command from the page menu to open the Export as Text File dialog.

3 Use the Device pop-up menu to choose a device where to save the list as a TXT file. The file will be saved in the devices root.

4 You may change the name of the list. Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name. When done editing the name, con- firm by touching the OK button under the virtual keyboard.

5 When back at the Export as Text File dialog, confirm exporting by touching the OK button.

A TXT file containing the filtered data will be created. If a file with the same name already exists on the target device, it will be overwritten without wait- ing for confirmation.

Reading the text file on a personal computer

To correctly display and print the list on a personal computer, use a fixed size (i.e., non-proportional) character in your text editor.

980| File management

57 Managing media

Formatting storage devices

Formatting a storage device

The Format function lets you initialize a device. Pa4X uses a PC-compliant device format (DOS FAT16 and FAT32).

Warning: Formatting a storage device deletes all the data it contains!

Choose the device to be formatted

1 Go to the Media > Format page.

2 If formatting an external device, connect the device to one of the USB HOST ports.

3 Use the Device pop-up menu to choose the device.

Assign a name to the device

1 Use the Volume Label parameter to assign a name to an external device to be formatted.

Since this is a reserved name, you cannot rename the label (name) of the internal volume. When formatting the internal drive, the label cannot be ed- ited.

Managing media |981

Also, if you try to rename the internal volume when Pa4X is connected to a PC through the USB port, the original name is automatically restored.

2 Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name. When done editing the name, confirm by touching the OK button un- der the virtual keyboard.

Please note that renaming a device, containing MIDI Songs or MP3 Songs used in the SongBook, will break the links to the files. We suggest to give the device the same name it had before formatting. In case you changed the name, please use SongBook Editor (freely available on our web site) to edit the links.

Format the device

1 Touch the Execute button to start formatting.

2 Confirm the following warning message(s).

982| File management

Backing up and restoring musical resources

A set of file backup and restore utilities can be found in the Media > Utility page.

Backing up the musical resources

You can backup the internal data (musical resources and settings) to a stor- age device. Backup should only be used for archiving purpose, since you will not be able to load individual data from a backup archive. To save data that has to remain accessible with the normal Media > Load operations, for ex- ample to load User data after updating the musical resources, use the Media > Save operations instead.

This function only backs up the internal memory, and not the internal or external drives. It will back up Styles, Keyboard Sets, Sounds, Pads, Voice Presets, the Global. It will not back up the MIDI and MP3 Songs contained in the internal or external drives. Also, it will not back up the Direct banks, already residing in internal or external drives. To back up these data, please make a backup of the internal or external drives by connecting them to a PC (see the Media > USB page).

Choose the backup command

1 Go to the Media > Utility page.

2 Select the Full Resource Backup option, then touch the Execute button to see the file selector.

Managing media |983

Choose the target device and folder

After touching Execute, the target device appears:

1 If you are making a backup to an external device, connect the device to one of the USB HOST ports.

2 Use the Device pop-up menu to choose the target device.

3 Browse through the folders. Touch the Open button to open the selected folder. Touch the Close button to close the current folder.

4 Select the folder where to backup the data, then touch the Backup command to confirm.

If nothing is selected, data will be saved to the current folder.

Assign a name to the backup archive

After touching Backup, a dialog will appear, asking you to assign a name to the backup file.

1 Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name. When done editing the name, confirm by touching the OK button un- der the virtual keyboard.

2 When at the Backup dialog again, touch the OK button to start backing up.

3 When finished backing, save the storage device in a safe place.

984| File management

Restoring the musical resources

You can restore data from a backup archive created with the Full Resource Backup command.

Choose the restore command

1 Go to the Media > Utility page.

2 Select the Resource Restore option, then touch the Execute button to see the file selector.

Choose the source device and folder

1 If you are restoring from an external device, connect the device to one of the USB HOST ports.

2 Use the Device pop-up menu to choose the target device.

3 Browse through the folders. Touch the Open button to open the selected folder. Touch the Close button to close the current folder.

4 When the backup archive appears, select it and touch the Restore command.

Choose the data to restore

5 After touching Restore, a dialog will appear, with a list of types of data to be restored. Only check the types of data you want to restore.

6 Touch OK to start restoring.

Warning: This command will delete from the internal memory all types of data se- lected in this dialog box (including your custom data).

7 When done, a message will appear, asking you to restart the instrument (Data Restored. Please switch off). Turn the instrument off, then turn it on again.

Managing media |985

Restoring the original musical resources

After an OS update, or when you want to erase all changes to your Factory and User data, and restore your Pa4X to the same condition it was when new, use the Factory Restore operation.

Warning: This command deletes all data from memory (including your custom data).

1 Go to the Media > Utility page.

2 Select the Factory Restore option, then touch the Execute button.

3 A dialog will appear, with a list of types of data to be restored. Only check the types of data you want to restore.

Warning: This command will delete from the internal memory all types of data se- lected in this dialog box (including your custom data).

4 When done, a message will appear, asking you to restart the instrument (Data Restored. Please switch off). Turn the instrument off, then turn it on again.

986| File management

Connecting one of the internal drives to a personal computer

In order to exchange files, you can access one of the internal drives of Pa4X from a personal computer. You dont need any dedicated driver to connect Pa4X and the personal computer.

Connect Pa4X to the personal computer

Use a standard USB cable to connect the USB DEVICE port of Pa4X to an USB port of the personal computer.

Enable USB communication

1 Go to the Media > USB page, and use the Device menu to choose the internal drive to be shared.

2 Touch the Enable button to start sharing. The icon of the Pa4Xs internal drive will appear in your personal computer.

While USB file transfer is enabled, you cannot access other functions on Pa4X. MIDI Over USB is also disabled.

After starting the USB connection, accessing the internal drive from the computer may take some time, depending on the size of the internal drive and the amount of data it contains.

Do not try to change the label (name) of its internal drive when Pa4X is con- nected to a personal computer. If you try to do it, the original name is auto- matically restored.

Also, do not modify the structure of the SET folders, or you will no longer be able to use them on Pa4X. Only use the USB connection for data exchange purpose, or to modify ordinary folders.

Managing media |987

Disable USB communication

1 When finished transferring the files, you can disconnect Pa4X from the per- sonal computer.

On a Windows PC, select the dedicated command by clicking on the USB device icon ( ) with the right mouse button.

On a Mac, select the USB device icon ( ), then select the Eject command or drag the drive icon to the eject icon in the Dock ( ) .

2 In Pa4X, touch the Disable button to disable the USB DEVICE port for file transfer, and gain access to all the instruments functions.

Warning: Do not disconnect USB communication before the personal computer has really finished transferring files. Sometimes, the on-screen indicator tells the proce- dure has been completed BEFORE it has really finished. Disconnecting USB commu- nication (or disconnecting the USB cable) before data transfer has been completed may cause data loss.

988| File management

Storage device organization

Creating folders

You can create generic folders, where to store any type of data (other fold- ers, Songs, SET folders).

1 While in any of the Media pages, browse through the folders to find the place where to create a new folder. Touch the Open button to open the selected folder. Touch the Close button to close the current folder.

2 Choose the Create New Folder command from the page menu to open the Create New Folder dialog.

3 Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name. When done editing the name, confirm by touching the OK button un- der the virtual keyboard.

4 When back at the Create New Folder dialog, touch the OK button to create the folder at the chosen position.

Renaming files or folders

1 While in any of the Media pages, select the item to rename (generic file or folder) and choose the Rename command from the page menu.

To preserve consistency through the data structure, you cannot rename folders and files inside a SET folder. Also, you cannot change the 3-character extension of files and SET folders, since they are used to identify the type of file or folder.

Managing media |989

2 Touch the Text Edit ( ) icon to open the virtual keyboard and edit the name. When done editing the name, confirm by touching the OK button un- der the virtual keyboard.

3 When back at the Rename dialog, touch the OK button to confirm the new name.

Getting information on the selected items

While in any of the Media pages, select one or more items and choose the Object(s) Info command from the page menu.

Select this command to see the size of any selected file or folder. Also, the number of files and directories (folders) it contains are shown.

Getting information on the selected device, and changing its name

Open the Device Info dialog

While in any of the Media pages, choose the Device Info command from the page menu.

Read the information

While in the Device Information dialog, you can see various information on the selected device. To select a different device, exit from the dialog and use the Device pop-up menu to select a different storage device.

990| File management

Rename the storage device

While in the Device Information dialog, touch the Text Edit ( ) icon to open the virtual keyboard and edit the name. When done editing the name, confirm by touching the OK button under the virtual keyboard.

Please note that renaming a device, containing MIDI Songs or MP3 Songs used in the SongBook, will break the links to the files. We suggest to give the device the same name it had before formatting. In case you changed the name, please use SongBook Editor (freely available on our web site) to edit the links.

Managing media |991

Changing the media display preferences

You can choose what to see when a file selector window opens in the Global > Mode Preferences > Media page.

Seeing the files size and date

To view longer names in their entirety, you can hide the Size and Date col- umns in the File Selector window.

1 Go to the Global > Mode Preferences > Media page.

As an alternative, keep the SHIFT button pressed and press the MEDIA but- ton to open the Media page.

2 Use the Show Columns > Size checkbox to show or hide the file size.

3 Use the Show Columns > Date checkbox to show or hide the file creation date stamp.

Hiding unknown files

To make file lists cleaner and easier to browse through, files that cannot be used can be hidden when using the Media operations.

1 Go to the Global > Mode Preferences > Media page.

As an alternative, keep the SHIFT button pressed and press the MEDIA but- ton to open the Media page.

2 Select the Hide Unknown Files checkbox to hide non-proprietary files.

992| File management

Protecting storage devices and files

You can protect media and files in the Global > Mode Preferences > Media page.

Protecting the media

You can protect the internal drive from writing.

1 Go to the Global > Mode Preferences > Media page.

As an alternative, keep the SHIFT button pressed and press the MEDIA but- ton to open the Media page.

2 Select the Media Protect checkbox to protect the internal drives.

Protecting the global preferences from changing

When loading data from disk, global parameters may change due to different settings in the loaded data. You can prevent changes to happen.

1 Go to the Global > Mode Preferences > Media page.

As an alternative, keep the SHIFT button pressed and press the MEDIA but- ton to open the Media page.

2 Select the Global Protect checkbox to protect global preferences to change when loading data from disk.

Please note that, in any case, you could only load global preferences from the same KORG Pa-Series model.

Managing media |993

Removing protection from Factory/Local data

Factory Keyboard Sets, Sounds, Styles, Pads and Voice Presets are normally protected, to avoid overwriting the standard musical resources. You can, however, remove this protection and use any Factory location as if they were User locations.

Local resources are Factory data, therefore protected together with the oth- er Factory resources.

1 Go to the Global > Mode Preferences > Media page.

As an alternative, keep the SHIFT button pressed and press the MEDIA but- ton to open the Media page.

2 Deselect the Protect > Factory checkbox to remove protection.

This protection will be automatically reset when turning the instrument off.

Hint: Should you accidentally delete, change or overwrite some Factory data, reload the Backup data or use the Factory Restore procedure (in the Media > Utility page).

Note: Pa4X ORIENTAL also inclused a Factory and Favorite Protect checkbox. When selected, this option protects all the Factory data and the Favorite Styles from edit- ing.

Protecting files and folders

Protect the files or folders

While in any of the Media pages, select one or more items and choose the Protect command from the page menu.

Choosing this command will protect the selected file(s) or folder(s) from writ- ing or erasing. The lock icon will appear next to the file or folder name.

Unprotect the files or folders

While in any of the Media pages, select one or more protected items and choose the Unprotect command from the page menu.

994| File management

Protected musical resources

You may have purchased third-party Sounds, Styles and/or other data, com- ing on a protection key, that can be either an USB memory stick or a microSD card. This storage device also works as an authorization key for the data, and has to be connected to the instrument, or inserted in the dedicated slot, before loading or using the protected data.

Before using the protected data

Make a safety copy of the data

The protection key contains one or more SET folder(s), each one contain- ing protected data. After purchase, please immediately backup the content on your personal computers internal drive, Pas internal drive, or any other storage device. This will be useful in case you damage the original SET folder.

Copy the data to the internal drive of the instrument

While the protection key can be rewritten, we suggest not to write on it, to avoid the risk of losing the original data.

We suggest you use the protected data loading it from the internal drive. So, copy the SET folder(s) there. Please remember you need the protection key to be inserted before using the data, so dont forget it at home when leaving for a tour!

Loading the protected data

Before loading the protected data, the protection key has to be connected to the instrument, or inserted in the dedicated slot.

1 Before loading the protected Samples, or a group of data including protect- ed Samples, insert the original protection key in one of the USB HOST ports or the microSD slot.

2 If the protection key is an USB memory stick, leave it inserted for at least 15 seconds. Then, you are free to leave it connected, or remove it.

3 If you have more than a single protection key, insert the other protection keys one after the other, as seen above. Since Pa4X has two USB HOST ports and a microSD slot, you can connect three protection keys at the same time.

4 Load the protected data.

Managing media |995

If you have started loading without the protection key inserted

You may have loaded some data, before an error message has warned you that you are trying to load protected data without the protection key in- serted. In this case, the instruments memory may contain incomplete data, that can prevent the instrument from playing as expected.

If this happens, insert the protection key(s) as seen above, then do a Media >Load All operation to overwrite all the incomplete data already loaded.

Using the protected samples after loading

If you want to use protected data, the protection key has to be connected to the instrument, or inserted in the dedicated slot, when turning the instru- ment on.

When turning the instrument on without a protection key inserted, you are asked to insert it and touch Retry.

If you forget to insert the protection key when turning the instrument on, and you want to use protected data, please insert the key and restart the instrument.

If the protection key is an USB memory stick, leave it inserted for at least 15 seconds after the instrument has completed startup. Then, you are free to leave it connected, or remove it.

If you dont have the protection key with you

In case you dont have the protection key with you, you will not be able to choose protected Sounds, Styles, and/or other protected data.

If you are trying to load data at startup, and you dont have the protection key with you, just touch Cancel to confirm you want to proceed when the warning message appears; protected data will not play, but you will be able to load and use any other data.

996| File management

While in Sampling mode, protected Samples will be shown dimmed, and can- not be selected for editing. A Prot(ected) flag will appear next to their name in the Sample Select window. Waveforms will not be seen.

Protected sample

Mixing ordinary and protected data

You can mix ordinary and protected Samples. For example, you can build Sounds, Multisamples or Drum Kits making use of both internal Samples, and protected Samples originally contained in one or more protection keys. If the protection key is missing, only non-protected Samples will play.

Managing protected data

Protected data can be managed as any other data; only, be sure to keep the original protection key safe.

Protected Samples cannot be exported. When exporting mixed data, a mes- sage will warn you that protected Samples will not be exported.

While in Sampling mode, you can delete protected Samples, to make room for other Samples. In case you want to save the resulting SET folder over the original SET folder, be sure you have a backup copy of your original pro- tected data.

Managing media |997

Care of storage devices

Pa4X can save most of the data contained in memory to the internal drive, an internally installed microSD card, or to external devices (like hard drives or USB memory sticks) connected to the USB HOST ports. Here are some precautions when handling these devices.

Internal drive write protection

You can protect the internal drive from writing, by using the software protec- tion found in the Global > Mode Preferences > Media page (Media Protect checkbox).

Precautions

Do not remove a device or move the instrument while the device is operat- ing.

In order to avoid losing data in case of damage, make a backup copy of the data contained in a device. You can backup your data to a personal comput- er, and from there to a backup unit. You can transfer data from the internal drives of Pa4X to a personal computer by using the USB DEVICE connection.

Do not leave an USB device connected to the USB ports while carrying the instrument, or it may be damaged.

Keep the memory devices or the instrument away from sources of magnetic fields, for example televisions, refrigerators, computers, monitors, speakers, cellular phones and transformers. Magnetic fields can alter the contents of the devices.

Do not keep memory devices in very hot or wet places, do not expose them to direct sunlight and do not store them without use in dusty or dirty places.

Do not place heavy objects on top of the devices.

998|

|999

Part XIV: aPPENDIX

1000| Appendix

Musical Resources |1001

58 Musical resources

The following pages list all the musical resources supplied as standard with your Pa4X.

1002| Appendix

Styles

This list shows the Styles as they appear in the Style Select window. The table also includes MIDI data used to remotely select the Styles on the special Control channel. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change.

Style CC00 CC32 PC

Pop

70s Guitar Pop 0 0 0

Love Pop 0 0 1

Standard 8 Beat 0 0 2

Standard 16 Beat 0 0 3

Soft Guitar Pop 0 0 4

One Last Pop 0 0 5

Copacabana Pop 0 0 6

As Groove 0 0 7

Modern Pop 0 0 8

Groovy Pop 0 0 9

Believer Pop 0 0 10

Sunny Pop 0 0 11

Slow Pop 0 0 12

Hold My Pop 0 0 13

Morning Pop 0 0 14

No Name Pop 0 0 15

Happy Pop 0 0 16

Pop Hit 0 0 17

Piano Pop 0 0 18

Cool Pop 0 0 19

Liverpool 1 0 0 20

Liverpool 2 0 0 21

Pop Beat 0 0 22

Easy Pop Shuffle 0 0 23

Classic Beat 0 0 24

Classic Pop 0 0 25

Shadow Pop 0 0 26

Style CC00 CC32 PC

Pop Rock 0 0 27

Retro Beat 0 0 28

Pop Shuffle 1 0 0 29

Pop Shuffle 2 0 0 30

Pop Shuffle 3 0 0 31

Vintage Pop 1 0 0 32

Vintage Pop 2 0 0 33

6/8 Slow Pop 0 0 34

12/8 Pop 0 0 35

Gigol Shuffle 0 0 36

Slow Latin Pop 0 0 37

Drumn Boogaloo 0 0 38

Vocal Pop 0 0 39

Easy Pop 0 0 40

Guitar Beat 0 0 41

Soft 8 Beat 0 0 42

Soft 16 Beat 0 0 43

Ballad

Brush Ballad 0 1 0

Modern Ballad 0 1 1

Slow Gtr Ballad 0 1 2

Soft Ballad 0 1 3

Piano Ballad 0 1 4

3/4 Piano Ballad 0 1 5

Orchestral Bld 1 0 1 6

Orchestral Bld 2 0 1 7

Unplugged 0 1 8

Guitar Ballad 0 1 9

Musical Resources |1003

Style CC00 CC32 PC

70s Ballad 0 1 10

Unplugged Heaven 0 1 11

Groovy Ballad 1 0 1 12

Groovy Ballad 2 0 1 13

Analog Ballad 1 0 1 14

Analog Ballad 2 0 1 15

6/8 Ballad 1 0 1 16

6/8 Ballad 2 0 1 17

6/8 Brush Ballad 0 1 18

6/8 Slow 0 1 19

Organ Ballad 0 1 20

Waltz Ballad 0 1 21

Contemporary Bld 0 1 22

Ambient Groove 0 1 23

12/8 Ballad 0 1 24

6/4 Ballad 0 1 25

6/8 Slow Ballad 0 1 26

3/4 Acoustic Bld 0 1 27

Blues Ballad 0 1 28

Jazzy Ballad 0 1 29

Funky Ballad 0 1 30

Reggae Ballad 0 1 31

UnpluggedBallad1 0 1 32

UnpluggedBallad2 0 1 33

UnpluggedBallad3 0 1 34

UnpluggedBallad4 0 1 35

Unplugged Gtr 1 0 1 36

Unplugged Gtr 2 0 1 37

Unplugged Gtr 3 0 1 38

Unplugged Gtr 4 0 1 39

Ambient Ballad 0 1 40

Easy Ballad 0 1 41

Serenade 0 1 42

Unplugged Slow 0 1 43

Style CC00 CC32 PC

Ballroom

English Waltz 0 2 0

Quick Step 0 2 1

Pasodoble 0 2 2

Paso Dance 0 2 3

Viennese Waltz 0 2 4

Jive 0 2 5

Argentina Tango 0 2 6

Modern Tango 0 2 7

Slow Waltz 1 0 2 8

Slow Waltz 2 0 2 9

3/4 Flamenco 0 2 10

4/4 Flamenco 0 2 11

Swing Fox 0 2 12

Slow Fox 0 2 13

Fox Shuffle 0 2 14

Foxtrot 0 2 15

Boogie Woogie 0 2 16

Big Band Jump 0 2 17

Big Band Fox 0 2 18

Big Band Swing 0 2 19

Organ Waltz 0 2 20

Organ Foxtrot 0 2 21

Twist 0 2 22

Hully Gully 0 2 23

Dance

70s Disco Remix 0 3 0

70 Remix 0 3 1

70s Disco 1 0 3 2

70s Disco 2 0 3 3

80s Dance 0 3 4

90s Dance 0 3 5

UpTown Disco 0 3 6

No Worry Dance 0 3 7

1004| Appendix

Style CC00 CC32 PC

Dj Disco Mix 0 3 8

Spanish Remix 0 3 9

ChaCha Remix 0 3 10

Western Remix 0 3 11

Tacata Dance 0 3 12

Kuduro Dance 0 3 13

Gangnam Dance 0 3 14

Party Anthem 0 3 15

Bailando Dance 0 3 16

Get Luck Disco 0 3 17

Brother Dance 0 3 18

Cowboy Dance 0 3 19

Dance Pop 0 3 20

Te Pego Dance 0 3 21

Release My Dance 0 3 22

Waka Dance 0 3 23

Fast Remix 0 3 24

Dance Revival 0 3 25

Summer Dance 0 3 26

Counting Dance 0 3 27

Garage 0 3 28

Electro House 0 3 29

Ethno House 0 3 30

Drum&Bass 0 3 31

Dance Fever 0 3 32

Barry Dance 0 3 33

Sister & Girl 0 3 34

Philly Disco 0 3 35

Love Disco 0 3 36

Dance Motown 0 3 37

Funky Disco 1 0 3 38

Funky Disco 2 0 3 39

Tribal 0 3 40

Euro Trance 0 3 41

Style CC00 CC32 PC

rock

Foo Rock 0 4 0

21 Gun Anthem 0 4 1

First Kid Rock 0 4 2

Killer Rock 0 4 3

HighwayHell Rock 0 4 4

Rock on Fire 0 4 5

Welcome Rock 0 4 6

Rock Star 0 4 7

80s Rock 0 4 8

Rock Punch 0 4 9

Rolling Blues 0 4 10

Alabama Rock 0 4 11

Clean Rock 0 4 12

Stadium Ballad 0 4 13

Rolling Rock 0 4 14

Magic Rock 0 4 15

Prison Rock 0 4 16

Johnny Rock 0 4 17

Rock the Clock 0 4 18

Rockabilly 0 4 19

Basic Rock 0 4 20

Smoke Rock 0 4 21

69s Rock 0 4 22

Walk of Rock 0 4 23

50s R&Roll 0 4 24

60s R&Roll 0 4 25

Rock Oldie 0 4 26

Surf Rock 0 4 27

6/8 Slow Rock 0 4 28

6/8 Rock 0 4 29

60s Slow Rock 0 4 30

Abbey Rock 0 4 31

Rock Cha Cha 0 4 32

Musical Resources |1005

Style CC00 CC32 PC

Slow Latin Rock 0 4 33

Latin Rock 0 4 34

SouthStrait Rock 0 4 35

Classic Rock 0 4 36

Rock Boogie 0 4 37

Rock Blues 0 4 38

Power Rock 0 4 39

Rock Shuffle 0 4 40

8 Beat Rock 0 4 41

Rock Beat 0 4 42

Final Rock 0 4 43

Unplugged Rock 0 4 44

Country

Acoustic Country 0 5 0

Country Rock 0 5 1

Sally Groove 0 5 2

Easy Country 0 5 3

Country Blues 0 5 4

6/8 Country Bld 0 5 5

Country Fox 0 5 6

Finger Picking 0 5 7

Slow Country 0 5 8

West Coast 0 5 9

Country Hit 0 5 10

Country Strum 0 5 11

Country QuikStep 0 5 12

3/4 Country 0 5 13

Modern Country 0 5 14

Country Pop 0 5 15

Country Beat 1 0 5 16

Country Beat 2 0 5 17

Country Ballad 1 0 5 18

Country Ballad 2 0 5 19

Country 8 Beat 0 5 20

Style CC00 CC32 PC

Country 16 Beat 0 5 21

Bluegrass 0 5 22

Bar Country 0 5 23

Desert Shuffle 0 5 24

Country Shuffle 0 5 25

South Shuffle 0 5 26

Country Boogie 0 5 27

Easy Strumming 0 5 28

traditional

Italian Waltz 1 0 6 0

Italian Waltz 2 0 6 1

Italian Polka 1 0 6 2

Italian Polka 2 0 6 3

Italian Mazurka 1 0 6 4

Italian Mazurka 2 0 6 5

Italian Tango 0 6 6

Italian Fox 0 6 7

Bavarian Polka 1 0 6 8

Bavarian Polka 2 0 6 9

German Polka 1 0 6 10

German Polka 2 0 6 11

German Waltz 1 0 6 12

German Waltz 2 0 6 13

German March 0 6 14

Heimat Walzer 0 6 15

9/8 0 6 16

Vahde 0 6 17

2/4 Oyun 0 6 18

Ciftetelli 0 6 19

Halay 0 6 20

5/8 0 6 21

Oryantal 0 6 22

Turkish Pop 0 6 23

Musette Waltz 0 6 24

1006| Appendix

Style CC00 CC32 PC

French Waltz 0 6 25

Irish Slow Waltz 0 6 26

Irish Med. Waltz 0 6 27

Irish Fast Waltz 0 6 28

Irish Fox 0 6 29

Irish QuickStep 0 6 30

Latin

Samba Enredo 0 7 0

Samba Brazil 0 7 1

Bossa Nova 0 7 2

Classic Salsa 0 7 3

Classic Mambo 0 7 4

Classic ChaCha 0 7 5

Guajira 0 7 6

Guaguanc 0 7 7

Timba 0 7 8

6/8 Afro 0 7 9

Bomba 0 7 10

Classic Bachata 0 7 11

Classic Merengue 0 7 12

Cumbia 0 7 13

Joropo 0 7 14

Habanera 0 7 15

Guitar Bossa 0 7 16

Meditation Bossa 0 7 17

Organ Bossa 0 7 18

Pop Bossa 0 7 19

Cool Bossa 0 7 20

Fast Bossa 0 7 21

Orch. Bossa 1 0 7 22

Orch. Bossa 2 0 7 23

Brazilian Samba 0 7 24

Salsa 1 0 7 25

Salsa 2 0 7 26

Style CC00 CC32 PC

Mambo 0 7 27

Pop ChaCha 0 7 28

Rhumba 1 0 7 29

Rhumba 2 0 7 30

Bachata 0 7 31

Cool Latin Jazz 0 7 32

Latin Big Band 0 7 33

Latin Pop 0 7 34

Latin Bolero 0 7 35

Latin Vocal 0 7 36

Sabor 0 7 37

Merengue 0 7 38

Natural Bossa 0 7 39

Latin Lounge 0 7 40

Bossa Lounge 0 7 41

Smooth LatinJazz 0 7 42

Unplugged Latin 0 7 43

Latin Dance

Reggaeton 1 0 8 0

Reggaeton 2 0 8 1

BachaTango 0 8 2

Hot Merengue 0 8 3

Modern Salsa 0 8 4

Bomba Dance 0 8 5

Tortura Dance 0 8 6

Gipsy Dance 0 8 7

Limbo 0 8 8

Bamba 0 8 9

Disco Samba 0 8 10

Mambo Party 0 8 11

Mambo Five 0 8 12

Modern Bachata 0 8 13

Classic Beguine 0 8 14

Modern Beguine 0 8 15

Musical Resources |1007

Style CC00 CC32 PC

Tropicana Dance 0 8 16

Modern Bossa 0 8 17

Disco ChaCha 0 8 18

Calypso 0 8 19

Reggae 1 0 8 20

Reggae 2 0 8 21

Latin Club 0 8 22

Andean 0 8 23

Lambada 0 8 24

Meneaito 0 8 25

Macarena 0 8 26

Bayon 0 8 27

Unplugged Gipsy 0 8 28

Unplugged Reggae 0 8 29

Sambalegre 0 8 30

Samba Dance 0 8 31

Latin Pop Bolero 0 8 32

Jazz

Slow BB Shuffle 0 9 0

Dukes Ballad 0 9 1

Dual Tempo Swing 0 9 2

Mood Swing 0 9 3

Swing Band 0 9 4

Modern Big Band 0 9 5

Big Band Shuffle 0 9 6

Latin Jazz Band 0 9 7

Afro-Cuban Jazz 0 9 8

BeBop 0 9 9

Medium JazzWaltz 0 9 10

Fast Jazz Waltz 0 9 11

Bigger Band 0 9 12

Serenade Band 0 9 13

Medium Big Band 0 9 14

Fast Big Band 0 9 15

Style CC00 CC32 PC

Swing Ballad 1 0 9 16

Swing Ballad 2 0 9 17

Slow Swing Brush 0 9 18

Orchestral Swing 0 9 19

Classic Swing 0 9 20

Acoustic Jazz 0 9 21

Easy Swing 0 9 22

Easy JazzWaltz 0 9 23

Dixieland 0 9 24

Charleston 0 9 25

Stride 0 9 26

Ragtime 0 9 27

Slow Organ Swing 0 9 28

Medium Org.Swing 0 9 29

Organ Blues 0 9 30

Jazz Quartet 0 9 31

Classic JazzWalz 0 9 32

Jazz Club 0 9 33

Jazz Brush 0 9 34

Soft Jazz 0 9 35

Django 0 9 36

Unplugged Swing 0 9 37

Vocal Swing 0 9 38

Vocal Jazz 0 9 39

Jazzy Blues 0 9 40

Swing Quintet 0 9 41

Moon Swing 0 9 42

5/4 Swing 0 9 43

Slow Smooth Jazz 0 9 44

Fast Smooth Jazz 0 9 45

Smooth JazzWaltz 0 9 46

Jazzy Lounge 0 9 47

Movie & Show

Fifty Shades 0 10 0

1008| Appendix

Style CC00 CC32 PC

Special Agent 0 10 1

Spaghetti Western 0 10 2

Burts Bounce 0 10 3

ScreenEpicMarch1 0 10 4

ScreenEpicMarch2 0 10 5

Weird Movie 0 10 6

Mystery Man 0 10 7

Ritz Swing 0 10 8

Tap Dance 0 10 9

Movie Ballad 0 10 10

Safari Swing 0 10 11

Hollywood 1 0 10 12

Hollywood 2 0 10 13

Western Movie 0 10 14

Cartoon Time 0 10 15

Love Movie 0 10 16

Arties Theme 0 10 17

Love Ballad 0 10 18

Army Band 0 10 19

Christmas Waltz 0 10 20

Chrismas Swing 0 10 21

Theatre Swing 0 10 22

Theatre March 0 10 23

Movie Swing 0 10 24

Horror Movie 0 10 25

Orchestral Movie 0 10 26

Broadway 0 10 27

Show Time 0 10 28

ActionMovie 12/8 0 10 29

Action Movie 4/4 0 10 30

Wizard Movie 3/4 0 10 31

KidsMovie Ballad 0 10 32

Abstract Orch.FS 0 10 33

80s Synth FS 0 10 34

Style CC00 CC32 PC

BroadwayMovie FS 0 10 35

Angel Voice FS 0 10 36

Western Movie FS 0 10 37

Chillout FS 0 10 38

Funk & Blues

Live @ RMC 0 11 0

Going On Soul 0 11 1

Slap Funk 0 11 2

Chicago Blues 0 11 3

Detroit Backbeat 0 11 4

Street Soul 0 11 5

Everybody Bros 0 11 6

Soul Bros 0 11 7

Blues 0 11 8

Soul 0 11 9

Talkin Funk 0 11 10

Donald Mood 0 11 11

Capital Soul 0 11 12

Soul Power 0 11 13

Level Funk 0 11 14

Acoustic Shuffle 0 11 15

Grace Gospel 0 11 16

Gospel 0 11 17

Gospel Swing 0 11 18

Gospel Shuffle 0 11 19

Modern Gospel 1 0 11 20

Modern Gospel 2 0 11 21

Love 4 All 0 11 22

Dance to Rhythm 0 11 23

Motown Beat 1 0 11 24

Motown Beat 2 0 11 25

Rimshot Mood 0 11 26

Groovy Funk 0 11 27

Easy Funk 0 11 28

Musical Resources |1009

Style CC00 CC32 PC

Soul Ballad 0 11 29

Cool Funk 0 11 30

Classic Funk 0 11 31

70s Beat Groove 0 11 32

Funk R&B 0 11 33

Elektrik Funk 0 11 34

Funky Sisters 0 11 35

Slide Blues 0 11 36

Cool Vocal 0 11 37

Funk Groovin 0 11 38

Jazzy Funk 0 11 39

Little Shuffle 0 11 40

Slow & Jazzy 0 11 41

Slow Funk 0 11 42

Swing HipHop 0 11 43

Slow Mood 0 11 44

Kool Funk 0 11 45

Blues Shuffle 0 11 46

Slow Blues 0 11 47

World

Libertad Tango 0 12 0

Spanish Dance 0 12 1

Hawaiian 0 12 2

Casatchock 0 12 3

Greek Rumba 0 12 4

Xasapiko 0 12 5

Sirtaki 0 12 6

Zouk 0 12 7

Mexican Waltz 0 12 8

Norteno 0 12 9

Kebradita 0 12 10

Bolero Ranchero 0 12 11

Mariachi Waltz 0 12 12

Mariachi Polka 0 12 13

Style CC00 CC32 PC

Mariachi Son 0 12 14

Mariachi Cumbia 0 12 15

Pizzica 0 12 16

Quadriglia 0 12 17

Tammurriata 0 12 18

Sevillana 0 12 19

Milonga 0 12 20

Tarantella 0 12 21

Rumba Napoletana 0 12 22

Raspa 0 12 23

Celtic Dream 0 12 24

Celtic Waltz 0 12 25

Celtic Ballad 0 12 26

Scottish Reel 0 12 27

Alpen Schlager 0 12 28

Classic Schlager 0 12 29

Modern Schlager 0 12 30

Vienna Waltz 0 12 31

Orleans 0 12 32

Cajun 0 12 33

Zydeco 0 12 34

Hora 0 12 35

OrchestralBolero 0 12 36

Minuetto 0 12 37

Baroque 0 12 38

Banda 0 12 39

US March 0 12 40

French March 0 12 41

Ska 0 12 42

Hip Hindi Hop 0 12 43

Kyoto Lounge 0 12 44

Chill Out 0 12 45

Favorite/Pop

Kiss Sky Pop 1 0 0

1010| Appendix

Style CC00 CC32 PC

Corazon Pop 1 0 1

Tiger Pop 1 0 2

Mama Say Pop 1 0 3

Sactuary Pop 1 0 4

Coral Keys 1 0 5

Talk Anymore Pop 1 0 6

24000 Magic Pop 1 0 7

Love Inside Pop 1 0 8

B. Jean Pop 1 0 9

Trailer 1 0 10

Through the Pop 1 0 11

Moving Forward 1 0 12

Easy Beat 1 0 13

Stand Up 1 0 14

Pop Promises 1 0 15

Treat & Beat 1 0 16

Feel the Pop 1 0 17

Guitar Pop 1 0 18

Venus Pop 1 0 19

Wake Me Pop 1 0 20

Crazy Little Pop 1 0 21

We Are Champ 1 0 22

Croco Rock 1 0 23

6/8 Pop Rock 1 0 24

Hip Rockn Roll 1 0 25

Lovely Pop 1 0 26

Ride Wind Pop 1 0 27

Because Nite Pop 1 0 28

Soul Family Pop 1 0 29

Meneater Pop 1 0 30

Eve In Sky Pop 1 0 31

Favorite/Ballad

Paradise Ballad 1 1 0

Sweet Ballad 1 1 1

Style CC00 CC32 PC

3/4 Jazz Ballad 1 1 2

Long Life Ballad 1 1 3

Color Ballad 1 1 4

Believe Ballad 1 1 5

True Colors 1 1 6

Analog Feel 1 1 7

Hope Ballad 1 1 8

Groove Ballad 1 1 9

Steel Ballad 1 1 10

Favorite/Dance

Synth Beat 1 2 0

Dance To Trance 1 2 1

EDM Happy Hour 1 2 2

EDM Reggaeton 1 2 3

EDM Remix 1 2 4

NU Disco 1 2 5

Trap Dance 1 1 2 6

Trap Dance 2 1 2 7

Reggaeton DJ 1 2 8

House Class 1 2 9

Deep House 1 2 10

Deep Remix 1 2 11

Trance 1 2 12

Saturday Night 1 2 13

Hey Dance 1 2 14

Slowly L. Dance 1 2 15

Shape Dance 1 2 16

Falling Dance 1 2 17

Revelation Dance 1 2 18

Nuvola 1 2 19

Mind Dance 1 2 20

Rainbow Dance 1 2 21

Techno 1 2 22

HipHop 1 2 23

Musical Resources |1011

Style CC00 CC32 PC

Favorite 1 0-9 0-47

User 2 0-9 0-47

Direct Favorite 3 0-9 0-47

Direct User 4 0-9 0-47

1012| Appendix

Keyboard Set Library

This list shows the Keyboard Sets as they appear in the Keyboard Set Library Select window. The table also includes MIDI data used to remotely select the Keyboard Sets on the special Control channel. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change.

Keyboard Set CC00 CC32 PC

Piano

German Grand 16 0 0

Classic Grand 16 0 1

Grand Piano Live 16 0 2

Upright Piano 16 0 3

Honky-Tonk 16 0 4

Jazz Piano 16 0 5

Korg M1 Piano 16 0 6

Piano & VPM 16 0 7

Harpsichord 16 0 8

Clav 16 0 9

Rock Piano 16 0 10

Electric Grand 16 0 11

Digital Grand 16 0 12

Piano & E.Piano 16 0 13

Piano & Strings 16 0 14

Midi Grand & Pad 16 0 15

Harpsi & Orch. 16 0 16

Piano & Ensemble 16 0 17

Piano &SynVoice 16 0 18

Piano Atmosphere 16 0 19

Octave Piano 16 0 20

Piano & Scat 16 0 21

Glide Piano 16 0 22

Piano & Bass 16 0 23

Piano Jazz Trio 16 0 24

Piano & Whistle 16 0 25

Vynil Upright 16 0 26

Piano & Vibes 16 0 27

Keyboard Set CC00 CC32 PC

Vibraphone 16 0 28

Marimba Trill 16 0 29

Xylophone 16 0 30

Music Box 16 0 31

Tropical 16 0 32

Bell & Whistle 16 0 33

Bell & Accordion 16 0 34

Grand & Pad 16 0 35

Vibes & Flute 16 0 36

Concert Hall 16 0 37

E.Piano

Electric Piano 16 1 0

Phaser E. Piano 16 1 1

Ballad E.Piano 16 1 2

Tremolo E.Piano 16 1 3

Chorus Tine E.P. 16 1 4

Dyno E.Piano 16 1 5

Distorsion E.P. 16 1 6

Classic E.Piano 16 1 7

Amp. Wurly 16 1 8

Vintage Wurly 16 1 9

Clean Wurly 1 16 1 10

Clean Wurly 2 16 1 11

Natural Wurly 16 1 12

Amp&Comp.Wurly 16 1 13

Tremolo Wurly 16 1 14

Wurly & Pad 16 1 15

FM E.Piano 16 1 16

R&B E.Piano 16 1 17

Musical Resources |1013

Keyboard Set CC00 CC32 PC

Comp&Phaser E.P. 16 1 18

Bell Tine E.P. 16 1 19

E.Piano & Pad 16 1 20

E.Piano &Strings 16 1 21

E.Piano&SynVoice 16 1 22

E.P. Atmosphere 16 1 23

Digital E.P. Bld 16 1 24

Stage E.Piano 16 1 25

Hybrid E.Piano 1 16 1 26

Hybrid E.Piano 2 16 1 27

Chorus E.Piano 16 1 28

Stereo E.Piano 16 1 29

Digital E.Piano 16 1 30

Jazz Club E.P. 16 1 31

Pure Suitcase EP 16 1 32

Suitcase Chorus 16 1 33

Pure Stage EP 16 1 34

Stage EP Chorus 16 1 35

Pure Wurly 16 1 36

Wurly Chorus 16 1 37

Suitcase Atmosph 16 1 38

StageEP Atmosph 16 1 39

Suitcase Tremolo 16 1 40

Stage EP Tremolo 16 1 41

Wurly Tremolo 16 1 42

Suitcase Phaser 16 1 43

Stage EP Phaser 16 1 44

Stage EP Amp 16 1 45

Stage EP Amp/Cho 16 1 46

Stage EP DynoMy 16 1 47

Organ

Jimmy Organ 16 2 0

Gospel Organ 16 2 1

Rock Organ 16 2 2

Keyboard Set CC00 CC32 PC

Full Organ V. 16 2 3

DWB Org. 1 Aft 16 2 4

DWB Dark Org Y+ 16 2 5

DWB Jazz Org1 Y+ 16 2 6

DWB Clas.Perc1Y+ 16 2 7

BX3 Hi Perc. 16 2 8

BX3 Jazz Org. V. 16 2 9

BX3 4 Layers V. 16 2 10

Hot BX3 Y+ 16 2 11

Full DWB 1 Y+ 16 2 12

Full DWB 2 Y+ 16 2 13

DWB Perc.Org.1Y+ 16 2 14

DWB Perc.Org.2Y+ 16 2 15

Distortion Organ 16 2 16

Click Organ Y+ 16 2 17

Jazz Organ Y+ 16 2 18

Dark Organ V. 16 2 19

Pipe Flute 16 2 20

Full Pipes 16 2 21

Theatre Organ 1 16 2 22

Theatre Organ 2 16 2 23

Harmonica 1 16 2 24

Harmonica 2 16 2 25

Harmonica 3 16 2 26

Blues Harmonica 16 2 27

Toots Harmonica 16 2 28

Melodica 16 2 29

Cassotto 16 2 30

PiccoloAccordion 16 2 31

Musette 16 2 32

Master Fisa 16 2 33

ItalianAccordion 16 2 34

Clarinet Accord. 16 2 35

Alps Accordion 16 2 36

1014| Appendix

Keyboard Set CC00 CC32 PC

Astor Bandoneon 16 2 37

Thats Amore Acc 16 2 38

Acc. & Bass Acc. 16 2 39

DWB Org. 2 Aft 16 2 40

DWB Full Org Y+ 16 2 41

DWB Jazz Org2 Y+ 16 2 42

DWB Clas.Perc2Y+ 16 2 43

DWB Deep Perc.Y+ 16 2 44

DWB Perc. 4 Y+ 16 2 45

DWB Jazz Org3 Y+ 16 2 46

DWB Overd. Y+ 16 2 47

Guitar

Real Nylon Gtr 16 3 0

Natural SteelGtr 16 3 1

Clean Ch.Guitar 16 3 2

Nylon Gtr & Pad 16 3 3

Jazz Guitar 1 16 3 4

Carlos Guitar1 16 3 5

Overdrive Gtr1 16 3 6

Western Gtr&Whis 16 3 7

Pat Guitar Synth 16 3 8

Shadow Guitar 16 3 9

Clean El.Guitar 16 3 10

Overdrive Gtr2 16 3 11

Carlos Guitar2 16 3 12

Distortion Gtr 16 3 13

My Overdrive Gtr 16 3 14

Nylon Guitar 16 3 15

Gtrs Atmosphere 16 3 16

Real Dobro 16 3 17

Folk Guitar 16 3 18

Jazz Guitar 2 16 3 19

Crunch Gtr DNC 16 3 20

Overdrive Gtr3 16 3 21

Keyboard Set CC00 CC32 PC

AmbienceE.Guitar 16 3 22

Carlos Guitar3 16 3 23

George Gtr&Scat 16 3 24

Guitar & Whistle 16 3 25

Nylon Gtr & Fret 16 3 26

Overdrive Gtr V. 16 3 27

Rock & Roll Gtr 16 3 28

Wah Guitar Y+ 16 3 29

12 Str Folk Gtr 16 3 30

Jazz Club Guitar 16 3 31

Unplugged Gtrs 16 3 32

Guitar Club 16 3 33

Flute&Gtr Synth 16 3 34

Strings

Real new Violin 16 4 0

Real new Viola 16 4 1

Choir & Soprano 16 4 2

Bell & Strings 16 4 3

Real Strings DNC 16 4 4

Theatre Strings 16 4 5

Choir & Scat 16 4 6

Big Choir & Orch 16 4 7

Cinematic+ Sub 16 4 8

Single room Str 16 4 9

Room Strings 16 4 10

Movie Strings 16 4 11

Real Violin 16 4 12

Jazz Violin 16 4 13

Serenade Violin 16 4 14

Soprano Voice 16 4 15

CinematicStrFast 16 4 16

Epic Sound 16 4 17

Orchestra Tutti 16 4 18

Violin 16 4 19

Musical Resources |1015

Keyboard Set CC00 CC32 PC

Scat Voices 16 4 20

A Cappella 16 4 21

Dreaming Choir 16 4 22

Vienna Strings 16 4 23

Slapstick Pizz. 16 4 24

Studio Strings 16 4 25

Natural Strings 16 4 26

eXp Viola 16 4 27

Small Orchestra 16 4 28

Wiener StringPad 16 4 29

Smooth Orchestra 16 4 30

Strings & Bell 16 4 31

ScatVoice & Bass 16 4 32

Strings & Orch. 16 4 33

Soprano Choir 16 4 34

Oboe & Str. Ens. 16 4 35

Vocal & Str. Ens 16 4 36

Brass

Shake Brass1 Y+ 16 5 0

BigBand Brass 16 5 1

Orchestral Brass 16 5 2

SaxEns.& Brass V 16 5 3

Cup & Mute Brass 16 5 4

Horn Section 16 5 5

Smooth Band 16 5 6

Warm Brass 16 5 7

Sforzato Brass 16 5 8

Horns & Strings 16 5 9

Brass Overtone 16 5 10

Shake Brass2 Y+ 16 5 11

Cup Mute Brass 16 5 12

Ballad Brass 16 5 13

BigCountry Horns 16 5 14

Smooth Band RX 16 5 15

Keyboard Set CC00 CC32 PC

SaxEns.& Brass V 16 5 16

MorphAttackBrass 16 5 17

Club Brass Sect. 16 5 18

Club Sax & Muted 16 5 19

Cornet & Sax Ens 16 5 20

Cornet&Brass Ens 16 5 21

Sax & Cornet Ens 16 5 22

Muted Ensemble 16 5 23

Swell Brass DNC 16 5 24

trumpet

JazzTrumpet Leg. 16 6 0

Fluge Horn 16 6 1

Miles Muted Trp 16 6 2

Cup Trumpet 16 6 3

Hard Trombone 16 6 4

Cornet Legato 16 6 5

Muted Atmo 16 6 6

Trumpets Atmo 16 6 7

Mute Cornet Leg. 16 6 8

Miles Trp Leg. 1 16 6 9

Miles Trp Leg. 2 16 6 10

Jazz Trumpet 1 16 6 11

Cornet & Growl 16 6 12

Jazz Trombone 1 16 6 13

Soft Trombone 16 6 14

Dixie Trumpet 16 6 15

Sweet Flugel 16 6 16

Trumpet Delay 16 6 17

eXp Trombone 16 6 18

Club Sax & Trp 16 6 19

Band Trumpet V. 16 6 20

Trump.& Clarinet 16 6 21

Muted Trp. Band 16 6 22

Jazz Trombone 2 16 6 23

1016| Appendix

Keyboard Set CC00 CC32 PC

Folk Trumpets 16 6 24

Cornet & Strings 16 6 25

Jazz Cornet 16 6 26

Jazz Cornet 1 FX 16 6 27

Jazz Cornet 2 FX 16 6 28

Miles Trp FX 16 6 29

Jazz Trumpet 2 16 6 30

Jazz Trombone 3 16 6 31

Sax

Jazz Sax 1 16 7 0

Jazz Sax 2 16 7 1

Tenor Sax 1 16 7 2

Tenor Sax 2 16 7 3

Soft Latin Sax 1 16 7 4

Soft Latin Sax 2 16 7 5

Soprano Sax 16 7 6

Kenny Soprano 16 7 7

Jazz Baritone 1 16 7 8

Jazz Baritone 2 16 7 9

Jazz Tenor Sax 16 7 10

Sweet Alto Sax 1 16 7 11

Sweet Alto Sax 2 16 7 12

Sweet Tenor Sax 16 7 13

Alto Sax 16 7 14

Tenor Sax 4 16 7 15

Breath Tenor Sax 16 7 16

Super Tenor Sax 16 7 17

Soprano Pad 16 7 18

Sax Ensemble 16 7 19

Super Sax Sect.1 16 7 20

Miller Serenade 16 7 21

Sax & Brass V. 16 7 22

Super Sax Sect.2 16 7 23

Super Sax Sect.3 16 7 24

Keyboard Set CC00 CC32 PC

Super Sax Sect.4 16 7 25

Sax Sect. & Trp 16 7 26

Woodwind

Latin Flute 16 8 0

Concert Flute 16 8 1

eXp Whistle 16 8 2

Jazz Flute 1 16 8 3

Clarinet 1 16 8 4

Clarinet 2 16 8 5

Real Clarinet 16 8 6

Soft Clarinet 16 8 7

Classic Flute 16 8 8

Jazz Flute 2 16 8 9

Flute 16 8 10

Clarinet 3 16 8 11

Cool Oboe 1 16 8 12

Cool Oboe 2 16 8 13

Whistle 16 8 14

Panflute 16 8 15

Shakuhachi 16 8 16

Dynamic Flute 16 8 17

Dixie Clarinet 16 8 18

Whistling Rain 16 8 19

Frullato Flute 16 8 20

Bottle Flute 16 8 21

Panflute & Synth 16 8 22

Reeds & Trombone 16 8 23

March Whistle 16 8 24

Flutes&Clarinets 16 8 25

Flute & Muted 16 8 26

Clarinets & RX 16 8 27

Synth

Fat Synth + Sub 16 9 0

Next Dance 16 9 1

Musical Resources |1017

Keyboard Set CC00 CC32 PC

Bros Buzz Y+ 16 9 2

Rhythmsfere 16 9 3

Evoling Pad 16 9 4

Next Octave 16 9 5

Symph Synth 16 9 6

Talking Lead 16 9 7

Hybrid Lead 16 9 8

Distortion Synth 16 9 9

Analog Lead 16 9 10

Big Lead 16 9 11

Mini Lead 16 9 12

Big One 16 9 13

Pilot Lead 16 9 14

Portamento Lead 16 9 15

Gliding Lead 16 9 16

Prophy Lead 16 9 17

Waky Lead 16 9 18

Big Lead Sine 16 9 19

Tekno City 16 9 20

Cosmic Sweep 16 9 21

Talking Pad 16 9 22

Fresh Pad 16 9 23

Dream Pad 16 9 24

Double Sweep 16 9 25

Trinity Pad 16 9 26

Moon Pad 16 9 27

Pa800 Pad 16 9 28

Wave Synth 16 9 29

Wave Sequence 16 9 30

Space Trailer 16 9 31

Far Memories 16 9 32

Step Sequencer 16 9 33

My Sequencer 16 9 34

Keyboard Set CC00 CC32 PC

Pisco Pad 16 9 35

Aereosonic 16 9 36

Rhythmical Synth 16 9 37

S&H Pad 16 9 38

Movie Stack 1 16 9 39

Movie Stack 2 16 9 40

Movie Stack 3 16 9 41

Movie Stack 4 16 9 42

Eastern Depths 16 9 43

Wide Attack 16 9 44

Ethnic

Mandolin 16 10 0

Mandolins Orch. 16 10 1

Mandolin Tremolo 16 10 2

Napoli Mandolin 16 10 3

Sitar 16 10 4

IndianFret.&Nay 16 10 5

Real Banjo 16 10 6

Berimbau 16 10 7

Pedal Steel Gtr 16 10 8

Hawaiian Guitar 16 10 9

Oriental Feel 16 10 10

User/Piano

Italian GRAND 17 0 1

Italian Jazz P. 17 0 2

It.Grand Stack 1 17 0 3

It.Grand Stack 2 17 0 4

Grand & Ensemble 17 0 5

Grand & Orch. 17 0 6

It. Grand Atmo 17 0 7

Octave 2 Pianos 17 0 8

User/Strings & Orch.

Movie Action 17 1 0

1018| Appendix

Keyboard Set CC00 CC32 PC

Soft Strings 17 1 1

Strings & Vocal 17 1 2

Movie Orchestra 17 1 3

Vocal Brass 17 1 4

Marcato Strings 17 1 5

Flute & Strings 17 1 6

Soprano &Strings 17 1 7

Steel Gtr & Str. 17 1 8

Vocoder 1 17 1 9

Vocoder 2 17 1 10

Vocoder 3 17 1 11

Vocoder 4 17 1 12

User/Wood & accord.

Tenor Jazz Sax 1 17 2 0

Tenor Jazz Sax 2 17 2 1

Robin Whistle 17 2 2

Bandoneon+Short 17 2 3

It. Accordion16' 17 2 4

It. Accordion 8' 17 2 5

It. Acc. 16'+8' 17 2 6

It. Acc. 16'+4' 17 2 7

It.Acc.16'+8'+4' 17 2 8

It. Accordion 4' 17 2 9

It. Acc. 8'+4' 17 2 10

It.Acc.& Strings 17 2 11

User/Pipe Organ

Tutti A 17 3 0

Tutti B 17 3 1

Sesquialtera 17 3 2

Plenum A 17 3 3

Plenum B 17 3 4

Plenum C 17 3 5

Plenum D 17 3 6

Keyboard Set CC00 CC32 PC

Plenum E 17 3 7

Pipe Cornet 17 3 8

Viola+Cornet 17 3 9

Principal 8' 17 3 10

Pipe Flute 8' 17 3 11

Gamba 8' 17 3 12

Trumpet Pipes 17 3 13

Pipe Octave 17 3 14

Pipe Super Oct. 17 3 15

Pipe Fifth 17 3 16

Principal+Flute 17 3 17

Nazard A 17 3 18

Nazard B 17 3 19

Flute8'+Flute4' 17 3 20

Flute8'+Flute2' 17 3 21

Gamba+Flute 17 3 22

Celeste 17 3 23

Princ 1 - 2 man. 17 3 24

Princ 2 - 2 man. 17 3 25

Princ 3 - 2 man. 17 3 26

Princ 4 - 2 man. 17 3 27

Flute 1 - 2 man. 17 3 28

Flute 2 - 2 man. 17 3 29

Nazard - 2 man. 17 3 30

Terziana - 2 man. 17 3 31

Cornet - 2 man. 17 3 32

Larigot - 2 man. 17 3 33

Trumpet - 2 man. 17 3 34

Plenum1 - 2 man. 17 3 35

Plenum2 - 2 man. 17 3 36

Tutti - 2 man. 17 3 37

User/Synth

Poly6 + JP8 17 4 0

Musical Resources |1019

Keyboard Set CC00 CC32 PC

JP8 17 4 1

80's Mellow 17 4 2

80's Super Pad 17 4 3

Analog Synth 17 4 4

Synth Yes 17 4 5

EDM Synth 17 4 6

Dance Basic 17 4 7

Thin PulSeq DNC 17 4 8

Noise Lead DNC 17 4 9

Synth Whooo 17 4 10

Mellow Perc. Pad 17 4 11

Dance Syn Perc 17 4 12

Lfo Sound bpm 17 4 13

Spire Synth 17 4 14

Leadscape 17 4 15

Fing.GlideSquare 17 4 16

Big Side Attack 17 4 17

Groove SynthGtr. 17 4 18

Dubstep Synth 17 4 19

Caos Synth 17 4 20

Robert Bass 17 4 21

Fifth Bass 17 4 22

Widebass 17 4 23

Triangle Solo 17 4 24

Square Solo 17 4 25

Saw Solo 17 4 26

Square & Pulse 17 4 27

16-8-4 & Sub32 17 4 28

User/Fantasy

Mixed Echoes 17 5 0

Running bpm 17 5 1

Keyboard Set CC00 CC32 PC

Fisarmony 17 5 2

Pacific Sea 17 5 3

Nighthawk 17 5 4

Wave Echoes 17 5 5

Hans Sound 17 5 6

Landscape 17 5 7

Waterland 17 5 8

Meditation Stack 17 5 9

Layers Enjoy 17 5 10

Ipnotic bpm 17 5 11

User/Drawbar Organ

DWB Jazz C# Y+ 17 6 0

DWB Jazz D Y+ 17 6 1

DWB Jazz D# Y+ 17 6 2

DWB AWSOP Y+ 17 6 3

DWB Class. 1 Y+ 17 6 4

DWB Class. 2 Y+ 17 6 5

DWB Class. 3 Y+ 17 6 6

DWB Class. 4Y+ 17 6 7

DWB Upp C# Y+ 17 6 8

DWB Upp D Y+ 17 6 9

DWB Upp D# Y+ 17 6 10

DWB Upp E Y+ 17 6 11

DWB Upp F Y+ 17 6 12

DWB Upp F# Y+ 17 6 13

DWB Upp G Y+ 17 6 14

DWB Upp G# Y+ 17 6 15

User 17 0-10 0-47

Direct User 18 0-10 0-47

1020| Appendix

Sounds

The following table lists all Factory Sounds as they appear in the Sound Select window. The table also includes MIDI data used to remotely select the Sounds. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change.

Sound CC00 CC32 PC

Factory/Piano

Concert Grand 121 13 0

Italian Piano 121 16 0

Jazz Piano 121 5 0

Italian Jazz P. 121 18 0

Live Piano 121 6 1

Rock Piano 121 8 0

Pop Upright 121 14 0

M1 Piano 121 2 2

Pop Grand 121 12 0

It. Piano 121 17 0

Classic Piano 121 4 0

Warm Grand 121 10 0

Bright Piano 121 5 1

It.Grand & Stack 121 13 2

G.Piano Stack 1 121 8 2

G.Piano Stack 2 121 9 2

Honky-Tonk 121 2 3

Ragtime Piano 121 3 3

E. Grand Piano 121 12 2

Grand&MovingPad 121 9 0

Grand & Strings 121 7 0

Midi Grand & Pad 121 4 1

Harpsichord 1 121 7 6

Harpsichord 8+4 121 8 6

ClassicClav1 DNC 121 7 7

ClassicClav2 DNC 121 8 7

Sound CC00 CC32 PC

Piano Layers 121 6 2

Grand & FM Stack 121 7 2

Piano & Vibes 121 6 0

Grand Piano Demo 121 11 0

Grand Piano 121 3 0

Upright Piano 121 15 0

Factory/E. Piano

Tine EP Phaser 121 27 4

Tine EP Dyno 121 28 4

Tine EP Amp/Pha 121 29 4

Wet Tine EP 121 31 4

Dist. Tine EP 121 30 4

Bell Tine EP 121 32 4

Classic Tine EP 121 45 4

Suit Case88 EP1 121 34 4

Wurly Logic 121 36 4

Wurly Amp 121 38 4

Tremolo Wurly 1 121 39 4

Tremolo Wurly 2 121 16 4

Wurly Clean 121 41 4

Natural Wurly 121 44 4

Wurly Amp/Comp 121 40 4

Reed EP Clean 121 37 4

VPM Tine 1 121 18 5

VPM Tine 2 121 19 5

VPM Tine 3 121 17 5

Digi E. Piano 121 14 5

Musical Resources |1021

Sound CC00 CC32 PC

Classic Tines 121 9 5

DW8000 EP 121 11 5

Natural EP 121 43 4

E. Piano Halo 121 1 94

Thin E. Piano 121 9 4

EP+Damper 1 121 25 4

Tine E. Piano 1 121 18 4

Club E. Piano 121 11 4

Suit E.Piano 1 121 20 4

Suit E.Piano 2 121 21 4

Classic Wurly 1 121 17 4

Classic Wurly 2 121 12 4

R&B E. Piano 121 8 4

Pure Stage EP 121 46 4

Pure Suitcase EP 121 47 4

Pure Wurly 121 48 4

Factory/Mallet & Bell

Vibraphone 1 121 2 11

Marimba 121 7 12

Marimba Syn Seq 121 8 12

Metallic Syn Seq 121 2 114

Wood&Metal Seq 121 4 114

Xylophone 121 1 13

Glockenspiel 121 2 9

Celesta 121 1 8

Marimba Key Off 121 2 12

Balaphon 121 6 12

Kalimba 1 121 2 108

Kalimba 2 121 1 108

Music Box 121 2 10

Sistro 121 1 9

Orgel 121 1 10

Warm Steel 121 1 114

Vs Bell Boy 121 2 98

Sound CC00 CC32 PC

Tubular Bell 121 4 14

Bells 121 3 14

Santur 121 1 15

Mallet Clock 121 5 12

Factory/accordion

Harmonica 1 DN1 121 11 22

Harmonica 1 DN2 121 12 22

Harmonica 2 DN1 121 13 22

Harmonica 3 DN1 121 14 22

Bandoneon DNC 121 11 23

It. Accordion16' 121 31 21

It. Accordion 8' 121 32 21

It. Accordion 4' 121 33 21

It.Acc. 16'+Bass 121 34 21

Tango Accordion 121 10 23

Bandoneon Sync 121 12 23

Bandoneon Short 121 13 23

Classic Musette 121 29 21

French Musette 121 18 21

2 Voices Musette 121 16 21

3 Voices Musette 121 17 21

Fisa Master 121 8 21

Fisa Tango 121 1 23

Fisa 16,4 121 7 21

Fisa 16,8 121 6 21

Cassotto 16 121 12 21

Accordion 121 24 21

Accordion 16,4 121 7 23

Accordion 16,8 121 2 23

Acc.16,8,4 Plus 121 8 23

Acc.Clarinet OT 121 19 21

Acc. Piccolo OT 121 21 21

Accordion Bass 121 5 23

Acc. & Acc. Bass 121 9 23

1022| Appendix

Sound CC00 CC32 PC

Acc.16,8 & Bass 121 4 23

Melodica 121 15 22

Fisarmony 121 35 21

Steirisch.Akk.1 121 25 21

Steirisch.Akk.2 121 26 21

Factory/Organ

DRAWBARS 121 127 16

Jimmy Organ 121 13 18

Perc. Organ 1 121 9 17

Perc. Organ 2 121 11 17

BX3 Rock 1 121 14 18

BX3 Rock 2 121 15 18

BX3 Rock 3 121 16 18

BX3 Rock 4 121 17 18

BX3 Full 121 6 16

BX3 Jazz 121 20 16

BX3 Jazz Pc. 121 9 18

BX3 Gospel 121 37 16

Gospel Organ 1 121 38 16

Jazz Organ 121 8 16

Organ Low Pc 121 4 17

Organ Low 1 121 39 16

Organ Low 2 121 15 16

Big Theatre Org. 121 30 16

Theatre Organ 1 121 22 16

Theatre Organ 2 121 23 16

Wunder Organ 121 12 17

VOX Legend 121 11 16

60s Organ 121 40 16

Pianola 121 6 20

Tutti A 121 11 19

Tutti B 121 12 19

Sesquialtera 121 13 19

Plenum A 121 14 19

Sound CC00 CC32 PC

Plenum B 121 15 19

Plenum C 121 16 19

Plenum D 121 17 19

Plenum E 121 18 19

Pipe Cornet 121 19 19

Viola+Cornet 121 20 19

Principal 8' 121 21 19

Pipe Flute 8' 121 22 19

Gamba 8' 121 23 19

Trumpet Pipes 121 24 19

Pipe Octave 121 25 19

Pipe Super Oct. 121 26 19

Pipe Fifth 121 27 19

Principal+Flute 121 28 19

Nazard A 121 29 19

Nazard B 121 30 19

Flute8'+Flute4' 121 31 19

Flute8'+Flute2' 121 32 19

Gamba+Flute 121 33 19

Celeste 121 34 19

Terziana 121 35 19

Larigot 121 36 19

Factory/Guitar

Concert Gtr DNC 121 20 24

Nylon GuitarDNC 121 18 24

7Str.GuitarDNC 121 28 24

NaturalSteel DNC 121 47 25

Acous.Steel1 DNC 121 48 25

Acous.Steel2 DNC 121 49 25

CA Steel Gtr DNC 121 51 25

Real Dobro DNC 121 50 25

ClassicSteel DNC 121 36 25

RealFolk Gtr DNC 121 34 25

SteelGtrPro DNC 121 19 25

Musical Resources |1023

Sound CC00 CC32 PC

Strum 12Str. DNC 121 33 25

Strat N DI DNC 121 39 27

Strat N Cln DNC 121 38 27

Strat N DI Mute 121 23 28

Strat N Cln Mute 121 22 28

Strat B DI DNC 121 45 27

Strat B Ovd DNC 121 5 29

Strat B DI Mute 121 28 28

Strat B Ovd Mute 121 6 29

Tele M DI DNC 121 41 27

Tele M Cln DNC 121 40 27

Tele M DI Mute 121 25 28

Tele M Cln Mute 121 24 28

LesP M DI DNC 121 43 27

LesP M Cln DNC 121 42 27

LesP M DI Mute 121 27 28

LesP M Cln Mute 121 26 28

33X B DI DNC 121 44 27

33X B Dst DNC 121 17 30

33X B DI Mute 121 29 28

33X B Dst Mute 121 18 30

Dist. Gtr 1 DNC 121 16 30

Dist. Gtr 2 DNC 121 14 30

Crunch Gtr DNC 121 3 29

Stereo Dist.Gtr 121 8 30

Jazz Gtr 1 DNC 121 8 26

Clean Jazz 1 121 23 27

Oct. Jazz Guitar 121 9 26

ViolaCaipira DNC 121 45 25

Stra.GtrUpDwDNC 121 33 27

E.Gtr Ch/Dly DNC 121 35 27

Single Coil Pro 121 14 27

Pat Guitar Synth 121 10 26

Chorus Guitar 121 3 27

Sound CC00 CC32 PC

Chorus Gtr Pro 121 18 27

Power Chords 1 121 15 30

Groove Gtr Wah 121 30 28

Factory/Strings & Vocal

ClassicViolinDN1 121 14 40

ClassicViolinDN2 121 13 40

Conc. Violin DN1 121 12 40

Real Strings DNC 121 13 49

Movie Action 121 29 48

Soft Strings 121 20 49

Studio Strings 121 19 49

Epic Soundtrack 121 28 48

Ballad Strs. DNC 121 17 49

Strings & Vocal 121 30 48

Choir & Scat 121 28 52

Real Spiccato 121 14 49

Real Staccato 121 15 49

Real Marcato 121 16 49

Real Tremolo 121 2 44

Real Pizzicato 121 4 45

Ballad Strings 121 18 49

OrchestraTutti 1 121 14 48

Strings&Orch.V. 121 24 48

Pizz. Section 121 2 45

Real Quartet 1 121 26 48

Real Quartet 2 121 27 48

Violin DN2 121 10 40

Violin Expr. DN2 121 11 40

Real Viola DN1 121 3 41

Viola Expr. 121 1 41

Real Cello 121 2 42

Real Contrabass 121 2 43

Full Choir 121 25 52

Hmm Choir 121 13 53

1024| Appendix

Sound CC00 CC32 PC

Lyrical Choir 121 9 53

Cinematic Ens. 121 25 48

DaDiPaTu & Bass 121 26 52

DaDiDuLaPaTu 121 27 52

Unknown Ens. 121 11 53

Unknown Choir 121 10 53

Firemen Choir 121 24 52

Closed Mouth 121 7 54

Sweet Sopr. Halo 121 12 53

Sweet Sopr. Solo 121 7 53

SopranoVox1 DNC 121 4 53

QueenNight Sopr. 121 8 53

Femal&Male Scat 121 14 52

Scat V.& Bass 1 121 17 52

Cycle Scat 1 121 21 52

Ooh Slow Voice 121 3 52

Oh-Ah Voices 121 9 52

Little Boy Voice 121 23 52

Ooh Choir 121 6 52

Strings & Glock. 121 18 48

Orch. & Oboe 1 121 16 48

Orchestra&Flute 121 20 48

Strings & Horns 121 15 48

Classic Harp 121 2 46

Analog Strings 1 121 5 50

Synth Strings 1 121 6 50

Synth Voices 121 6 54

Full Vox Pad 121 9 91

Vocalscape 121 3 54

Fresh Breath 121 7 91

Heaven 121 3 91

Airways 121 3 53

Factory/trumpet & trbn.

Real Flugel DN2 121 37 56

Sound CC00 CC32 PC

Real Muted DN2 121 10 59

Jazz Trumpet DN1 121 33 56

Jazz Trumpet DN2 121 34 56

Cup Muted DN2 121 9 59

Concert Trumpet 121 19 56

Jazz Cornet DN1 121 32 56

Jazz Cornet DN2 121 36 56

Jazz Trb. DN1 121 20 57

Jazz Trb. DN2 121 21 57

Soft Trb. DN1 121 22 57

Soft Trb. DN2 121 23 57

HardTrombone DN1 121 24 57

HardTrombone DN2 121 25 57

Mute Trumpet 121 5 59

Wah Trumpet 121 2 59

Muted Trp.1 DN1 121 6 59

Muted Trp.2 DN1 121 7 59

Muted Cornet DN1 121 8 59

Sweet FlugelHorn 121 12 56

Real French Horn 121 11 60

French Horn 121 9 60

Euphonium 121 7 58

Tuba Gold 121 2 58

Alp Tuba 121 6 58

Oberkr. Tuba 121 1 58

Factory/Brass

Swing Horns DNC 121 40 61

Ballade Brass 121 41 61

Horns Swell1 DNC 121 38 61

Horns Swell2 DNC 121 39 61

Big Band Brass 1 121 32 61

Big Band Brass 2 121 4 61

Tight Brass 1 121 27 61

Tight Brass 2 121 29 61

Musical Resources |1025

Sound CC00 CC32 PC

Trpt. & Horns 121 5 60

Trpts & Trombs 121 34 61

Tight Brass 3 121 2 61

Brass of Power 121 30 61

Movie Brass 121 20 61

Brass Expr. 121 15 61

Glenn & Friends 121 3 61

French Section 121 2 60

French Horns 121 10 60

Soft Horns 1 121 8 60

Trombones DNC 121 10 61

Trumpets DNC 121 42 61

TrumpetsHar Mute 121 43 61

TrumpetsCup Mute 121 44 61

Mute Ensemble 1 121 3 59

Mute Ensemble 2 121 4 59

Flute & Muted 121 6 73

Synth Brass 1 121 5 62

Electrik Brass 121 4 62

Horns Swell3 DNC 121 45 61

Factory/Sax

Tenor Sax DN1 121 16 66

Tenor Sax 1 DN2 121 17 66

Tenor Sax 2 DN1 121 19 66

Tenor Sax 2 DN2 121 20 66

Jazz Sax DN1 121 20 65

Jazz Sax DN2 121 21 65

Soft Tenor DN1 121 21 66

Soft Tenor DN2 121 22 66

PopAltoSax DN1 121 22 65

Alto Sax DN1 121 23 65

SoftAltoSax DN1 121 24 65

Soprano Sax DN1 121 6 64

Baritone Sax DN1 121 6 67

Sound CC00 CC32 PC

Tenor Growl DN1 121 18 66

Cool Sax Ens. 121 11 65

Sax Ens. Legato 121 19 65

SaxEns.Leg.Sfz 121 25 65

Factory/Woodwind

ConcertFlute DN1 121 15 73

ConcertFlute DN2 121 16 73

Latin Flute DN1 121 17 73

Latin Flute DN2 121 18 73

RealClarinet DN1 121 21 71

JazzClarinet DN1 121 22 71

Oboe 1 121 5 68

Cool Oboe 121 3 68

Bassoon DNC 121 2 70

Bassoon 121 1 70

Double Reed 121 1 68

Piccolo 121 3 72

Ocarina 121 1 79

Shakuhachi 121 2 77

Shakuhachi Vel. 121 3 77

Pan Flute DN1 121 5 75

Blown Bottle 121 1 76

Whistle DN1 121 6 78

Clar & Sax Ens 1 121 17 71

Clar & Sax Ens 2 121 18 71

Reeds & Saxes 121 10 71

Small Orchestra 121 1 72

Whistle Robin 121 7 78

Factory/Synth Pad

Pacific Sea 121 6 88

Waterland 121 9 88

Wave Echoes 121 6 102

Layers Enjoy 121 11 99

Meditation Stack 121 10 88

1026| Appendix

Sound CC00 CC32 PC

Ipnotic Stack 121 12 99

80's Mellow 121 19 89

80's Super Pad 121 20 89

Warm Pad 121 15 89

Square Pad 121 15 90

Dark Pad 121 6 89

Analog Pad 1 121 8 89

Symphonic Ens. 121 14 89

Warm Buzz 121 17 89

Matrix 12 Pad 121 14 90

The Pad 121 4 89

Evolving Pad 121 4 88

Rhythmsphere 121 11 96

Far Muted Atmos. 121 5 88

Far Memories 121 14 91

Atmoschoir Pad 121 15 91

Space Trailer 121 1 103

Jurassic Pad 121 3 88

Pisco Pad 121 2 99

Big Side Attack 121 18 89

Tension Scene 121 8 97

Dronas Pad 121 4 93

Moon Cycles 121 5 102

Movie Stack 1 121 4 99

Movie Stack 2 121 5 99

Movie Stack 3 121 6 99

Eastern Depths 121 8 99

S&H Pad DNC 121 10 96

Wave-Sequence 121 4 96

Aerosonic 121 5 96

My Sequencer 121 6 96

Step Sequencer 121 7 96

Big Panner 121 4 63

Choir-Sequence 121 13 91

Sound CC00 CC32 PC

Pop Synth Pad 1 121 4 91

Air Clouds 121 1 97

Digi Ice Pad 121 2 101

Cinema Pad 121 5 95

Vintage Sweep 121 7 95

Meditate 121 2 95

Super Sweep 121 4 90

Wave Sweep 121 5 90

Next Analog 121 16 89

Cosmic 121 1 93

Bell Pad 121 6 98

Fresh Air 1 121 2 91

Fresh Air 2 121 11 91

Future Pad 121 5 91

80s Pop Synth 121 2 93

Blender 121 1 92

Deep Noise 121 4 127

Mixed Echoes 121 16 91

Nighthawk 121 7 88

Mellow Perc. Pad 121 8 88

Hans Sound 121 13 96

Running 121 12 96

Lfo Sound bpm 121 5 101

Factory/Synth Lead

Next Dance DNC 121 13 87

Trance Filter 121 16 87

Vintage Monster 121 17 87

JP8 121 6 62

Dance Basic 121 25 81

Spire Synth 121 22 81

EDM Synth 121 24 81

Dubstep Synth 121 14 84

Noised Lead DNC 121 20 87

Deep Modul. DNC 121 10 84

Musical Resources |1027

Sound CC00 CC32 PC

Lab Synth DNC 121 8 84

Thin PulSeq DNC 121 21 81

Synth Whooo 121 16 90

Analog Synth 121 17 90

Synth Yes 121 18 90

Poly6 + JP8 121 19 90

Summit Pulse 121 13 81

Bros Buzz Y+ 121 14 87

Fat Synth 121 15 87

Parallel Trance 121 9 84

Dance Syn Perc 121 3 114

Shape Sound 121 5 114

Fast Glide Saw 121 20 81

Fing.GlideSquare 121 16 80

Old Portamento 121 3 80

Monster & Dist. 121 18 87

Side Distortion 121 13 84

Revolution 121 12 84

Square Solo 121 17 80

Triangle Solo 121 26 81

Saw Solo 121 27 81

Square & Pulse 121 18 80

Leadspace 121 23 81

Landscape 121 1 82

Caos Synth 121 15 84

Vocal Brass 121 6 63

Justified 121 11 84

Rave 121 6 97

Rich Lead 121 3 87

16-8-4 & Sub32 121 28 81

MonoSaw Detune 121 17 81

MonoSaw 2 Oct. 121 18 81

MonoSaw 3 Oct. 121 19 81

Power Saw 121 5 81

Sound CC00 CC32 PC

Bass Phat Saw 121 12 87

Octo Lead 121 6 81

Dance Lead 121 4 80

Wave Lead 121 5 80

Simple Square 121 14 80

Reverse Pulse 121 14 81

HipHop Lead 121 6 87

Phat Saw Lead 121 8 81

Big Sweep Stab 121 12 90

Noisy Stabb 121 8 90

A Leadload 121 11 87

OB Lead 121 10 87

Big & Raw 121 8 87

Synth Pianoid 121 12 81

Polysix 121 15 81

Polysix & Sub 121 16 81

FatSynth OctSub 121 19 87

Metallic Rez 121 4 84

Dance ReMix 121 10 91

Port Whine 121 12 80

Sub Harmonic 121 15 80

Factory/Ethnic

Mandolin DNC 121 40 25

Mandolin UpDw 121 43 25

Mandolin Orch.1 121 41 25

Mandolin Orch.2 121 42 25

Real Cavaquinho 121 27 24

Cavaquinho 1 121 23 24

Cavaquinho 2 121 24 24

Bandolim 121 46 25

Berimbau DNC 121 2 106

Berimbau Rel.DNC 121 1 106

Real Ukulele 121 25 24

Zither 121 9 104

1028| Appendix

Sound CC00 CC32 PC

Sitar 121 8 104

Sitar Tambou 121 2 104

Indian Frets 121 4 104

Fiddle 121 1 110

Banjo Thumb DNC 121 6 105

Banjo Fin/Th.DNC 121 7 105

Banjo Key Off 121 1 105

Banjo 121 4 105

Kanoun 1 121 5 107

Kanoun 2 121 2 107

Kanoun Trem. 1 121 6 107

Kanoun Trem. 2 121 3 107

Kanoun Mix 121 4 107

Oud 1 121 5 105

Oud 2 121 2 105

Bouzouki 121 5 104

Nay 121 2 72

Kawala 121 1 75

Clarinet G 121 2 71

Klarnet 1 121 11 71

Klarnet 2 121 12 71

Hichiriki 121 2 111

HighlandBagPipes 121 3 109

Uillean BagPipes 121 2 109

Zurna 1 121 3 111

Zurna 2 121 1 111

Gamelan 121 1 112

Garbage Mall 121 3 112

Jaw Harp 121 3 105

Ac. Baglama 1 121 7 107

Ac. Baglama 2 121 8 107

Ac. Baglama Grp. 121 9 107

Turk Fill Legato 121 4 111

Double Z Legato 121 5 111

Sound CC00 CC32 PC

Trpt Wave Legato 121 6 111

Syn Zurna Legato 121 7 111

Factory/Bass

Real Ac. Bass 1 121 13 32

Acoustic Bass 1 121 14 32

Robert Bass 121 21 39

Fifth Bass 121 20 39

JB Finger BsDN1 121 29 33

JB Finger BsDN2 121 30 33

JB Pick Bs DN1 121 18 34

JB Pick Bs DN2 121 19 34

JB Fing.Slap Bs 121 32 33

JB Slap Bass 121 8 36

PBs Fing.Pop DN1 121 33 33

PBs Fing.Pop DN2 121 34 33

SR Finger BsDN1 121 27 33

SR Finger BsDN2 121 28 33

SR Pick Bs DN1 121 16 34

SR Pick Bs DN2 121 17 34

SR Fing.Slap Bs 121 31 33

SR Slap Bass 121 9 36

PBsFing.Vint.DN1 121 25 33

PBsFing.Vint.DN2 121 26 33

FS Pick BsDN1 121 14 34

FS Pick BsDN2 121 15 34

Fretless Bs DN1 121 11 35

FretlessVib.DN1 121 10 35

Finger Bass DN1 121 16 33

Dark Bs&Slap DN1 121 7 36

Stein Bass 121 3 34

Woofer Pusher 1 121 9 35

Finger E.Bass 1 121 7 33

Finger E.Bass 2 121 4 33

Chorus Fing.Bass 121 8 33

Musical Resources |1029

Sound CC00 CC32 PC

SimplePulse Bass 121 19 39

Vintage P. Pick 121 12 34

Vintage P. Bass 121 23 33

Vintage P. Flat 121 18 33

Picked Jazz Bass 121 13 34

Picked E. Bass 1 121 2 34

Sweet Fretless 121 3 35

Fretless Bass 1 121 1 35

Thumb Bass 121 1 37

Bass & Ride 1 121 2 32

Acous. Bass Pro1 121 3 32

Ac. Jazz Bass 121 9 32

Super Bass 1 121 2 36

LegatoSynthBass 121 20 38

Synth Bass 1 121 18 38

Basic Saw Bass 121 18 39

Digi Bass 1 121 11 38

Willy FM Bass 121 19 38

Syn Bass Reso. 121 8 38

Jungle Bass 121 13 38

Jungle Reso. 121 5 39

30303 Bass 121 5 38

Disclosure Bass 121 16 39

Fancy Bass 121 17 39

Techno Org.Bass 121 6 17

Org. Synth Pulse 121 13 17

Phunk Synth Bass 121 14 39

Poinker Bass 121 8 39

Drive Bass 121 17 38

Wide Bass 121 21 38

Legacy/Piano

Piano Pad 1 121 2 1

Piano Pad 2 121 3 1

90s Piano 121 3 2

Sound CC00 CC32 PC

2000s Piano 121 4 2

Chorus Piano 121 5 2

E. Grand Phaser 121 10 2

Saloon Piano 121 4 3

Harpsichord 2 121 6 6

Harpsi 16 121 5 6

Harpsi Korg 121 4 6

Clav Snap 121 3 7

Sticky Clav 121 4 7

Clav 121 5 7

Clav Wah 121 2 7

Synth Clav 121 6 7

Legacy/E. Piano

Pro Dyno EP 121 5 4

Pro Stage EP 121 6 4

Studio EP 121 7 4

Suit Case88 EP2 121 33 4

Dyno Tine EP 1 121 10 4

Tine E. Piano 2 121 19 4

Dyno Tine EP 2 121 22 4

Bell E. Piano 1 121 23 4

Bell E. Piano 2 121 24 4

EP+Damper 2 121 26 4

Vintage EP 121 4 4

Stereo Dig. EP 121 6 5

FM Stack EP 121 16 5

Hybrid EP 121 8 5

Phantom Tine 121 10 5

Soft Wurly 121 13 4

Hard Wurly 121 14 4

Velo Wurly 121 15 4

White Pad EP 121 13 5

FM Pad EP 121 15 5

Sweeping EP 121 12 5

1030| Appendix

Sound CC00 CC32 PC

Classic Dig. EP 121 7 5

Syn Piano X 121 5 5

Road Piano 121 11 2

E. Piano Noise 121 35 4

Wurly Noise 121 42 4

Legacy/Mallet & Bell

Vibraphone 2 121 3 11

Monkey Skuls 121 3 12

Digi Bell 121 4 98

Krystal Bell 121 3 98

Legacy/accordion

Sweet Harmonica 121 1 22

Akordeon 121 2 21

Acc. Clarinet NT 121 20 21

Acc. Piccolo NT 121 22 21

Detune Accordion 121 15 21

Sweet Musette 121 11 21

Musette 1 121 3 21

Musette 2 121 4 21

Cassotto 121 9 21

Cassotto 16 DNC 121 30 21

Cassotto Or.Tune 121 13 21

Cassotto NorTune 121 14 21

Musette Clar. 121 5 21

Arabic Accordion 121 10 21

Master Accordion 121 23 21

Steirisch.Akk.4 121 28 21

Harmonica 121 2 22

Harmonica AT 1 121 3 22

Harmonica AT 2 121 4 22

Harmonica 1 DNC 121 5 22

Jazz Harm. DNC 121 6 22

Sweet Harm. DNC 121 7 22

Melodica DNC 121 8 22

Sound CC00 CC32 PC

Harmonica 2 DNC 121 9 22

Harmonica 3 DNC 121 10 22

Accordion16,8,4 121 3 23

Steirisch.Akk.3 121 27 21

Acc.Voice Change 121 6 23

Legacy/Organ

Classic Click 121 4 18

Perc. Organ 3 121 10 17

Perc.Short Deca 121 8 18

Rock Organ 2 121 11 18

Jimmy Organ V. 121 10 18

BX3 Rock 1 V. 121 10 16

BX3 Rock 2 V. 121 1 18

BX3 Rock 3 V. 121 5 18

BX3 Rock 4 V. 121 12 18

Dirty B 121 3 18

Killer B 121 2 18

BX3 Short Decay 121 7 17

Super BX Perc. 121 6 18

Gospel Organ 2 121 9 16

Gospel Organ V. 121 13 16

BX3 Gospel V. 121 21 16

Drawbars Organ 121 14 16

Organ Mid V. 121 16 16

Organ Hi V. 121 17 16

Drawbars Fast V. 121 18 16

Drawbars Slow V. 121 19 16

Organ Low+1V. 121 33 16

Organ HiMix1 V. 121 34 16

Organ HiMix2 V. 121 35 16

Organ 16+51/3 V. 121 36 16

Organ Low 2 V. 121 4 16

Old Wheels 121 3 17

Dark Organ 1 121 7 16

Musical Resources |1031

Sound CC00 CC32 PC

Dark Organ 2 121 5 16

Rotary Organ 121 8 17

M1 Organ 121 5 17

Dirty JazzOrgan 121 7 18

Arabian Organ 121 12 16

Theatre Organ 3 121 24 16

Theatre Organ 4 121 25 16

Tibia 121 26 16

Tibia 16+8+4 121 27 16

Tibia & Vox 121 28 16

Post Horn Trem. 121 29 16

Tibia & Kinura 121 31 16

Tibia Vox Glock 121 32 16

Pipe Tutti 1 121 6 19

Pipe Tutti 2 121 8 19

Pipe Tutti 3 121 9 19

Pipe Tutti 4 121 10 19

Church Pipes 121 4 19

Full Pipes 121 5 19

Flauto Pipes 121 3 20

Pipe Mixture 121 3 19

Pipe Flute 1 121 4 20

Pipe Flute 2 121 5 20

Small Pipe 121 2 20

Positive Organ 121 7 19

Organ Pedal 121 11 32

Legacy/Guitar

Nylon Bossa 121 4 24

Nylon Vel. Harm. 121 10 24

Spanish Guitar 121 6 24

Nylon Guitar 121 15 24

Brazilian Guitar 121 9 24

Real Steel Gtr 121 31 25

Steel Folk Gtr 121 9 25

Sound CC00 CC32 PC

Guitar & Strings 121 7 24

Finger Key Off 121 7 25

Club Jazz Gtr 2 121 3 26

Pop Steel Slide 121 23 25

Finger Tips 121 8 25

Country Nu 121 11 27

Reso Guitar 121 12 25

Tel. Midddle 121 26 27

Clean Mute Gtr 121 6 28

Clean Funk 121 8 28

Hackbrett 121 6 25

Tel. Bridge 121 27 27

Guitarish 121 8 27

Stra. Gtr Slide 121 17 27

Stra. Chime 121 5 28

L&R E.Guitar 2 121 10 27

Rhythm E.Guitar 121 7 28

Muted Guitar 121 19 28

E.Gtr Harmonics 121 2 31

Solo Dist.Guitar 121 7 30

Dist. Steel Gtr 121 12 30

Joystick Gtr Y- 121 3 30

Ac.Guitar KeyOff 121 5 24

Nylon Gtr Pro1 121 8 24

Nylon Gtr Pro2 121 11 24

Nylon Gtr RX1 121 12 24

Nylon Gtr RX2 121 13 24

Nylon Slide Pro 121 14 24

RealNylon Gtr ST 121 16 24

Real Nylon Gtr 121 17 24

Natural Nylon 121 19 24

Concert Gtr Pro 121 21 24

Steel Guitar 1 121 4 25

Steel Guitar 2 121 20 25

1032| Appendix

Sound CC00 CC32 PC

Steel 12 Strings 121 5 25

12 Strings Pro 121 17 25

Steel Slide Pro1 121 13 25

Steel Slide Pro2 121 14 25

Steel Guitar RX1 121 15 25

Steel Guitar RX2 121 16 25

12 Strings RX 121 18 25

Concert 12 Str 121 22 24

Pop Steel Gtr 1 121 21 25

Pop Steel Gtr 2 121 22 25

Pop SteelGtr RX1 121 24 25

Pop SteelGtr RX2 121 25 25

RealSteel Gtr ST 121 28 25

RealFolk GtrST 1 121 29 25

RealFolk GtrST 2 121 30 25

Real Folk Gtr 121 32 25

Steel Gtr RX 121 35 25

Classic12Str Pro 121 37 25

Classic12Str DNC 121 38 25

Classic12Strings 121 39 25

Steel Gtr DNC 121 44 25

Pedal Steel 121 4 26

JazzGtr SlidePro 121 6 26

Jazz Gtr 2 DNC 121 7 26

Club Jazz Gtr 1 121 2 26

Soft Jazz Guitar 121 5 26

Clean Jazz 2 121 22 27

Single Coil 121 6 27

New Stra.Guitar 121 7 27

L&R E.Guitar 1 121 9 27

Vox Wah Chick 121 3 120

Funky Wah RX 121 12 27

Clean Guitar 1 121 20 27

Clean Guitar 2 121 25 27

Sound CC00 CC32 PC

Clean Gtr Pro 1 121 13 27

Clean Gtr Pro 2 121 15 27

Clean Guitar RX1 121 14 28

Clean Guitar RX2 121 15 28

Clean Guitar RX3 121 16 28

Clean Guitar RX4 121 17 28

Clean Guitar RX5 121 18 28

Clean Guitar RX6 121 20 28

Stra. Vel. Pro 121 16 27

Vintage S. 1 121 19 27

Vintage S. 2 121 4 27

Solid Guitar 121 21 27

54 E. Guitar 121 24 27

Real El. Guitar1 121 30 27

Real El. Guitar2 121 31 27

Real El. Gtr ST1 121 28 27

Real El. Gtr ST2 121 29 27

Chorus Gtr DNC 121 34 27

Stra. Gtr 1 DNC 121 32 27

R&R Guitar 121 4 28

Processed E.Gtr 121 5 27

Clean Funk RX1 121 10 28

Clean Funk RX2 121 36 27

5th Mute Gtr 121 21 28

E.Gtr Amp DNC 121 37 27

Clean Funk RX3 121 11 28

Funk Stein RX1 121 12 28

Funk Stein RX2 121 13 28

Soft Overdrive 121 2 29

Lead Guitar DNC 121 4 29

Dist. Guitar RX1 121 9 30

Dist. Guitar RX2 121 10 30

Dist. Guitar 121 11 30

Dist. Gtr 3 DNC 121 13 30

Musical Resources |1033

Sound CC00 CC32 PC

Wet Dist. Guitar 121 6 30

Disto Mute 121 9 28

Mute Monster 121 5 30

Power Chords 2 121 4 30

Legacy/Strings & Vocal

Violin Expr. 1 121 8 40

Violin Expr. 2 121 2 40

Violin Expr. 3 121 4 40

Slow Violin 121 3 40

Violin Expr. DNC 121 5 40

Conc.Violin DNC 121 6 40

Real Violin DNC 121 7 40

Violin DNC 121 9 40

Violin & Viola 121 2 41

Cello 121 1 42

Class.Contrabs 121 1 43

Strings Ens. 1 121 21 48

Strings Ens. 2 121 3 49

Movie Str.1 DNC 121 7 49

Movie Str.2 DNC 121 8 49

ConcertStrings 2 121 23 48

Real Strings 1 121 9 49

Real Strings 2 121 10 49

Movie Strings 1 121 5 49

Movie Strings 2 121 6 49

i3 Strings 121 5 48

Full Strings 121 2 49

Spiccato Strings 121 4 49

ConcertStrings 1 121 11 49

StrappatoStrings 121 12 49

Symphonic Bows 121 10 48

Ensemble & Solo 121 11 48

Tremolo Strings 121 1 44

Pizz. Ensemble 121 1 45

Sound CC00 CC32 PC

Strings Ens. 3 121 22 48

Stereo Strings 121 3 48

Double Strings 121 3 45

Legato Strings 121 4 48

N Strings 121 6 48

Arco Strings 121 7 48

Octave Strings 121 8 48

Arabic Strings 121 13 48

Strings Quartet 121 9 48

Chamber Strings 121 12 48

OrchestraTutti 2 121 19 48

Strings Choir 121 13 52

Dream Voice 121 5 54

Classic Vox 121 4 54

Doolally 121 2 53

Ooh Voices 121 2 52

Take Voices 1 121 4 52

Wuuh Choir 121 8 52

Vocalesque 121 2 54

Grand Choir 121 11 52

Femal Scat 121 15 52

Male Scat 121 16 52

Cycle Scat 2 121 22 52

Scat V.& Bass 2 121 18 52

Scat Voices 121 19 52

Scat Voices DNC 121 20 52

SopranoVox2 DNC 121 5 53

SopranoChoirDNC 121 6 53

Orch. & Oboe 2 121 17 48

Master Pad 121 2 89

Take Voices 2 121 5 52

Aah Choir 121 7 52

Choir Light 121 12 52

Slow Choir 121 10 52

1034| Appendix

Sound CC00 CC32 PC

Cyber Choir 121 2 85

Ether Voices 121 1 85

Odissey 121 4 50

Sweeper Strings 121 1 49

Analog Strings 2 121 2 50

Synth Strings 2 121 1 51

Analog Velve 121 3 50

Legacy/trumpet & trbn.

Mono Trumpet 121 3 56

Warm Flugel 121 8 56

Pitch Trombone 121 5 57

Soft Trombone 121 4 57

Trombone 121 12 57

BeBop Cornet 121 9 56

Flugel Horn 121 7 56

Dynabone 121 3 58

Ob.Tuba&E.Bass 1 121 4 58

Ob.Tuba&E.Bass 2 121 5 58

Dual Trumpets 121 6 56

Trumpet Pro 1 121 10 56

Trumpet Pro 2 121 11 56

Trumpet Overb. 121 2 56

Flugel Horn Pro 121 13 56

Trumpet 121 14 56

Trumpet Expr.1 121 15 56

Trumpet Expr.2 121 4 56

TrumpetShake Y+ 121 18 56

Trumpet Pro 3 121 16 56

Trumpet Pitch 121 5 56

Alp Trumpet 121 17 56

Concert Trp. Pro 121 20 56

Cornet Expr. 121 21 56

Cornet Pro 1 121 22 56

Sound CC00 CC32 PC

Cornet Pro 2 121 23 56

Cornet Legato 121 31 56

JazzTrumpet1 DNC 121 24 56

JazzTrumpet4 DNC 121 30 56

JazzTrumpet5 DNC 121 35 56

JazzCornet 1 DNC 121 25 56

Trumpet Expr.DNC 121 26 56

JazzTrumpet2 DNC 121 27 56

JazzTrumpet3 DNC 121 28 56

JazzCornet 2 DNC 121 29 56

Hard Trombone 121 3 57

HardTrombone DNC 121 19 57

Trombone Expr. 1 121 6 57

Trombone Expr. 2 121 7 57

Trombone Vel. 1 121 8 57

Trombone Vel. 2 121 9 57

Trombone Vel. 3 121 10 57

Trombone Pro Vel 121 11 57

Trombone DNC 121 13 57

Jazz Trb. 2 DNC 121 14 57

Jazz Trb. 1 DNC 121 15 57

Soft Trb. DNC 121 16 57

Trb. Expr. DNC 121 17 57

Jazz Trb. 3 DNC 121 18 57

Legacy/Brass

Attack Brass 121 8 61

Big BandShake Y+ 121 33 61

Trumpet Ens1 Y+ 121 35 61

Trumpet Ens2 Y+ 121 36 61

Dyna Brass 1 121 14 61

Dyna Brass 2 121 22 61

Double Brass 121 24 61

Power Brass 121 21 61

Musical Resources |1035

Sound CC00 CC32 PC

Film Brass 121 17 61

Glenn & Boys 121 6 61

Brass Slow 121 18 61

Fanfare 121 19 61

Synth Brass 2 121 5 63

Brass Pad 121 3 63

Netherland Hit 121 8 55

Brass Impact 121 4 55

Classic Horns 121 3 60

Horns & Ensemble 121 4 60

Brass & Sax 121 16 61

Trpts & Brass 121 7 61

Soft Horns 2 121 7 60

Soft Horns 3 121 6 60

Trumpet Ens. 121 9 61

Trombones 121 11 61

Sax & Brass 121 5 61

Tight Brass 4 121 12 61

Fat Brass 121 13 61

Brass Hit 121 25 61

Brass Fall 121 26 61

Sforzato Brass 121 23 61

Tight Brass Pro 121 28 61

Brass Section 121 31 61

MorphAttackBrass 121 37 61

Legacy/Sax

Folk Sax 121 5 66

Breathy Baritone 121 2 67

Breathy Alto 1 121 1 65

Breathy Tenor 121 3 66

Breathy Alto 2 121 3 65

Alto Sax Growl 121 4 65

Soft Tenor 121 2 66

Sound CC00 CC32 PC

Tenor Growl 121 4 66

Sweet Soprano 3 121 1 64

Soprano Pro 121 2 64

Sweet Soprano 1 121 3 64

Sweet Soprano 2 121 4 64

Soprano Sax DNC 121 5 64

Sax Ensemble 121 2 65

Sweet Alto Sax 1 121 5 65

Sweet Alto Sax 2 121 6 65

Soft Alto Sax 121 7 65

Alto Sax Pro 121 8 65

Alto Sax Expr. 121 9 65

Alto Sax 121 10 65

Alto Sax 1 DNC 121 12 65

Jazz Sax 1 DNC 121 13 65

Jazz Sax 2 DNC 121 14 65

Real Sax Ens. 121 15 65

Jazz Sax 3 DNC 121 16 65

Alto Sax 2 DNC 121 17 65

SoftLatinSax DNC 121 18 65

Tenor Sax Noise1 121 1 66

Tenor Sax Noise2 121 6 66

Tenor Sax Expr.1 121 7 66

Tenor Sax Expr.2 121 8 66

Jazz Tenor Sax 1 121 9 66

Jazz Tenor Sax 2 121 10 66

Reed of Power 121 11 66

Tenor Sax 1 DNC 121 12 66

Tenor Sax 2 DNC 121 13 66

Tenor Sax 3 DNC 121 14 66

Tenor Sax 4 DNC 121 15 66

Baritone Growl 121 1 67

Baritone Sax Pro 121 3 67

1036| Appendix

Sound CC00 CC32 PC

Baritone Sax 121 4 67

Baritone Sax DNC 121 5 67

Sax Breath & Key 121 2 121

Legacy/Woodwind

Folk Clarinet 121 7 71

Flute 121 9 73

Wooden Flute 121 7 73

Bambu Flute 121 8 73

English Horn 121 1 69

Recorder 1 121 1 74

Recorder 2 121 2 74

Classic Oboe 121 2 68

Oboe 2 121 4 68

Jazz Clarinet 121 1 71

Section Winds 1 121 3 71

Section Winds 2 121 4 71

Clarinet Ens. 121 5 71

Woodwinds 121 6 71

Clarinet Pro 1 121 8 71

Clarinet Pro 2 121 9 71

Clarinet 1 DNC 121 13 71

RealClarinet DNC 121 14 71

JazzClarinet DNC 121 15 71

SoloClarinet DNC 121 16 71

Clarinet 2 DNC 121 19 71

Clarinet 3 DNC 121 20 71

Jazz Flute Expr. 121 1 73

Flute Switch 121 2 73

Flute Dyn. 5th 121 3 73

Flute Frullato 121 4 73

Orchestra Flute 121 5 73

Jazz Flute 121 10 73

Flute DNC 121 11 73

Orch. Flute DNC 121 12 73

Sound CC00 CC32 PC

Jazz Flute 1 DNC 121 13 73

Jazz Flute 2 DNC 121 14 73

Pan Flute 1 DNC 121 2 75

Pan Flute 2 DNC 121 3 75

Pan Flute Y- 121 4 75

Old Shakuhachi 121 1 77

Whistle Sine 121 1 78

Breathy Whistle 121 2 78

Whistle 1 121 3 78

Whistle 2 121 4 78

Whistle 2 DNC 121 5 78

Legacy/Synth Pad

Sky Watcher 121 2 90

Vintage Pad 121 11 89

You Decide 121 8 95

Korgmatose 121 13 90

Reoccuring Astra 121 6 95

Astral Dream 121 1 95

Reso Down 121 2 97

Crimson 5ths 121 1 86

Freedom Pad 121 7 89

Noble Pad 121 5 97

Mellow Pad 121 4 95

Lonely Spin 121 1 100

Synth Ghostly 121 2 100

Farluce 121 11 90

Bell Choir 121 7 98

Elastick Pad 121 7 97

Caribbean 121 2 96

VCF Modulation 121 3 101

Chiff Touch Pad 121 1 83

Virtual Traveler 121 1 88

Tinklin Pad 121 3 97

OB Pad 121 12 89

Musical Resources |1037

Sound CC00 CC32 PC

Dark Element 121 3 95

Money Pad 121 5 89

Analog Pad 2 121 9 89

Analog Pad 3 121 10 89

Dark Anna 121 13 89

Cross Sweep 121 6 90

Tsunami Wave 121 6 91

Ravelian Pad 121 8 91

Pop Synth Pad 2 121 12 91

Techno Stab DNC 121 3 93

Double Sweep 121 9 95

Motion Ocean 121 1 96

Wave Cycle 121 3 96

Pods In Pad 121 4 97

Moving Bell 121 5 98

Bengione 121 1 99

Dreaming Coil 121 3 99

Movie Stack 4 121 7 99

Rhythmical Synth 121 9 99

Wide Attack 121 10 99

Organ Stab DNC 121 4 101

Legacy/Synth Lead

Motion Raver 121 1 101

Synchro City 121 2 84

Wild Arp 121 6 55

Seq Lead 121 7 81

Old & Analog 121 8 80

Flip Blip 121 7 55

Reso Sweep 121 1 90

Synth Sweeper 121 3 90

Sync Kron 121 3 84

Tecno Phonic 121 10 90

Band Passed 121 3 102

Cat Lead 121 9 87

Sound CC00 CC32 PC

Pan Reso 121 4 102

Square Rez 121 11 80

Rezbo 121 11 81

Auto Pilot 1 121 14 38

Square Bass 121 7 87

Brian Sync 121 5 84

Arp Twins 121 6 84

LoFi Ethnic 121 7 84

Sine Wave 121 6 80

Analog Lead 121 7 80

Gliding Square 121 9 80

Sine Switch 121 10 80

2VCO Planet Lead 121 13 80

Glide Lead 121 9 81

Fire Wave 121 10 81

Electro Lead 121 2 87

Thin Analog Lead 121 4 87

Express. Lead 121 5 87

Arp Angeles 121 2 88

Power Synth 121 3 89

Digital PolySix 121 7 90

Mega Synth 121 9 90

Cycle Seq. 1 121 8 96

Cycle Seq. 2 121 9 96

Legacy/Ethnic

Mandolin Key Off 121 10 25

War Pipes 121 1 109

Sitar Sitar 121 7 104

Hit in India 121 5 55

Tambra 121 6 104

Indian Stars 121 3 104

Bali Gamelan 121 2 112

Ukulele Gtr 121 26 24

Mandolin Trem. 121 11 25

1038| Appendix

Sound CC00 CC32 PC

Mandolin Ens. 1 121 26 25

Mandolin Ens. 2 121 27 25

Legacy/Bass

Ac. Bass Buzz 121 1 32

Slap Bass 1 121 6 36

Slap Bass 2 121 6 37

Slap Bass 3 121 7 37

DynaSlapBass RX 121 3 37

Chorus Slap Bass 121 4 37

DarkWoody A.Bass 121 5 32

More Mid Bass 121 11 33

Woofer Pusher 2 121 6 35

Dark R&B Bass1 121 4 35

Dyna Bass 121 2 37

Ticktacing Bass 121 9 34

Stick Bass 121 5 33

Dark R&B Bass2 121 5 35

Auto Pilot 2 121 13 39

Dr. Octave 121 16 38

Monofilter Bass 121 11 39

Synth Bass 80ish 121 9 39

Reso Bass 121 12 39

Autofilter Bass 121 10 39

Nasty Bass 121 6 39

30303 Square 121 6 38

Bass Square 121 7 38

Phat Bass 121 7 39

Blind As A Bat 121 12 38

Acous. Bass RX 121 7 32

Acoustic Bass 2 121 8 32

Real Ac. Bass 2 121 12 32

Acous. Bass Pro2 121 4 32

Bass & Ride 2 121 6 32

Organ Bass 121 10 32

Sound CC00 CC32 PC

Finger E.Bass 3 121 2 33

Finger E.Bass 4 121 3 33

Finger E.Bass 5 121 6 33

Bright Finger B. 121 9 33

FingerE.Bass1 RX 121 10 33

Finger Slap 121 12 33

FingerE.Bass2 RX 121 13 33

Finger E.Bass 6 121 15 33

Vintage P.Round 121 17 33

5StringsBass RX 121 19 33

Dark E.Bass 1 121 20 33

Dark E.Bass 2 121 24 33

FingerE.Bass3 RX 121 21 33

Dark E.Bass DNC 121 22 33

Bass & Guitar 121 4 34

FingerB.&Guitar 121 14 33

Bass&Gtr Double 121 6 34

Bass Mute 121 5 34

Picked E. Bass 2 121 1 34

Picked E. Bass 3 121 11 34

Picked E. Bass 4 121 7 34

Picked E. Bass 5 121 8 34

Picked E.Bass RX 121 10 34

Fretless Bass 2 121 2 35

Fretless Bass 3 121 7 35

MM Fretless DNC 121 8 35

Super Bass 2 121 1 36

FunkSlapBass RX 121 3 36

SlapFingerBassRX 121 4 36

SlapPickedBassRX 121 5 36

The Other Slap 121 5 37

Digi Bass 2 121 10 38

Digi Bass 3 121 9 38

Hybrid Bass 121 15 38

Musical Resources |1039

Sound CC00 CC32 PC

Euro Bass 121 4 39

Synth Bass 2 121 15 39

GM/XG/Piano

AcousticPiano GM 121 0 0

Ac. Piano Wide 121 1 0

Ac. Piano Dark 121 2 0

Bright Piano GM 121 0 1

Bright PianoWide 121 1 1

E.Grand Piano GM 121 0 2

E. Grand Wide 121 1 2

Honky-Tonk GM 121 0 3

Honky Wide 121 1 3

E. Piano 1 GM 121 0 4

Detuned EP 1 121 1 4

EP 1 Veloc. Mix 121 2 4

60s E. Piano 121 3 4

E. Piano 2 GM 121 0 5

Detuned EP 2 121 1 5

EP 2 Veloc. Mix 121 2 5

EP Legend 121 3 5

EP Phase 121 4 5

Harpsichord GM 121 0 6

Harpsi OctaveMix 121 1 6

Harpsi Wide 121 2 6

Harpsi Key Off 121 3 6

Clav GM 121 0 7

Pulse Clav 121 1 7

AcousticPiano XG 0 0 0

AcousticPiano KP 0 1 0

Mellow Gr. Piano 0 18 0

Piano Strings 0 40 0

Piano Dream 0 41 0

Bright Piano XG 0 0 1

Bright Piano KP 0 1 1

Sound CC00 CC32 PC

E.Grand Piano XG 0 0 2

E.Grand Piano KP 0 1 2

E. Grand Detuned 0 32 2

Layered E.Grand1 0 40 2

Layered E.Grand2 0 41 2

Honky-Tonk XG 0 0 3

Honky-Tonk KP 0 1 3

E. Piano 1 XG 0 0 4

E. Piano 1 KP 0 1 4

Mellow EP1 0 18 4

Chorus EP 1 0 32 4

Hard El. Piano 0 40 4

Vel. X-Fade EP 1 0 45 4

60s El. Piano 1 0 64 4

E. Piano 2 XG 0 0 5

E. Piano 2 KP 0 1 5

Chorus EP 2 0 32 5

FM EP Hard 0 33 5

FM Legend EP 0 34 5

FM Phase EP 0 40 5

Dx & Analog 0 41 5

FM Koto EP 0 42 5

Vel. X-Fade EP 2 0 45 5

Harpsichord XG 0 0 6

Harpsichord KP 0 1 6

Harpsichord HP 0 25 6

Harpsi Octave 0 35 6

Clav XG 0 0 7

Clav KP 0 1 7

Clav. Wah Dyn. 0 27 7

Pulse Clav X 0 64 7

Pierce Clav 0 65 7

GM/XG/Chrom. Perc.

Celesta GM 121 0 8

1040| Appendix

Sound CC00 CC32 PC

Glockenspiel GM 121 0 9

Music Box GM 121 0 10

Vibraphone GM 121 0 11

Vibraphone Wide 121 1 11

Marimba GM 121 0 12

Marimba Wide 121 1 12

Xylophone GM 121 0 13

Tubular Bell GM 121 0 14

Church Bell 121 1 14

Carillon 121 2 14

Dulcimer GM 121 0 15

Celesta XG 0 0 8

Glockenspiel XG 0 0 9

Music Box XG 0 0 10

Orgel Bell 0 64 10

Vibraphone XG 0 0 11

Vibraphone KP 0 1 11

Hard Vibraphone 0 45 11

Marimba XG 0 0 12

Marimba KP 0 1 12

Sin Marimba 0 64 12

Balimba 0 97 12

Log Drum X 0 98 12

Xylophone XG 0 0 13

Tubular Bell XG 0 0 14

Church Bells 0 96 14

Carillonx 0 97 14

Dulcimer XG 0 0 15

Dulcimer Octave 0 35 15

Cimbalom 0 96 15

Santur 2 0 97 15

GM/XG/Organ

Drawbar Org GM 121 0 16

Det. Drawbar Org 121 1 16

Sound CC00 CC32 PC

It. 60s Organ 121 2 16

Drawbar Org. 2 121 3 16

Perc.Organ GM 121 0 17

Det. Perc. Organ 121 1 17

Percussive Org. 2 121 2 17

Rock Organ GM 121 0 18

Church Organ GM 121 0 19

Church Oct. Mix 121 1 19

Detuned Church 121 2 19

Reed Organ GM 121 0 20

Puff Organ 121 1 20

Accordion GM 121 0 21

Accordion 2 121 1 21

Harmonica GM 121 0 22

Tango Accord.GM 121 0 23

Drawbar Org XG 0 0 16

Detuned Drawbar 0 32 16

60s Draw.Org. 1 0 33 16

60s Organ X 0 34 16

70s DB Org. 1 0 35 16

Drawbar Org. 3 0 36 16

Drawbar 5th 0 37 16

Even Bar Org. 0 38 16

Organ 16+22/3 0 40 16

Organ Bass Dance 0 64 16

70s DB Org. 2 0 65 16

Cheezy Organ 0 66 16

Drawbar Org Perc 0 67 16

Perc.Organ XG 0 0 17

70s Perc. Organ 0 24 17

ChorusPerc.Organ 0 32 17

Lite Organ 0 33 17

Percussive Org X 0 37 17

Rock Organ XG 0 0 18

Musical Resources |1041

Sound CC00 CC32 PC

Rotary Organ V. 0 64 18

Slow Rotary 0 65 18

Fast Rotary 0 66 18

Church Organ XG 0 0 19

Church Organ 3 0 32 19

Church Organ 2 0 35 19

Notre Dame 0 40 19

Organ Flute 0 64 19

Trem. Org. Flute 0 65 19

Reed Organ XG 0 0 20

Puff Organx 0 40 20

Accordion XG 0 0 21

Accord. It. 0 32 21

Harmonica XG 0 0 22

Soft Harmonica 0 32 22

Tango Accord.XG 0 0 23

TangoAccordion 2 0 64 23

GM/XG/Guitar

Nylon Guitar GM 121 0 24

Ukulele 121 1 24

Nylon Key Off 121 2 24

Nylon Guitar 2 121 3 24

Steel Guitar GM 121 0 25

12 Strings Gtr 121 1 25

Mandolin 121 2 25

Steel Gtr & Body 121 3 25

Jazz Guitar GM 121 0 26

Pedal Steel Gtr 121 1 26

Clean Guitar GM 121 0 27

Det.Clean El.Gtr 121 1 27

Mid Tone Gtr 121 2 27

Muted Guitar GM 121 0 28

Funky Cut El.Gtr 121 1 28

Mute Vel. El.Gtr 121 2 28

Sound CC00 CC32 PC

Jazz Man 121 3 28

Overdrive Gtr GM 121 0 29

Guitar Pinch 121 1 29

DistortionGtr GM 121 0 30

Feedback DistGtr 121 1 30

Dist. Rhythm Gtr 121 2 30

Gtr Harmonic GM 121 0 31

Guitar Feedback 121 1 31

Nylon Guitar XG 0 0 24

Nylon Guitar 2X 0 16 24

Nylon Guitar 3X 0 25 24

Nylon & Harm. V. 0 43 24

Ukulele X 0 96 24

Steel Guitar XG 0 0 25

Steel Guitar X 0 16 25

12 Strings Gtr X 0 35 25

Nylon plus Steel 0 40 25

SteelGtrWithBody 0 41 25

Mandolin X 0 96 25

Jazz Guitar XG 0 0 26

Mellow Guitar 0 18 26

Jazz Man Amp 0 32 26

Clean Guitar XG 0 0 27

Chorus El.Gtr 0 32 27

Muted Guitar XG 0 0 28

Funk Cut Guitar 0 40 28

Muted Steel Gtr 0 41 28

Funk Guitar 2 0 43 28

Jazz Boy 0 45 28

Overdrive Gtr XG 0 0 29

Guitar Nip 0 43 29

DistortionGtr XG 0 0 30

Feedback DistGt1 0 40 30

Feedback DistGt2 0 41 30

1042| Appendix

Sound CC00 CC32 PC

Gtr Harmonic XG 0 0 31

Gtr Feedback 0 65 31

Gtr Harmonic 0 66 31

GM/XG/Bass

Acoustic Bass GM 121 0 32

Finger Bass GM 121 0 33

Finger Slap Bass 121 1 33

Picked E.Bass GM 121 0 34

Fretless Bass GM 121 0 35

Slap Bass 1 GM 121 0 36

Slap Bass 2 GM 121 0 37

Synth Bass 1 GM 121 0 38

Synth Bass Warm 121 1 38

Synth Bass Reso 121 2 38

Clavi Bass 121 3 38

Hammer 121 4 38

Synth Bass 2 GM 121 0 39

SynthBass Attack 121 1 39

SynthBass Rubber 121 2 39

Attack Pulse 121 3 39

Acoustic Bass XG 0 0 32

Jazz Rhythm 0 40 32

Ac. Bass V. 0 45 32

Finger Bass XG 0 0 33

Finger Dark 0 18 33

Flange Bass 0 27 33

FngBass&DstGuit. 0 40 33

FingerSlapBass V 0 43 33

Finger Bass X 0 45 33

Modulated Bass 0 65 33

Picked E.Bass XG 0 0 34

Muted Pick Bass 0 28 34

Fretless Bass XG 0 0 35

Fretless Bass B 0 32 35

Sound CC00 CC32 PC

Fretless Det. 0 33 35

Fretless Soft 0 34 35

Synth Fretless 0 96 35

Smooth Fretless 0 97 35

Slap Bass 1 XG 0 0 36

Resonant Slap 0 27 36

Punch Thumb Bass 0 32 36

Slap Bass 2 XG 0 0 37

Velo. Sw. Slap 0 43 37

Synth Bass 1 XG 0 0 38

Syn. Bass Dark 0 18 38

Fast Reso. Bass 0 20 38

Acid Bass 0 24 38

Clav. Bass 0 35 38

Techno Bass 0 40 38

Orbiter Bass 0 64 38

Xquare Bass 0 65 38

Rubber Bass 0 66 38

Hammer Bass 0 96 38

Synth Bass 2 XG 0 0 39

Mellow Syn Bass 0 6 39

Sequenced Bass 0 12 39

Click Synth Bass 0 18 39

Synth Bass Dark 0 19 39

Smooth Syn. Bass 0 32 39

Modular Syn Bass 0 40 39

DX Bass 0 41 39

X Wire Bass 0 64 39

GM/XG/Strings

Violin GM 121 0 40

Slow Att. Violin 121 1 40

Viola GM 121 0 41

Cello GM 121 0 42

Contrabass GM 121 0 43

Musical Resources |1043

Sound CC00 CC32 PC

Tremolo Str. GM 121 0 44

Pizzicato Str.GM 121 0 45

Harp GM 121 0 46

Yang Chin 121 1 46

Timpani GM 121 0 47

Violin XG 0 0 40

Slow Atk Violin 0 8 40

Viola XG 0 0 41

Cello XG 0 0 42

Contrabass XG 0 0 43

Tremolo Str. XG 0 0 44

Slw Tremolo Str. 0 8 44

Suspense Strings 0 40 44

Pizzicato Str.XG 0 0 45

Harp XG 0 0 46

Yang Chin X 0 40 46

Timpani XG 0 0 47

GM/XG/Ensemble

Strings Ens.1 GM 121 0 48

Strings & Brass 121 1 48

60s Strings 121 2 48

Strings Ens.2 GM 121 0 49

Synth Strings1GM 121 0 50

Synth Strings 3 121 1 50

Synth Strings2GM 121 0 51

Choir Aahs GM 121 0 52

Choir Aahs 2 121 1 52

Voice Oohs GM 121 0 53

Humming 121 1 53

Synth Voice GM 121 0 54

Analog Voice 121 1 54

Orchestra Hit GM 121 0 55

Bass Hit Plus 121 1 55

6th Hit 121 2 55

Sound CC00 CC32 PC

Euro Hit 121 3 55

Strings Ens.1 XG 0 0 48

Stereo Stringx 0 3 48

Slw Atk Strings 0 8 48

Arco Stringx 0 24 48

60s Strings X 0 35 48

Orchestra 0 40 48

Orchestra 2 0 41 48

TremoloOrchestra 0 42 48

Velocity Strings 0 45 48

Strings Ens.2 XG 0 0 49

StereoSlwStrings 0 3 49

SlwLegatoStrings 0 8 49

Warm Strings 0 40 49

Kingdom 0 41 49

70s Strings 0 64 49

Strings 3 0 65 49

Synth Strings1XG 0 0 50

Reso Strings 0 27 50

Synth Strings 4 0 64 50

Synth Strings 5 0 65 50

Synth Strings2XG 0 0 51

Choir Aahs XG 0 0 52

Stereo Choir 0 3 52

Choir Aahs 3 0 16 52

Mellow Choir 0 32 52

Choir Strings 0 40 52

Voice Oohs XG 0 0 53

Synth Voice XG 0 0 54

Synth Voix 0 40 54

Choral 0 41 54

Analog Voix 0 64 54

Orchestra Hit XG 0 0 55

Orchestra Hitx 0 35 55

1044| Appendix

Sound CC00 CC32 PC

Impact 0 64 55

GM/XG/Brass

Trumpet GM 121 0 56

Dark Trumpet 121 1 56

Trombone GM 121 0 57

Trombone 2 121 1 57

Bright Trombone 121 2 57

Tuba GM 121 0 58

Muted Trumpet GM 121 0 59

Muted Trumpet 2 121 1 59

French Horn GM 121 0 60

FrenchHorn Warm 121 1 60

Brass Section GM 121 0 61

Brass Section 2 121 1 61

Synth Brass 1 GM 121 0 62

Synth Brass 3 121 1 62

Analog Brass 1 121 2 62

Jump Brass 121 3 62

Synth Brass 2 GM 121 0 63

Synth Brass 4 121 1 63

Analog Brass 2 121 2 63

Trumpet XG 0 0 56

Trumpet 2 0 16 56

Brite Trumpet 0 17 56

Trombone XG 0 0 57

Warm Trombone 0 18 57

Tuba XG 0 0 58

Tuba 2 0 16 58

Muted Trumpet XG 0 0 59

French Horn XG 0 0 60

French Horn Solo 0 6 60

Warm French Horn 0 32 60

Horn Orchestra 0 37 60

Brass Section XG 0 0 61

Sound CC00 CC32 PC

Tpt&Tbn Section 0 35 61

Brass Section 3 0 40 61

Hit Brass 0 41 61

Mellow Brass 0 42 61

Synth Brass 1 XG 0 0 62

Quack Brass 0 12 62

Res. Synth Brass 0 20 62

Poly Brass 0 24 62

Synth Brass 4 X 0 27 62

Jump Brass X 0 32 62

AnaVel Brass 1 0 45 62

AnaLog Brass 1 0 64 62

Synth Brass 2 XG 0 0 63

Soft Brass 0 18 63

Synth Brass X 0 40 63

Choir Brass 0 41 63

AnaVel Brass 2 0 45 63

AnaLog Brass 2 0 64 63

GM/XG/reed

Soprano Sax GM 121 0 64

Alto Sax GM 121 0 65

Tenor Sax GM 121 0 66

Baritone Sax GM 121 0 67

Oboe GM 121 0 68

English Horn GM 121 0 69

Bassoon GM 121 0 70

Clarinet GM 121 0 71

Soprano Sax XG 0 0 64

Alto Sax XG 0 0 65

Sax Section 0 40 65

HyperAltoSax 0 43 65

Tenor Sax XG 0 0 66

BreathyTenorSax 0 40 66

Soft Tenor Sax 0 41 66

Musical Resources |1045

Sound CC00 CC32 PC

Tenor Sax 2 0 64 66

Baritone Sax XG 0 0 67

Oboe XG 0 0 68

English Horn XG 0 0 69

Bassoon XG 0 0 70

Clarinet XG 0 0 71

GM/XG/Pipe

Piccolo GM 121 0 72

Flute GM 121 0 73

Recorder GM 121 0 74

Pan Flute GM 121 0 75

Blown Bottle GM 121 0 76

Shakuhachi GM 121 0 77

Whistle GM 121 0 78

Ocarina GM 121 0 79

Piccolo XG 0 0 72

Flute XG 0 0 73

Recorder XG 0 0 74

Pan Flute XG 0 0 75

Blown Bottle XG 0 0 76

Shakuhachi XG 0 0 77

Whistle XG 0 0 78

Ocarina XG 0 0 79

GM/XG/Syn Lead Syn Pad

Lead Square GM 121 0 80

Lead Square 2 121 1 80

Lead Sine 121 2 80

Lead Saw GM 121 0 81

Lead Saw 2 121 1 81

Lead Saw & Pulse 121 2 81

Lead Double Saw 121 3 81

Lead Seq. Analog 121 4 81

Calliope GM 121 0 82

Chiff GM 121 0 83

Sound CC00 CC32 PC

Charang GM 121 0 84

Wire Lead 121 1 84

Voice Lead GM 121 0 85

Fifths Lead GM 121 0 86

Bass & Lead GM 121 0 87

Lead Soft Wrl 121 1 87

New Age Pad GM 121 0 88

Warm Pad GM 121 0 89

Sine Pad 121 1 89

Polysynth GM 121 0 90

Choir Pad GM 121 0 91

Itopia Pad 121 1 91

Bowed Glass GM 121 0 92

Metallic Pad GM 121 0 93

Halo Pad GM 121 0 94

Sweep Pad GM 121 0 95

Lead Square XG 0 0 80

Square Lead 0 6 80

LM Square 0 8 80

Hollow 0 18 80

Shroud 0 19 80

Mellow 0 64 80

Solo Sine 0 65 80

Sine Lead 0 66 80

Lead Saw XG 0 0 81

Sawtooth Lead 0 6 81

Thick Sawtooth 0 8 81

Dynamic Sawtooth 0 18 81

Digital Saw 0 19 81

Big Lead 0 20 81

Heavy Synth 0 24 81

Wasp Synth 0 25 81

Pulse Saw 0 40 81

Dr. Lead 0 41 81

1046| Appendix

Sound CC00 CC32 PC

Velocity Lead 0 45 81

Sequenced Analog 0 96 81

Calliope XG 0 0 82

Pure Lead 0 65 82

Chiff XG 0 0 83

Rubby 0 64 83

Charang XG 0 0 84

Distorted Lead 0 64 84

Wire Lead 0 65 84

Voice Lead XG 0 0 85

Synth Aahs 0 24 85

Vox Lead 0 64 85

Fifths Lead XG 0 0 86

Big Five 0 35 86

Bass & Lead XG 0 0 87

Big & Low 0 16 87

Fat & Perky 0 64 87

Soft Whirl 0 65 87

New Age Pad XG 0 0 88

Fantasy 0 64 88

Warm Pad XG 0 0 89

Thick Pad 0 16 89

Soft Pad 0 17 89

Sine Pad X 0 18 89

Horn Pad 0 64 89

Rotary Strings 0 65 89

Polysynth XG 0 0 90

Poly Pad 800 0 64 90

Click Pad 0 65 90

Analog Pad 0 66 90

Square Pad X 0 67 90

Choir Pad XG 0 0 91

Heaven Mod 0 64 91

Itopia 0 66 91

Sound CC00 CC32 PC

C.C. Pad 0 67 91

Bowed Glass XG 0 0 92

Glacier 0 64 92

Metallic Pad XG 0 0 93

Tine Pad 0 64 93

Pan Pad 0 65 93

Halo Pad XG 0 0 94

Sweep Pad XG 0 0 95

Shwimmer 0 20 95

Converge 0 27 95

Polar Pad 0 64 95

Celestial 0 66 95

GM/XG/Synth SFX

Ice Rain GM 121 0 96

Soundtrack GM 121 0 97

Crystal GM 121 0 98

Synth Mallet 121 1 98

Atmosphere GM 121 0 99

Brightness GM 121 0 100

Goblins GM 121 0 101

Echo Drops GM 121 0 102

Echo Bell 121 1 102

Echo Pan 121 2 102

Star Theme GM 121 0 103

Ice Rain XG 0 0 96

Clav. Pad 0 45 96

Harmo. Rain 0 64 96

African Wind 0 65 96

Carib 0 66 96

Soundtrack XG 0 0 97

Prologue 0 27 97

Ancestral Clouds 0 64 97

Crystal XG 0 0 98

Synth Drum Comp. 0 12 98

Musical Resources |1047

Sound CC00 CC32 PC

Popcorn 0 14 98

Tiny Bells 0 18 98

Round Glocken. 0 35 98

Glocken. Chimes 0 40 98

Clear Bells 0 41 98

Chorus Bells 0 42 98

Synth Mallet X 0 64 98

Soft Crystal 0 65 98

LoudGlockenspiel 0 66 98

Xmas Bell 0 67 98

Vibe Bells 0 68 98

Digital Bells 0 69 98

Air Bells 0 70 98

Bell Harp 0 71 98

Gamelimba 0 72 98

Atmosphere XG 0 0 99

Warm Atmosph. 0 18 99

Hollow Release 0 19 99

Nylon El. Piano 0 40 99

Nylon Harp 0 64 99

Harp Vox 0 65 99

Atmosphere Pad 0 66 99

Planet 0 67 99

Brightness XG 0 0 100

Fantasy Bells 0 64 100

Smokey 0 96 100

Goblins XG 0 0 101

Goblin Synth 0 64 101

Creeper 0 65 101

Ring Pad 0 66 101

Ritual 0 67 101

To Heaven 0 68 101

Night 0 70 101

Glisten 0 71 101

Sound CC00 CC32 PC

Bell Choir X 0 96 101

Echo Drops XG 0 0 102

Echoes 0 8 102

Echo Pan X 0 14 102

Echo Bell X 0 64 102

Big Pan 0 65 102

Synth Piano 0 66 102

Creation 0 67 102

Star Dust 0 68 102

Pan Reso X 0 69 102

Star Theme XG 0 0 103

Starz 0 64 103

GM/XG/Ethnic

Sitar GM 121 0 104

Sitar 2 121 1 104

Banjo GM 121 0 105

Shamisen GM 121 0 106

Koto GM 121 0 107

Taisho Koto 121 1 107

Kalimba GM 121 0 108

Bag Pipes GM 121 0 109

Fiddle GM 121 0 110

Shanai GM 121 0 111

Sitar XG 0 0 104

Detuned Sitar 0 32 104

Octave Sitar 0 35 104

Tamboura 0 97 104

Banjo XG 0 0 105

Muted Banjo 0 28 105

Rabab 0 96 105

Gopichant 0 97 105

Oud 3 0 98 105

Shamisen XG 0 0 106

Koto XG 0 0 107

1048| Appendix

Sound CC00 CC32 PC

Taisho-Kin 0 96 107

Kanoun X 0 97 107

Kalimba XG 0 0 108

Bag Pipes XG 0 0 109

Fiddle XG 0 0 110

Shanai XG 0 0 111

GM/XG/Percussive

Tinkle Bell GM 121 0 112

Agogo GM 121 0 113

Steel Drums GM 121 0 114

Woodblock GM 121 0 115

Castanets 121 1 115

Taiko Drum GM 121 0 116

Concert BassDrum 121 1 116

Melodic Tom GM 121 0 117

Melodic Tom 2 121 1 117

Synth Drum GM 121 0 118

Rhythm Box Tom 121 1 118

Electric Drum 121 2 118

ReverseCymbalGM 121 0 119

Tinkle Bell XG 0 0 112

Bonang 0 96 112

Altair 0 97 112

Gamelal Gongs 0 98 112

St.GamelanGongs 0 99 112

Rama Cymbal 0 100 112

Asian Bells 0 101 112

Agogo XG 0 0 113

Steel Drums XG 0 0 114

Glass Percussion 0 97 114

Thai Bells 0 98 114

Woodblock XG 0 0 115

Castanex 0 96 115

Taiko Drum XG 0 0 116

Sound CC00 CC32 PC

Gran Cassa 0 96 116

Melodic Tom XG 0 0 117

Melodic Tom 3 0 64 117

Real Tom 0 65 117

Rock Tom 0 66 117

Synth Drum XG 0 0 118

Analog Tom 0 64 118

Electric Perc. 0 65 118

ReverseCymbalXG 0 0 119

GM/XG/SFX

Gtr FretNoise GM 121 0 120

Guitar Cut Noise 121 1 120

Ac. Bass String 121 2 120

Breath Noise GM 121 0 121

Flute Key Click 121 1 121

Seashore GM 121 0 122

Rain 121 1 122

Thunder 121 2 122

Wind 121 3 122

Stream 121 4 122

Bubble 121 5 122

Bird Tweet GM 121 0 123

Dog 121 1 123

Horse Gallop 121 2 123

Bird Tweet 2 121 3 123

Telephone GM 121 0 124

Telephone 2 121 1 124

Door Creaking 121 2 124

Door 121 3 124

Scratch 121 4 124

Wind Chime 121 5 124

Helicopter GM 121 0 125

Car Engine 121 1 125

Car Stop 121 2 125

Musical Resources |1049

Sound CC00 CC32 PC

Car Pass 121 3 125

Car Crash 121 4 125

Siren 121 5 125

Train 121 6 125

Jetplane 121 7 125

Starship 121 8 125

Burst Noise 121 9 125

Applause GM 121 0 126

Laughing 121 1 126

Screaming 121 2 126

Punch 121 3 126

Heart Beat 121 4 126

Footsteps 121 5 126

Sound CC00 CC32 PC

Gun Shot GM 121 0 127

Machine Gun 121 1 127

Laser Gun 121 2 127

Explosion 121 3 127

Gtr FretNoise XG 0 0 120

Breath Noise XG 0 0 121

Seashore XG 0 0 122

Bird Tweet XG 0 0 123

Telephone XG 0 0 124

Helicopter XG 0 0 125

Applause XG 0 0 126

Gun Shot XG 0 0 127

1050| Appendix

DNC Sounds and controls

The following table lists the DNC Sounds and their DNC controls. DNC, DN1 and DN2 Sounds use different sets of controls.

Sound Name CC PC Legato SC1 SC2 Y+ Y after touch

00 32 In Out Note On Note Off Note On Note Off

Factory/Piano

ClassicClav1 DNC 121 7 7 Pickup position 1 (toggle)

Pickup position 2 (toggle)ClassicClav2 DNC 121 8 7

Factory/accordion

Harmonica 1 DN1 121 11 22 Legato Atk Riff Up Riff Down Riff Down Fall Down Soft Atk Bend

Harmonica 1 DN2 121 12 22 Legato Atk > 9st: Riff Up/Down

Riff Up Riff Down Riff Down Fall Down Soft Atk Bend

Harmonica 2 DN1 121 13 22 Legato Atk Riff Up Riff Down Riff Down Fall Down Soft Atk Bend

Harmonica 3 DN1 121 14 22 Legato Atk Riff Up Riff Down Riff Down Fall Down Soft Atk Bend

Bandoneon DNC 121 11 23 Short Note Stop Note Tremolo Expr. Expr.

Factory/Guitar

Concert Gtr DNC 121 20 24 Legato Atk Slide Up Harm Body NZ Vibrato

Nylon Guitar DNC 121 18 24 Legato Atk Slide Up Harm Body NZ Vibrato

7Str.Guitar DNC 121 28 24 Legato Atk Slide Up Harm Mute Vibrato

NaturalSteel DNC 121 47 25 Slide Up Harm Mute Vibrato

Acous.Steel1 DNC 121 48 25 Slide Up Harm Mute Vibrato

Acous.Steel2 DNC 121 49 25 Slide Up Harm Mute Vibrato

CA Steel Gtr DNC 121 51 25 Slide Up Harm Mute Vibrato

Real Dobro DNC 121 50 25 Slide Up Harm Mute Vibrato

ClassicSteel DNC 121 36 25 Legato Atk Slide Up Harm Body NZ Vibrato

RealFolk Gtr DNC 121 34 25 Legato Atk Slide Up Harm Body NZ Vibrato

SteelGtrPro DNC 121 19 25 Legato Atk Slide Up Harm Body NZ Vibrato

Strum 12Str.DNC 121 33 25 Legato Atk Slide Up Harm Body NZ Vibrato

Strat N DI DNC 121 39 27 Slide Up Harm Vibrato

Strat N Cln DNC 121 38 27 Slide Up Mute Vibrato

Strat B DI DNC 121 45 27 Slide Up Harm Vibrato

Strat B Ovd DNC 121 5 29 Slide Up Harm Feedback Vibrato

Tele M DI DNC 121 41 27 Slide Up Harm Vibrato

Tele M Cln DNC 121 40 27 Slide Up Harm Vibrato

LesP M DI DNC 121 43 27 Slide Up Harm Vibrato

LesP M Cln DNC 121 42 27 Slide Up Harm Vibrato

33X B DI DNC 121 44 27 Slide Up Harm Vibrato

Musical Resources |1051

Sound Name CC PC Legato SC1 SC2 Y+ Y after touch

00 32 In Out Note On Note Off Note On Note Off

33X B Dst DNC 121 17 30 Slide Up Harm Feedback Vibrato

Dist. Gtr 1 DNC 121 16 30 Slide Up Harm Feedback Vibrato

Dist. Gtr 2 DNC 121 14 30 Legato Atk Slide Up Harm Feedback Vibrato

Crunch Gtr DNC 121 3 29 Legato Atk Slide Up Harm Feedback Vibrato

Jazz Gtr 1 DNC 121 8 26 Legato Atk Slide Up Harm Octave (toggle)

Vibrato

ViolaCaipira DNC 121 45 25 Legato Atk Slide Up Harm Body NZ Vibrato

Stra.GtrUpDwDNC 121 33 27 Slide Up Harm

E.Gtr Ch/Dly DNC 121 35 27 Legato Atk Slide Up Harm

Factory/Strings & Vocal

ClassicViolinDN1 121 14 40 Dtach Pizzicato Tremolo Balzato More Vib.

ClassicViolinDN2 121 13 40 > 9st: Riff Up/Down

Riff Up Fall Down Gliss Down Gliss Up Tremolo Mordente More Vib.

Conc. Violin DN1 121 12 40 Open String

Pizzicato Mordente More Vib.

Real Strings DNC 121 13 49 Spiccato Pizzicato Tremolo Marcato

Ballad Strs. DNC 121 17 49 Spiccato Pizzicato Tremolo Marcato

Violin DN2 121 10 40 > 9st: Riff Up/Down

Gliss Up Fall Down Gliss Down Gliss Up Mordente More Vib.

Violin Expr. DN2 121 11 40 > 9st: Riff Up/Down

Gliss Up Fall Down Gliss Down Gliss Up Mordente More Vib.

Real Viola DN1 121 3 41 Dtach Pizzicato Tremolo Balzato More Vib.

SopranoVox1 DNC 121 4 53 < 6st: Smooth

> 6st: Gliss Up/

Down

> G4: 4th Up

< F5: 5th Down

Factory/trumpet & trbn

Real Flugel DN2 121 37 56 Legato Atk > 3st: Riff Up/Down

Riff Up Fall Down Riff Down Doit Staccato More Vib.

Real Muted DN2 121 10 59 Legato Atk > 3st: Riff Up/Down

Riff Up Fall Down Riff Down Doit Staccato More Vib.

Jazz Trumpet DN1 121 33 56 Legato Atk Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Jazz Trumpet DN2 121 34 56 Legato Atk > 9st: Riff Up/Down

Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Cup Muted DN2 121 9 59 Legato Atk > 3st: Riff Up/Down

Long Fall Down

Fall Down Long Doit Doit Wha More Vib.

Jazz Cornet DN1 121 32 56 Legato Atk Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Jazz Cornet DN2 121 36 56 Legato Atk > 9st: Riff Up/Down

Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Jazz Trb. DN1 121 20 57 Legato Atk Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Jazz Trb. DN2 121 21 57 Legato Atk > 9st: Gliss Up/

Down

Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Soft Trb. DN1 121 22 57 Legato Atk Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

1052| Appendix

Sound Name CC PC Legato SC1 SC2 Y+ Y after touch

00 32 In Out Note On Note Off Note On Note Off

Soft Trb. DN2 121 23 57 Legato Atk > 9st: Gliss Up/

Down

Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

HardTrombone DN1

121 24 57 Legato Atk Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

HardTrombone DN2

121 25 57 Legato Atk > 9st: Gliss Up/

Down

Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Muted Trp.1 DN1 121 6 59 Legato Atk Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Muted Trp.2 DN1 121 7 59 Legato Atk Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Muted Cornet DN1 121 8 59 Legato Atk Gliss Up Fall Down Riff Down Doit Alt Timbre More Vib.

Factory/Brass

Swing Horns DNC 121 40 61 Fall Down Doit Shake Swell

Horns Sweel1 DNC 121 38 61 Fall Down Doit Shake SFX

Horns Sweel2 DNC 121 39 61 Fall Down Doit Shake SFX

Trombones DNC 121 10 61 Fall Down Doit Shake Swell

Trumpets DNC 121 42 61 Fall Down Doit Shake Swell

Horns Swell3 DNC 121 45 61 Fall Down Doit Shake LP Filter

Factory/Sax

Tenor Sax DN1 121 16 66 Legato Atk Up/Down

Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Tenor Sax 1 DN2 121 17 66 Legato Atk > 9st: Riff Up/Down

Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Tenor Sax 2 DN1 121 19 66 Legato Atk Up/Down

Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Tenor Sax 2 DN2 121 20 66 Legato Atk > 9st: Riff Up/Down

Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Jazz Sax DN1 121 20 65 Legato Atk Up/Down

Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Jazz Sax DN2 121 21 65 Legato Atk > 9st: Riff Up/Down

Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Soft Tenor DN1 121 21 66 Legato Atk Up/Down

Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Soft Tenor DN2 121 22 66 Legato Atk > 9st: Riff Up/Down

Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

PopAltoSax DN1 121 22 65 Legato Atk Up/Down

Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Alto Sax DN1 121 23 65 Legato Atk Up/Down

Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

SoftAltoSax DN1 121 24 65 Legato Atk Up/Down

Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Soprano Sax DN1 121 6 64 Legato Atk Up/Down

Riff Up Fall Down Riff Down Gliss Down Alt Timbre More Vib.

Baritone Sax DN1 121 6 67 Legato Atk Up/Down

Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Musical Resources |1053

Sound Name CC PC Legato SC1 SC2 Y+ Y after touch

00 32 In Out Note On Note Off Note On Note Off

Tenor Growl DN1 121 18 66 Legato Atk Up/Down

Riff Up Fall Down Riff Down Gliss Down Growl More Vib.

Factory/Woodwind

ConcertFlute DN1 121 15 73 Legato Atk Up/Down

Riff Up Fall Down Gliss Up Gliss Down Frull More Vib.

ConcertFlute DN2 121 16 73 Legato Atk > 9st: Riff Up/Down

Riff Up Fall Down Gliss Up Gliss Down Frull More Vib.

Latin Flute DN1 121 17 73 Legato Atk Up/Down

Riff Up Fall Down Gliss Up Gliss Down Frull More Vib.

Latin Flute DN2 121 18 73 Legato Atk > 9st: Riff Up/Down

Riff Up Fall Down Gliss Up Gliss Down Frull More Vib.

RealClarinet DN1 121 21 71 Legato Atk Up/Down

Riff Up Fall Down Riff Down Gliss Down Alt Timbre More Vib.

JazzClarinet DN1 121 22 71 Legato Atk Up/Down

Riff Up Fall Down Riff Down Gliss Down Alt Timbre More Vib.

Bassoon DNC 121 02 70 Staccato Alt Timbre More Vib.

Pan Flute DN1 121 05 75 Riff Up Fall Down Gliss Up Gliss Down Alt Attack More Vib.

Whistle DN1 121 06 78 Riff Up Fall Down Riff Down Gliss Down Alt Timbre More Vib.

Factory/Synth Pad

S&H Pad DNC 121 10 96 White Noise

RND filter Reson. Detune HP Filter

Factory/Synth Lead

Next Dance DNC 121 13 87 White Noise

Alt Timbre LP Filter Reson.

Noised Lead DNC 121 20 87 White Noise

Alt Timbre Alt Attack Filter

Deep Modul. DNC 121 10 84 HP Filter Alt Attack LFO Speed Increase

LFO Speed Decrease

Lab Synth DNC 121 8 84 HP Filter Detune LP Filter Reson.

Thin PulSeq DNC 121 21 81 White Noise

Alt Timbre HP Filter

Factory/Ethnic

Mandolin DNC 121 40 25 Legato Atk No Rel.

Berimbau DNC 121 02 106 Caxixi Crash Belly

Berimbau Rel.DNC 121 01 106 Caxixi Bend Belly

Banjo Thumb DNC 121 06 105 Mordente Harm Mute

Banjo Fin/Th.DNC 121 07 105 Thumb Harm Mute

Factory/Bass

JB Finger BsDN1 121 29 33 Mute Harm Ghost Vibrato

JB Finger BsDN2 121 30 33 Pick Slap Mute Vibrato

JB Pick Bs DN1 121 18 34 Mute Harm Ghost Vibrato

JB Pick Bs DN2 121 19 34 Finger Slap Mute Vibrato

1054| Appendix

Sound Name CC PC Legato SC1 SC2 Y+ Y after touch

00 32 In Out Note On Note Off Note On Note Off

PBs Fing.Pop DN1 121 33 33 Mute Harm Ghost Vibrato

PBs Fing.Pop DN2 121 34 33 Pick Slap Mute Vibrato

SR Finger BsDN1 121 27 33 Mute Harm Ghost Vibrato

SR Finger BsDN2 121 28 33 Pick Slap Mute Vibrato

SR Pick Bs DN1 121 16 34 Mute Harm Ghost Vibrato

SR Pick Bs DN2 121 17 34 Finger Slap Mute Vibrato

PBsFing.Vint.DN1 121 25 33 Mute Harm Ghost Vibrato

PBsFing.Vint.DN2 121 26 33 Pick Slap Mute Vibrato

FS Pick Bs DN1 121 14 34 Mute Harm Ghost Vibrato

FS Pick Bs DN2 121 15 34 Finger Slap Mute Vibrato

Fretless Bs DN1 121 11 35 Mute Harm Ghost Vibrato

FretlessVib.DN1 121 10 35 Mute Harm Ghost Vibrato

Finger Bass DN1 121 16 33 Mute Harm Ghost Vibrato

Dark Bs&Slp DN1 121 7 36 Mute Harm Ghost Vibrato

The following table explains the meaning of the DNC controls.

DNC Control Meaning

Legato (In) Playing legato inside the Legato range (as defined in the Sound > Basic > Sound page, and shown in the previous table)

Legato (Out) Playing legato out of the Legato range

SC1 Note On Sound Controllers 1 & 2 (SC1, SC2) are MIDI controllers that can be as- signed to a physical control (assignable switch, footswitch, EC5 switch). They can be activated either by a Note On or a Note Off message.

For example, imagine you are playing an Accordion DN1-type Sounds, and SC1 is assigned to an assignable switch. The SC1 controller is programmed as a booking-type control in Sound Edit (Sound > Basic > Sound page), therefore it will affect the next Note On or Note Off event. If you press the switch before playing a note (Note On), a Riff Up will be triggered when playing a note. If you press the switch while the note is playing, a Fall Down will be triggered when releasing the note (Note Off).

SC1 Note Off

SC2 Note On

SC2 Note Off

Y+ Downward movement of the Joystick

Y Downward movement of the Joystick

After Touch Deeper press on the key

Musical Resources |1055

Depending on the chosen Sounds and the assigned DNC functions, the SC1, SC2 and Y controllers can either book a function, that will be triggered while play- ing, or enable (or disable) it by pressing the button to toggle it. When an SC1 or SC2 controller is assigned to an assignable switch, the indicator will show the DNC controllers status.

Indicator status Meaning

Off No DNC function assigned.

Red steady Booking DNC function available.

Red blinking Booking DNC function waiting to be executed. Then, it will return steady.

Green steady Toggle DNC function available.

Green blinking Toggle activated. Press it again to disable it.

1056| Appendix

Drum Kits

The following table lists all Factory Drum Kits as they appear in the Sound Select window. The table also includes MIDI data used to remotely select the Sounds. CC00: Control Change 0, or Bank Select MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change.

Drum Kit CC00 CC32 PC

Factory/Drum & SFX

Pop Kit 1 Amb 120 0 52

Funk Kit 1 Amb 120 0 53

VintageKit 1 Amb 120 0 54

Rock Kit 1 Amb 120 0 55

Jazz Kit 1 Amb 120 0 62

Standard Kit Amb 120 0 93

Room Kit Amb 120 0 80

Power Kit 1 Amb 120 0 20

Power Kit 2 Amb 120 0 21

Rock Kit 2 Amb 120 0 22

VintageKit 2 Amb 120 0 94

Gate Kit Amb 120 0 23

Pop Kit 2 Amb 120 0 70

Pop Kit 3 Amb 120 0 71

Jazz Kit 2 Amb 120 0 83

Brush Kit 1 Amb 120 0 84

Jazz Kit 3 Amb 120 0 36

Jazz Kit 4 Amb 120 0 37

Brush Kit 2 Amb 120 0 45

Brush Kit 3 Amb 120 0 46

Cool Kit Amb 120 0 39

Lounge Kit Amb 120 0 38

Real Kit 1 Amb 120 0 81

Real Kit 2 Amb 120 0 82

Pop Kit 4 Amb 120 0 88

Studio Kit 120 0 95

Trance Kit 120 0 63

Dance Kit Remix 120 0 29

Drum Kit CC00 CC32 PC

Drum & FX Kit 1 120 0 78

Drum & FX Kit 2 120 0 79

Slice FX Kit 120 0 98

Groove Kit 120 0 77

Synth Kit 1 120 0 59

Synth Kit 2 120 0 58

Synth Kit 3 120 0 61

Dance Kit 120 0 74

Standard Kit 1 120 0 5

Standard Kit 2 120 0 1

Standard Kit 3 120 0 2

Standard Kit 4 120 0 6

Electro Kit 1 120 0 75

Electro Kit 2 120 0 76

Electro Kit 3 120 0 122

Ambient Kit 120 0 3

Brush Kit 1 120 0 42

Brush Kit 2 120 0 43

Brush Kit 3 120 0 44

Analog Kit 120 0 123

Jazz Kit 1 120 0 33

Jazz Kit 2 120 0 34

Jazz Kit 3 120 0 35

Jungle Kit 120 0 10

HipHop Kit 1 120 0 9

HipHop Kit 2 120 0 72

House Kit 1 120 0 30

House Kit 2 120 0 31

Pop Std. Kit 1 120 0 89

Musical Resources |1057

Drum Kit CC00 CC32 PC

Pop Std. Kit 2 120 0 90

Pop Std. Kit 3 120 0 4

Standard PercKit 120 0 69

Power Kit 1 120 0 18

Power Kit 2 120 0 19

Arabian Kit 1 120 0 51

Arabian Kit 2 120 0 117

Oriental PercKit 120 0 119

Braz. Perc. Kit 120 0 115

Turkish Kit 120 0 118

Percussion Kit 120 0 64

Latin Perc.Kit 1 120 0 65

Latin Perc.Kit 2 120 0 68

Trinity Perc.Kit 120 0 66

i30 Perc. Kit 120 0 67

Timpani 121 1 47

Incipit Noises 121 3 119

SFX Kit 1 120 0 60

SFX Kit 2 120 0 57

Slices A FX 121 4 118

Slices B FX 121 5 118

Reverse Tom 121 2 117

Reverse Cymbal 121 2 119

Stadium 121 6 126

Legacy/Drum & SFX

Standard Kit 5 120 0 7

Bdrum&Sdrum Kit 120 0 50

Room Kit 1 120 0 120

Room Kit 2 120 0 12

Power Kit 3 120 0 121

Power Kit 4 120 0 17

HipHop Kit 3 120 0 13

Elektro Kit 1 120 0 96

Elektro Kit 2 120 0 97

Techno Kit 1 120 0 11

Drum Kit CC00 CC32 PC

Techno Kit 2 120 0 73

Techno Kit 3 120 0 15

Techno Kit 4 120 0 14

House Kit 3 120 0 26

House Kit 4 120 0 27

House Kit 5 120 0 28

Brush Kit 4 120 0 125

Brush Kit 5 120 0 41

Orchestra Kit 120 0 49

Log Drum 121 4 12

Reverse Snare 121 3 118

Dragon Gong 121 1 119

Castanets Plus 121 2 115

Woodblock 121 3 115

Footstep Walk 121 7 126

GM/XG/Drum

Standard Kit GM 120 0 0

Room Kit GM 120 0 8

Power Kit GM 120 0 16

Electro Kit GM 120 0 24

Analog Kit GM 120 0 25

Jazz Kit GM 120 0 32

Brush Kit GM 120 0 40

Orchestra Kit GM 120 0 48

SFX Kit GM 120 0 56

Standard Kit1 XG 127 0 0

Standard Kit2 XG 127 0 1

Room Kit XG 127 0 8

Rock Kit XG 127 0 16

Electro Kit XG 127 0 24

Analog Kit XG 127 0 25

Jazz Kit 1 XG 127 0 32

Jazz Kit 2 XG 127 0 33

Brush Kit XG 127 0 40

Classic Kit XG 127 0 48

1058| Appendix

Multisamples

The following table contains all the Factory Multisamples.

# Multisample

0 Grand Piano 1 OT L

1 Grand Piano 1 OT R

2 Grand Piano 2 OT L

3 Grand Piano 2 OT R

4 Grand Piano 3 OT L

5 Grand Piano 3 OT R

6 Grand Piano 4 OT L

7 Grand Piano 4 OT R

8 Grand Piano 5 OT L

9 Grand Piano 5 OT R

10 Grand Piano 6 OT L

11 Grand Piano 6 OT R

12 Grand Piano Res 1 OT L

13 Grand Piano Res 1 OT R

14 Grand Piano Res 2 OT L

15 Grand Piano Res 2 OT R

16 Grand Piano Res 3 OT L

17 Grand Piano Res 3 OT R

18 Grand Piano Res 4 OT L

19 Grand Piano Res 4 OT R

20 Grand Piano Res 5 OT L

21 Grand Piano Res 5 OT R

22 Grand Piano Res 6 OT L

23 Grand Piano Res 6 OT R

24 Grand Piano 1 L

25 Grand Piano 1 R

26 Grand Piano 2 L

27 Grand Piano 2 R

28 Grand Piano 3 L

29 Grand Piano 3 R

30 Grand Piano 4 L

# Multisample

31 Grand Piano 4 R

32 Grand Piano 5 L

33 Grand Piano 5 R

34 Grand Piano 6 L

35 Grand Piano 6 R

36 Grand Piano Res 1 L

37 Grand Piano Res 1 R

38 Grand Piano Res 2 L

39 Grand Piano Res 2 R

40 Grand Piano Res 3 L

41 Grand Piano Res 3 R

42 Grand Piano Res 4 L

43 Grand Piano Res 4 R

44 Grand Piano Res 5 L

45 Grand Piano Res 5 R

46 Grand Piano Res 6 L

47 Grand Piano Res 6 R

48 Acoustic Piano p OT L

49 Acoustic Piano p OT R

50 Acoustic Piano f OT L

51 Acoustic Piano f OT R

52 Acoustic Piano p L

53 Acoustic Piano p R

54 Acoustic Piano f L

55 Acoustic Piano f R

56 Acoustic Piano Res OT L

57 Acoustic Piano Res OT R

58 Acoustic Piano Res L

59 Acoustic Piano Res R

60 Grand Piano Leakage L

61 Grand Piano Leakage R

# Multisample

62 Piano Hammer noise L

63 Piano Hammer noise R

64 Piano FX Pedal On L

65 Piano FX Pedal On R

66 Piano FX Pedal Off L

67 Piano FX Pedal Off R

68 Piano FX Key Off L

69 Piano FX Key Off R

70 Baby Grand L

71 Baby Grand R

72 Upright Piano mf L

73 Upright Piano mf R

74 Upright Piano f L

75 Upright Piano f R

76 E.GrandPiano 1

77 E.GrandPiano 2

78 Piano M1

79 E.Piano PO 1

80 E.Piano PO 2

81 E.Piano PO 3

82 E.Piano PO 4

83 E.Piano PO 5

84 E.Piano PO 6

85 E.Piano PO 7

86 E.Piano PO Kof p

87 E.Piano PO Kof f

88 E.Piano Rx Kon L

89 E.Piano Rx Kon R

90 E.Piano Rx Kof L

91 E.Piano Rx Kof R

92 E.Piano Suit Bright p

Musical Resources |1059

# Multisample

93 E.Piano Suit Bright mf

94 E.Piano Suit Bright f

95 E.Piano Dyno p

96 E.Piano Dyno mf

97 E.Piano Dyno f

98 E.Piano Dyno Soft

99 E.Piano Dyno SoftLP

100 E.Piano Stage Hard

101 E.Piano Stage HardLP

102 E.Piano Vintage 1

103 E.Piano Vintage 2

104 E.Piano Vintage 3

105 E.Piano Vintage 4

106 E.Piano Vintage 5

107 E.Piano Vintage 6

108 E.Piano Vintage Koff

109 E.Piano Wurly Soft

110 E.Piano Wurly Hard

111 E.Piano FM AB 1

112 E.Piano FM AB 2

113 E.Piano FM AB 3

114 E.Piano FM EF 1

115 E.Piano FM EF 2

116 E.Piano FM EF 3

117 E.Piano FM EF 4

118 E.Piano FM 1

119 E.Piano FM 1LP

120 E.Piano FM 2

121 E.Piano Pad 1

122 E.Piano Pad 1LP

123 E.Piano Pad 2

124 Clav. BC 1

125 Clav. BC 2

126 Clav. BC 3

# Multisample

127 Clav. BC 4

128 Clav. 1

129 Clav. 2

130 Clav. 3

131 Clav. 4

132 Clav. GM

133 Harpsichord1

134 Harpsichord1 Key Off

135 Harpsichord1 Release

136 Harpsichord1 Bump On

137 Harpsichord1 Bump Off

138 Harpsichord2

139 Harpsichord2 Key Off

140 Gospel Organ Slow L

141 Gospel Organ Slow R

142 Gospel Organ Fast L

143 Gospel Organ Fast R

144 16 8 LF L

145 16 8 LF R

146 16 8 LS L

147 16 8 LS R

148 16 8 51/3 LF L

149 16 8 51/3 LF R

150 16 8 51/3 LS L

151 16 8 51/3 LS R

152 4 22/3 2 LF L

153 4 22/3 2 LF R

154 4 22/3 2 LS L

155 4 22/3 2 LS R

156 11/3 13/5 1 LF L

157 11/3 13/5 1 LF R

158 11/3 13/5 1 LS L

159 11/3 13/5 1 LS R

160 16 8 51/3 Perc LF L

# Multisample

161 16 8 51/3 Perc LF R

162 16 8 51/3 Perc LS L

163 16 8 51/3 Perc LS R

164 Theater Organ 1

165 Theater Organ 2

166 50s E.Organ Bright

167 50s E.Organ Dark

168 E.Organ CX 3

169 E.Organ Perc. O1W

170 E.Organ Fast Click

171 E.Organ Perc. 1

172 E.Organ Perc. 2

173 E.Organ Perc. 3

174 E.Organ Perc. 4

175 Organ 1 M1

176 Organ 2 M1

177 Organ 1

178 Organ 2

179 Organ 2LP

180 Organ 3 Jazz

181 BX3 & Perc. 3rd

182 E.Organ Vox

183 E.Organ Soft

184 E.Organ Full

185 E.Organ Dist

186 Rotary Organ 1

187 Rotary Organ 1LP

188 Rotary Organ 2

189 Super BX3

190 Super BX3LP

191 Rotor Noise LF L

192 Rotor Noise LF R

193 Rotor Noise LS L

194 Rotor Noise LS R

1060| Appendix

# Multisample

195 H Organ Leakage

196 H Organ 2nd Harmonic

197 H Organ Click Kon

198 H Organ Click Koff

199 ON-Click (Organ)

200 OFF-Click (Organ)

201 Pipe Flute L

202 Pipe Flute R

203 Pipe Positive

204 Pipe Mixture

205 Pipe Full 1 L

206 Pipe Full 1 R

207 Pipe Full 2

208 E.Organ Church

209 El Organ Toy

210 Music Box

211 Music BoxLP

212 Kalimba

213 Kalimba GM

214 Marimba

215 MarimbaLP

216 Xylophone

217 Balaphone

218 Vibraphone1

219 Vibraphone1LP

220 Vibraphone2

221 Celesta

222 Celesta GM

223 CelestaLP

224 Glockenspiel

225 GlockenspielLP

226 Tubular Bell

227 Log Drum

228 Steel Drum Hard

# Multisample

229 Steel Drum GM

230 Steel Drum HardLP

231 Gamelan

232 FM Bell

233 Flute mf

234 Flute f

235 Flute Chiff

236 Flute Singed

237 Flute Flutter

238 Flute Fall Down

239 Flute Riff Up

240 Flute Gliss Down Sus

241 Flute

242 Flute Falls

243 Flute Gliss Up

244 Flute Gliss Down

245 Flute Frull

246 Flute Voice

247 Flute Jazz

248 Flute Vibrato

249 Flute Attack p

250 Flute Attack f

251 Breath Noise RX

252 Piccolo

253 Pan Flute

254 Pan Flute Attack

255 Tin Whistle

256 Tin Whistle Voice

257 Tin Whistle Attack

258 Whistle Gliss

259 Whistle Straight

260 Whistle Sfz Vibr

261 Whistle Sfz No Vibr

262 Whistle Slow Atk Vibr

# Multisample

263 Whistle Breath

264 Shakuhachi

265 Shakuhachi Atk

266 Shakuhachi Mid

267 Shakuhachi High

268 Bottle

269 Bottlizer

270 Shanai GM

271 Recorder

272 Ocarina

273 Clarinet 1 Vibrato p

274 Clarinet 1 Vibrato f

275 Clarinet 1 GlissUp

276 Clarinet 1 GlissUp Sus

277 Clarinet 1 Fall

278 Clarinet 2

279 Clarinet 3

280 Double Reed M1

281 Oboe 1 Vibrato

282 Oboe 2 Straight

283 Oboe key noises

284 Oboe Get a Breath

285 English Horn

286 Bassoon 1

287 Bassoon 1 Vibrato

288 Bassoon 1 Staccato

289 Bassoon 2

290 Baritone Sax p

291 Baritone Sax f

292 Baritone Sax Growl

293 Baritone Sax GM

294 Tenor Sax Vib 1

295 Tenor Sax Vib 2

296 Tenor Sax Vib 3

Musical Resources |1061

# Multisample

297 Tenor Sax Vib 4

298 Tenor Sax Glissando

299 Tenor Sax Falls

300 Tenor Sax Straight

301 Tenor Sax Riff Up

302 Tenor Sax Fall Down

303 Tenor Sax Vibrato

304 Tenor Sax Expressive

305 Tenor Sax p

306 Tenor Sax mf

307 Tenor Sax f

308 Tenor Sax M1

309 Tenor Sax GM

310 Alto Sax Vib 1

311 Alto Sax Vib 2

312 Alto Sax Vib 2 Drive

313 Alto Sax p

314 Alto Sax f

315 Alto Sax GM

316 Alto Sax Growl

317 Soprano Sax Vibrato

318 Soprano Sax Straight

319 Soprano Sax GM

320 Sax Family Vibrato

321 Sax key on

322 Sax key off

323 Sax breath

324 Tsax sfp< L

325 Tsax sfp< R

326 Musette 1

327 Musette 2

328 Musette 2LP

329 Musette 3 L

330 Musette 3 R

# Multisample

331 Accordion 16

332 Accordion 16 OT

333 Accordion 8

334 Accordion 8 OT

335 Accordion 4

336 Accordion 4 OT

337 Accordion preset 1

338 Accordion preset 2

339 Accordion Bassoon

340 Accordion Clarinet

341 Accordion Bandoneon

342 Accordion Volkst.

343 Accordion Bass

344 Accordion Noise KeyOn

345 Accordion Noise KeyOff

346 Accordion Change Voice

347 Harmonica 1

348 Harmonica 1 Fall

349 Harmonica 2

350 Harmonica 3 Wah

351 Melodica

352 Melodica Key On

353 Melodica Key Off

354 Highland Bag Pipes

355 Highland Drones

356 Uilleann Pipes

357 Bag Pipes

358 Bag Pipes GM

359 French Horn 1 p

360 French Horn 1 mf

361 French Horn 1 f

362 French Horn 1 ff

363 French Horn 2 Close

364 French Horn 2 Open

# Multisample

365 French Horn T1

366 Tenor Horn

367 2Horns Str p L

368 2Horns Str p R

369 2Horns Str mf L

370 2Horns Str mf R

371 2Horns Str f L

372 2Horns Str f R

373 2Horns Str ff L

374 2Horns Str ff R

375 2Horns Stacc p L

376 2Horns Stacc p R

377 2Horns Stacc mf L

378 2Horns Stacc mf R

379 2Horns Stacc f L

380 2Horns Stacc f R

381 2Horns Stacc ff L

382 2Horns Stacc ff R

383 French Horn Ensemble

384 French Horns GM

385 Flugelhorn Vib light p

386 Flugelhorn Vib light mf

387 Flugelhorn Vib light f

388 Flugelhorn Vib light ff

389 Flugelhorn Staccato p

390 Flugelhorn Staccato f

391 Flugel Octave Up p

392 Flugel Octave Up f

393 Flugel Octave Dw p

394 Flugel Octave Dw f

395 Flugel Falls p

396 Flugel Falls f

397 Flugel Horn Vibrato

398 Flugel Horn M1

1062| Appendix

# Multisample

399 Flugel Atk Noise

400 Euphonium Vibrato p

401 Euphonium Vibrato f

402 Euphonium Staccato p

403 Euphonium Staccato f

404 Tuba p

405 Tuba f

406 Tuba GM

407 Tuba Bariton Attack

408 Trombone 1 p

409 Trombone 1 mf

410 Trombone 1 f

411 Trombone 1 Gliss Up

412 Trombone 1 Fall

413 Trombone 1 Smear

414 Trombone 1 Smear Atk

415 Trombone 2 Vibrato

416 Trombone 3 mf

417 Trombone 3 f

418 Trombone 4 Soft

419 Trombone 4 Bright

420 Trombone 5 Straight fff

421 Trombone Slur Up

422 Trombone Fall

423 Trombone GM

424 Trombone Muted

425 2 Trombones mf L

426 2 Trombones mf R

427 2 Trombones f L

428 2 Trombones f R

429 2 Trombones Str p L

430 2 Trombones Str p R

431 2 Trombones Str f L

432 2 Trombones Str f R

# Multisample

433 2 Trombones Sfp< L

434 2 Trombones Sfp< R

435 2 Trombones Shake L

436 2 Trombones Shake R

437 2 Trombones Fall L

438 2 Trombones Fall R

439 2 Trombones Glissup L

440 2 Trombones Glissup R

441 Classic Trumpet p

442 Classic Trumpet f

443 Pop Trumpet p

444 Pop Trumpet f

445 Trumpet Expr.

446 Trumpet Slow p

447 Trumpet Slow f

448 Trumpet GM

449 Trumpet Tonguing p

450 Trumpet Tonguing f

451 Trumpet Medium

452 Trumpet Overblown

453 Trumpet Muted

454 Trumpet Muted GM

455 Trumpet Wah

456 Trumpet WDH Vib

457 Trumpet WDH Shakes

458 Trumpet WDH Shakes Atk

459 Trumpet WDH Shakes Rel

460 Trumpet Doit

461 Trumpet Fall

462 TRP CupMute Vib p

463 TRP CupMute Vib mf

464 TRP CupMute Vib f

465 TRP CupMute Wha Vib

466 TRP CupMute Wha Fast

# Multisample

467 TRP CupMute Wha Growl

468 TRP CupMute Dw 4th

469 TRP CupMute Up 4th

470 TRP CupMute Fall p

471 TRP CupMute Doit

472 TRP MuteHarm Vib p

473 TRP MuteHarm Vib mf

474 TRP MuteHarm Vib f

475 TRP MuteHarm Stac p

476 TRP MuteHarm Stac f

477 TRP MuteHarm Dw

478 TRP MuteHarm Up

479 TRP MuteHarm Doit

480 TRP MuteHarm Falls

481 TRP MuteHarm Bump Atk

482 TRP Basic Noise

483 2 Trumpets p L

484 2 Trumpets p R

485 2 Trumpets f L

486 2 Trumpets f R

487 2 Trumpets Str mf L

488 2 Trumpets Str mf R

489 2 Trumpets Str ff L

490 2 Trumpets Str ff R

491 2 Trumpets Sfp< L

492 2 Trumpets Sfp< R

493 2 Trumpets Shake L

494 2 Trumpets Shake R

495 2 Trumpets Fall L

496 2 Trumpets Fall R

497 2 Trumpets Glissup L

498 2 Trumpets Glissup R

499 2Tp 2Tb Hit (SFX) L

500 2Tp 2Tb Hit (SFX) R

Musical Resources |1063

# Multisample

501 Brass Ensemble Stereo L

502 Brass Ensemble Stereo R

503 Brass Ensemble 1

504 Brass Ensemble 2

505 Brass Ensemble 2LP

506 Brass Ensemble GM

507 Soprano Movie

508 Soprano Night

509 Soprano Voice

510 Soprano Voice AD

511 Soprano Voice 5thDw

512 Soprano Voice 4thUp

513 Voice Female Wuh

514 Voice Female Woh

515 Voice Female Wah

516 Voice Female Dah

517 Voice Male Wuh

518 Voice Male Woh

519 Voice Male Wah

520 Voice Male Dah

521 Voice Scat Buh

522 Voice Scat Duh

523 Voice Scat Bah

524 Voice Scat Dah

525 Voice Choir

526 Voice Hoo

527 Voice Pop Ooh

528 Voice Pop Ah

529 Voice Doo

530 Voice DooLP

531 Choir Ahh Male/Fem p L

532 Choir Ahh Male/Fem p R

533 Choir Ahh Male/Fem f L

534 Choir Ahh Male/Fem f R

# Multisample

535 Choir Ohh Male/Fem L

536 Choir Ohh Male/Fem R

537 Choir Uhh Male/Fem L

538 Choir Uhh Male/Fem R

539 Choir Da Male/Fem L

540 Choir Da Male/Fem R

541 Choir Di Male/Fem L

542 Choir Di Male/Fem R

543 Choir Du Male/Fem L

544 Choir Du Male/Fem R

545 Choir La Male/Fem L

546 Choir La Male/Fem R

547 Choir Pa Male/Fem L

548 Choir Pa Male/Fem R

549 Choir Tu Male/Fem L

550 Choir Tu Male/Fem R

551 Choir Humming M/F L

552 Choir Humming M/F R

553 Choir Whisper Female L

554 Choir Whisper Female R

555 Choir Whisper Male L

556 Choir Whisper Male R

557 Violin 1 Espressive p

558 Violin 1 Espressive mf

559 Violin 1 Espressive f

560 Violin 1 Detache Vib p

561 Violin 1 Detache Vib f

562 Violin 1 Balzato 1

563 Violin 1 Balzato 2

564 Violin 1 Sforzato

565 Violin 1 Tremolo

566 Violin 1 Pizzicato 1

567 Violin 1 Pizzicato 2

568 Violin 1 Play Up

# Multisample

569 Violin 1 Play End

570 Violin 1 Bow Noise

571 Violin 2 Classic

572 Violin 2 Gliss Up

573 Violin 2 Gliss Dw

574 Violin 2 Strings Free

575 Violin 2 Trill Up

576 Violin 3 Solo Vibrato

577 Violin 3 Straight

578 Violin GM

579 Fiddle GM

580 Viola 1 Espressive p

581 Viola 1 Espressive f

582 Viola 1 Detache p Up

583 Viola 1 Detache p Dw

584 Viola 1 Balzato p

585 Viola 1 Balzato mf

586 Viola 1 Sforzato

587 Viola 1 Staccato

588 Viola 1 Tremolo

589 Viola 1 Pizzicato

590 Viola 2 Vibrato p

591 Viola 2 Vibrato f

592 Viola GM

593 Cello Vibrato L

594 Cello Vibrato R

595 Cello GM

596 Violin & Cello

597 Cello & Contrabass

598 Contrabass Vibrato L

599 Contrabass Vibrato R

600 Strings Quartet L

601 Strings Quartet R

602 Strings Quartet Vibrato1

1064| Appendix

# Multisample

603 Strings Quartet Vibrato2

604 Pizzicato

605 Strings Ens Legato1 L

606 Strings Ens Legato1 R

607 Strings Ens Legato2 L

608 Strings Ens Legato2 R

609 Strings Ens Legato3 L

610 Strings Ens Legato3 R

611 Strings Ens Marcato L

612 Strings Ens Marcato R

613 Strings Ens Spiccato L

614 Strings Ens Spiccato R

615 Strings Ens Staccato1 L

616 Strings Ens Staccato1 R

617 Strings Ens Staccato2 L

618 Strings Ens Staccato2 R

619 Strings Ens Tremolo L

620 Strings Ens Tremolo R

621 Strings Ens Pizzicato L

622 Strings Ens Pizzicato R

623 Strings Ensemble St L

624 Strings Ensemble St R

625 Strings Ensemble GM L

626 Strings Ensemble GM R

627 Strings Ensemble Mono

628 Strings Ensemble Tremolo

629 Pizzicato Ensemble

630 Harp Stereo L

631 Harp Stereo R

632 Harp Atk L

633 Harp Atk R

634 Harp Mono

635 Ac.Gtr T 1 L

636 Ac.Gtr T 1 R

# Multisample

637 Ac.Gtr T 2 L

638 Ac.Gtr T 2 R

639 Ac.Gtr T 3 L

640 Ac.Gtr T 3 R

641 Ac.Gtr T 4 L

642 Ac.Gtr T 4 R

643 Ac.Gtr T 5 L

644 Ac.Gtr T 5 R

645 Ac.Gtr T 6 L

646 Ac.Gtr T 6 R

647 Ac.Gtr T Ghost L

648 Ac.Gtr T Ghost R

649 Ac.Gtr T Mute 1 L

650 Ac.Gtr T Mute 1 R

651 Ac.Gtr T Mute 2 L

652 Ac.Gtr T Mute 2 R

653 Ac.Gtr T Mute 3 L

654 Ac.Gtr T Mute 3 R

655 Ac.Gtr T Harmonics 1 L

656 Ac.Gtr T Harmonics 1 R

657 Ac.Gtr T Harmonics 2 L

658 Ac.Gtr T Harmonics 2 R

659 Ac.Gtr T HTone Up 1 L

660 Ac.Gtr T HTone Up 1 R

661 Ac.Gtr T HTone Up 2 L

662 Ac.Gtr T HTone Up 2 R

663 Ac.Gtr M 1 L

664 Ac.Gtr M 1 R

665 Ac.Gtr M 2 L

666 Ac.Gtr M 2 R

667 Ac.Gtr M 3 L

668 Ac.Gtr M 3 R

669 Ac.Gtr M Mute 1 L

670 Ac.Gtr M Mute 1 R

# Multisample

671 Ac.Gtr M Mute 2 L

672 Ac.Gtr M Mute 2 R

673 Ac.Gtr M Harmonics L

674 Ac.Gtr M Harmonics R

675 Ac.Gtr M HTone Up 1 L

676 Ac.Gtr M HTone Up 1 R

677 Ac.Gtr M HTone Up 2 L

678 Ac.Gtr M HTone Up 2 R

679 Ac.Gtr RX noises L

680 Ac.Gtr RX noises R

681 Ac.Gtr finger off L

682 Ac.Gtr finger off R

683 Steel Gtr 1 Pick p

684 Steel Gtr 1 Pick mf

685 Steel Gtr 1 Pick f

686 Steel Gtr 1 Mute

687 Steel Gtr 1 Slide

688 Steel Gtr 2 p

689 Steel Gtr 2 mf

690 Steel Gtr 2 f

691 Steel Gtr 2 Slap

692 Steel Gtr 2 Slide

693 Steel Gtr 12 Strings

694 Steel Gtr Harmonics 1

695 Steel Gtr Harmonics 2

696 Steel Gtr Noise

697 Guitar Fret Noise Off

698 Guitar Noise Off

699 Guitar Body

700 Guitar Noise Attack Off

701 Nylon Gtr1 p L

702 Nylon Gtr1 p R

703 Nylon Gtr1 mf1 L

704 Nylon Gtr1 mf1 R

Musical Resources |1065

# Multisample

705 Nylon Gtr1 mf2 L

706 Nylon Gtr1 mf2 R

707 Nylon Gtr1 mf3 L

708 Nylon Gtr1 mf3 R

709 Nylon Gtr1 f L

710 Nylon Gtr1 f R

711 Nylon Gtr1 Slide p L

712 Nylon Gtr1 Slide p R

713 Nylon Gtr1 Slide f L

714 Nylon Gtr1 Slide f R

715 Nylon Gtr1 Harmonics L

716 Nylon Gtr1 Harmonics R

717 Nylon Gtr2 p

718 Nylon Gtr2 mf

719 Nylon Gtr2 f

720 Nylon Gtr2 Atk

721 Nylon Gtr2 GM

722 Nylon Gtr 7 Strings p

723 Nylon Gtr 7 Strings f

724 Nylon Gtr 7 Strings Mute

725 FS N Dw Clean 1

726 FS N Dw Clean 2

727 FS N Dw Clean 3

728 FS N Dw Clean 4

729 FS N Ghost Clean

730 FS N Mute Clean 1

731 FS N Mute Clean 2

732 FS N Mute Clean 3

733 FS N Mute Clean 4

734 FS N Mute Clean 5

735 FS N Dw DI 1

736 FS N Dw DI 2

737 FS N Dw DI 3

738 FS N Dw DI 4

# Multisample

739 FS N Dw DI 5

740 FS N Dw DI 6

741 FS N Ghost DI

742 FS N Mute DI 1

743 FS N Mute DI 2

744 FS N Mute DI 3

745 FS N Mute DI 4

746 FS N Mute DI 5

747 FS B Dw Overdrive 1

748 FS B Dw Overdrive 2

749 FS B Dw Overdrive 3

750 FS B Mute Overdrive 1

751 FS B Mute Overdrive 2

752 FS B Mute Overdrive 3

753 FS B RX Noise Ovd 1

754 FS B RX Noise Ovd 2

755 FS B RX Noise Ovd 3

756 FS B Dw DI 1

757 FS B Dw DI 2

758 FS B Dw DI 3

759 FS B Dw DI 4

760 FS B Dw DI 5

761 FS B Dw DI 6

762 FS B Mute DI 1

763 FS B Mute DI 2

764 FS B Mute DI 3

765 FS B Mute DI 4

766 FS B Mute DI 5

767 FS RX Noise DI 1

768 FS RX Noise DI 2

769 FS RX Noise DI 3

770 FS Amp Noise Floor

771 Tele M Dw Clean 1

772 Tele M Dw Clean 2

# Multisample

773 Tele M Dw Clean 3

774 Tele M Dw Clean 4

775 Tele M Mute Clean 1

776 Tele M Mute Clean 2

777 Tele M Mute Clean 3

778 Tele M Mute Clean 4

779 Tele M Mute Clean 5

780 Tele M RX Noise Clean 1

781 Tele M RX Noise Clean 2

782 Tele M RX Noise Clean 3

783 Tele M Dw DI 1

784 Tele M Dw DI 2

785 Tele M Dw DI 3

786 Tele M Dw DI 4

787 Tele M Dw DI 5

788 Tele M Dw DI 6

789 Tele M Mute DI 1

790 Tele M Mute DI 2

791 Tele M Mute DI 3

792 Tele M Mute DI 4

793 Tele M Mute DI 5

794 Tele M RX Noise DI 1

795 Tele M RX Noise DI 2

796 Tele M RX Noise DI 3

797 GLP M Dw Clean 1

798 GLP M Dw Clean 2

799 GLP M Dw Clean 3

800 GLP M Dw Clean 4

801 GLP M Mute Clean 1

802 GLP M Mute Clean 2

803 GLP M Mute Clean 3

804 GLP M Mute Clean 4

805 GLP M Mute Clean 5

806 GLP M RX Noise Clean 1

1066| Appendix

# Multisample

807 GLP M RX Noise Clean 2

808 GLP M RX Noise Clean 3

809 GLP M Dw DI 1

810 GLP M Dw DI 2

811 GLP M Dw DI 3

812 GLP M Dw DI 4

813 GLP M Dw DI 5

814 GLP M Dw DI 6

815 GLP M Mute DI 1

816 GLP M Mute DI 2

817 GLP M Mute DI 3

818 GLP M Mute DI 4

819 GLP M Mute DI 5

820 GLP RX Noise DI 1

821 GLP RX Noise DI 2

822 GLP RX Noise DI 3

823 G335 B Dw Dist 1

824 G335 B Dw Dist 2

825 G335 B Dw Dist 3

826 G335 B Ghost Dist

827 G335 B Mute Dw Dist 1

828 G335 B Mute Dw Dist 2

829 G335 B Mute Dw Dist 3

830 G335 B Mute Dw Dist 4

831 G335 B Mute Dw Dist 5

832 G335 B RX Dist 1

833 G335 B RX Dist 2

834 G335 B RX Dist 3

835 G335 B Dw DI 1

836 G335 B Dw DI 2

837 G335 B Dw DI 3

838 G335 B Dw DI 4

839 G335 B Dw DI 5

840 G335 B Dw DI 6

# Multisample

841 G335 B Ghost DI

842 G335 B Mute DI 1

843 G335 B Mute DI 2

844 G335 B Mute DI 3

845 G335 B Mute DI 4

846 G335 B Mute DI 5

847 G335 B RX Noise DI 1

848 G335 B RX Noise DI 2

849 G335 B RX Noise DI 3

850 Dist Guitar MP 1

851 Dist Guitar MP 2

852 Dist Guitar MP 3

853 Dist Guitar MP 4

854 Dist Guitar MP 5

855 Dist Guitar MP Slides

856 Dist Guitar MP KeyOff

857 Stra P2 MtS1

858 Stra P2 MtS2

859 Stra P2 MtS3

860 Stra P2 MtS4

861 Stra P2 MtS5

862 Stra P2 MtS6

863 Stra P2 MtL1

864 Stra P2 MtL2

865 Stra P2 MtL3

866 Stra P2 MtL4

867 Stra P2 Dw1

868 Stra P2 Dw2

869 Stra P2 Dw3

870 Stra P2 Dw4

871 Stra P2 Dw5

872 Stra P2 Up1

873 Stra P2 Up2

874 Stra P2 Up3

# Multisample

875 Stra P2 Up4

876 Stra P2 Up5

877 Stra P2 SlideHT p

878 Stra P2 SlideHT f

879 Stra P2 Harm 12

880 Stra P2 Harm 7

881 Stra P2 Harm 5

882 Stra P2 Ghost Up

883 Stra P2 Ghost Dw

884 Stra P2 Fret Nuances

885 Stra P2 Key Off

886 Stra RX1 (Old Compatib)

887 Stra RX2

888 El.Guitar Stra 54 p

889 El.Guitar Stra 54 mf

890 El.Guitar Stra 54 f

891 El.Guitar Stra 54 Slide

892 El.Guitar Tel Mid p

893 El.Guitar Tel Mid mf

894 El.Guitar Tel Mid f

895 El.Guitar Tel Bridge p

896 El.Guitar Tel Bridge mf

897 El.Guitar Tel Bridge f

898 El.Guitar Tel Mt 5th pp

899 El.Guitar Tel Mt 5th p

900 El.Guitar Tel Mt 5th mf

901 El.Guitar Tel Mt 5th f

902 El.Guitar Tel Mt 5th ff

903 El.Guitar Tel Mt 5th Kof

904 El.Guitar Clean Str p

905 El.Guitar Clean Str f

906 El.Guitar Clean Mute

907 El.Guitar Clean Dead

908 El.Guitar Clean Slap

Musical Resources |1067

# Multisample

909 El.Guitar Clean Slide

910 El.Guitar Clean GM

911 El.Guitar Fret Noise GM

912 El.Guitar Cut Noise GM

913 El.Guitar Le Neck

914 El.Guitar Le Bridge

915 El.Guitar Le Mute p

916 El.Guitar Le Mute mf

917 El.Guitar Le Ghost1

918 El.Guitar Le Ghost2

919 El.Guitar Harmonics

920 El.Guitar Gliss Down

921 El.Guitar Gliss Up

922 El.Guitar Noise

923 El.Guitar Short Noise

924 El.Guitar Fret Noise

925 El.Guitar Les P.

926 Jazz Guitar1

927 Jazz Guitar2

928 Jazz Gib mellow p

929 Jazz Gib mellow mf

930 Jazz Gib mellow f

931 Jazz Octave Guitar

932 Pedal Steel Guitar

933 Resonator Guitar

934 Vox Wah Guitar

935 Overdrive GM

936 Dist.Guitar1

937 Dist.Guitar1 GM

938 Dist.Guitar1 Harm.

939 Dist.Guitar1 Harm. GM

940 Dist.Guitar2 Harmo P1

941 Dist.Guitar2 Harmo P2

942 Dist.Guitar2 Mute1

# Multisample

943 Dist.Guitar2 Mute2

944 El.Guitar DistMuted 1

945 El.Guitar DistMuted 2

946 El.Guitar PowerChord1

947 El.Guitar PowerChord2

948 El.Guitar PowerChord3

949 Ac.Bass Natural

950 Ac.Bass Natural Key Off

951 Ac.Bass Natural Ghost

952 Acoustic Bass1

953 Acoustic Bass2 mf

954 Acoustic Bass2 f

955 Acoustic Bass3 mp

956 Acoustic Bass3 mp VAR

957 Acoustic Bass3 mf

958 Acoustic Bass3 mf VAR

959 Acoustic Bass3 f

960 Acoustic Bass3 f VAR

961 Acoustic Bass GM

962 Acoustic Bass RX Noises

963 Bass SR Finger 1

964 Bass SR Finger 2

965 Bass SR Finger 3

966 Bass SR Ghost 1

967 Bass SR Ghost 2

968 Bass SR Ghost 3

969 Bass SR Ghost 4

970 Bass SR Finger Mute 1

971 Bass SR Finger Mute 2

972 Bass SR Finger Mute 3

973 Bass SR Pick1

974 Bass SR Pick2

975 Bass SR Pick3

976 Bass SR Pick4

# Multisample

977 Bass SR Pick Mute 1

978 Bass SR Pick Mute 2

979 Bass SR Pick Mute 3

980 Bass SR Harmonics

981 Bass SR Note Off

982 Bass SR Thumb&Slap 1

983 Bass SR Thumb&Slap 2

984 Bass SR Slide UD

985 Bass SR Slide Down

986 Bass SR Hammer On

987 JB Finger 1

988 JB Finger 2

989 JB Finger 3

990 JB Finger 4

991 JB Finger 5

992 JB Ghost

993 JB Finger Mute 1

994 JB Finger Mute 2

995 JB Finger Mute 3

996 JB Pick 1

997 JB Pick 2

998 JB Pick 3

999 JB Pick 4

1000 JB Pick Mute 1

1001 JB Pick Mute 2

1002 JB Pick Mute 3

1003 JB Thumb 1

1004 JB Thumb 2

1005 JB Slap 1

1006 JB Slap 2

1007 JB Slap Ghost

1008 JB Harmonics

1009 PB FS Finger 1

1010 PB FS Finger 2

1068| Appendix

# Multisample

1011 PB FS Finger 3

1012 PB FS Finger 4

1013 PB FS Ghost

1014 PB FS Fing Mute 1

1015 PB FS Fing Mute 2

1016 PB FS Fing Mute 3

1017 PB FS Pick 1

1018 PB FS Pick 2

1019 PB FS Pick 3

1020 PB FS Pick 4

1021 PB FS Pick Mute 1

1022 PB FS Pick Mute 2

1023 PB FS Pick Mute 3

1024 PB FS Pick Mute 4

1025 PB FS Harmonics

1026 PB Finger 1

1027 PB Finger 2

1028 PB Finger 3

1029 PB Finger 4

1030 PB Finger 5

1031 FJB Fretless Finger 1

1032 FJB Fretless Finger 2

1033 FJB Fretless Finger 3

1034 FJB Fretless Finger 4

1035 FJB Fretless Vibrato

1036 FJB Fretless Harm 1

1037 FJB Fretless Harm 2

1038 FJB Fretless Hammer On

1039 FJB Fretless KeyOff

1040 Bass Prec FS Finger

1041 Bass Prec Finger

1042 Bass Prec FingerDeads

1043 Bass Prec Pick Open p

1044 Bass Prec Pick Open f

# Multisample

1045 Bass Prec Pick Dead

1046 Bass Sray Finger

1047 Bass Sray Harmonics

1048 Bass Sray Deads

1049 Bass Sray HandNoise

1050 Bass Almb Fingered p

1051 Bass Almb Fingered f

1052 Bass Fjazz Fingered

1053 Bass Fjazz pickmute p

1054 Bass Fjazz pickmute f

1055 Bass Fjazz Ghost

1056 E.Bass1 Finger

1057 E.Bass2 P.B.1

1058 E.Bass2 P.B.2

1059 E.Bass2 LH Stop

1060 E.Bass2 RH Stop

1061 E.Bass2 Harmo.

1062 E.Bass3 p

1063 E.Bass3 mf

1064 E.Bass3 f Slap

1065 E.Bass4 Pick

1066 E.Bass4 Harmo.

1067 E.Bass4 Slap

1068 E.Bass4 SlapHar

1069 E.Bass4 LH Mute

1070 E.Bass4 RH Mute

1071 E.Bass5 Finger

1072 E.Bass6 Finger

1073 E.Bass6 FingerLP

1074 E.Bass7 Finger

1075 E.Bass8 Pick

1076 E.Bass9 Pick Muted1

1077 E.Bass9 Pick Muted2

1078 E.Bass9 Pick

# Multisample

1079 E.Bass9 PickLP

1080 E.Bass10 Thumb

1081 E.Bass11 SlapThumb

1082 E.Bass11 SlapThumbLP

1083 E.Bass Gliss

1084 E.Bass Noise1

1085 E.Bass Noise2

1086 E.Bass Harmonics

1087 E.Bass HarmonicsLP

1088 E.Bass Fretless 1

1089 E.Bass Fretless 2

1090 Finger Bass GM

1091 Picked Bass GM

1092 Slap Bass 1 GM

1093 Slap Bass 2 GM

1094 Fretless Bass GM

1095 Sitar 1

1096 Sitar 2

1097 Sitar GM

1098 Sitar & Tambura

1099 Zither

1100 Santur

1101 SanturLP

1102 Tambura

1103 TamburaLP

1104 Bouzouki

1105 BouzoukiLP

1106 Mandolin Dw mf L

1107 Mandolin Dw mf R

1108 Mandolin Dw f L

1109 Mandolin Dw f R

1110 Mandolin Up L

1111 Mandolin Up R

1112 Mandolin mono

Musical Resources |1069

# Multisample

1113 Mandolin monoLP

1114 Mandolin Tremolo

1115 Mandolin Ensemble

1116 Viola Caipira p

1117 Viola Caipira mf

1118 Viola Caipira f

1119 Viola Caipira Mute

1120 Viola Caipira Harmonics

1121 Viola Caipira Noises

1122 Bandolim

1123 Berimbau Op Q 1

1124 Berimbau Op Q 2

1125 Berimbau Op Q 3

1126 Berimbau Op Q 4

1127 Berimbau Op A 1

1128 Berimbau Op A 2

1129 Berimbau Op A 3

1130 Berimbau Op A Rel 1

1131 Berimbau Op A Rel 2

1132 Berimbau Op A Rel 3

1133 Berimbau Cax atk p

1134 Berimbau Cax atk f

1135 Berimbau Cax rel p

1136 Berimbau Cax rel f

1137 Berimbau Crash Leg p

1138 Berimbau Crash Leg f

1139 Berimbau Crash p

1140 Berimbau Crash f

1141 Banjo1 Finger Op 1

1142 Banjo1 Finger Op 2

1143 Banjo1 Finger Op 3

1144 Banjo1 Finger Op 4

1145 Banjo1 Finger Op 5

1146 Banjo1 Finger Op 6

# Multisample

1147 Banjo1 Thumb Op 1

1148 Banjo1 Thumb Op 2

1149 Banjo1 Thumb Op 3

1150 Banjo1 Thumb Op 4

1151 Banjo1 Thumb Op 5

1152 Banjo1 Thumb Op 6

1153 Banjo1 Ghost

1154 Banjo1 Mute 1

1155 Banjo1 Mute 2

1156 Banjo1 Mute 3

1157 Banjo1 Harmonics

1158 Banjo1 Mordente

1159 Banjo2

1160 Banjo GM

1161 BanjoLP

1162 Banjo RX Noise

1163 Dobro Thumb 1 L

1164 Dobro Thumb 1 R

1165 Dobro Thumb 2 L

1166 Dobro Thumb 2 R

1167 Dobro Thumb 3 L

1168 Dobro Thumb 3 R

1169 Dobro Thumb 4 L

1170 Dobro Thumb 4 R

1171 Dobro Thumb 5 L

1172 Dobro Thumb 5 R

1173 Dobro Thumb 6 L

1174 Dobro Thumb 6 R

1175 Dobro Ghost L

1176 Dobro Ghost R

1177 Dobro Muted 1 L

1178 Dobro Muted 1 R

1179 Dobro Muted 2 L

1180 Dobro Muted 2 R

# Multisample

1181 Dobro Muted 3 L

1182 Dobro Muted 3 R

1183 Dobro Rake Blues L

1184 Dobro Rake Blues R

1185 Dobro Vibrato L

1186 Dobro Vibrato R

1187 Dobro Slide Vibrato L

1188 Dobro Slide Vibrato R

1189 Dobro Harmonics L

1190 Dobro Harmonics R

1191 Dobro Pick Noise L

1192 Dobro Pick Noise R

1193 Cavaquino p

1194 Cavaquino mf

1195 Cavaquino f

1196 Ukulele

1197 Shamisen

1198 Shamisen GM

1199 Koto

1200 Koto GM

1201 M.E. Oud

1202 M.E. Oud Tek

1203 M.E. Kanoun1

1204 M.E. Kanoun2

1205 M.E. Kanoun Tremolo

1206 M.E. Baglama1

1207 M.E. Baglama2

1208 M.E. Zurna

1209 M.E. Klarnet Tek

1210 M.E. Klarnet

1211 M.E. Nay

1212 Mouth Harp1

1213 Mouth Harp2

1214 Mouth Harp3

1070| Appendix

# Multisample

1215 Mouth Harp4

1216 Mouth Harp5

1217 Syn Flute Pad

1218 Synth Sub Bass-L

1219 Synth Sub Bass-R

1220 Syn Bass Reso

1221 Syn Bass FM1

1222 Syn Bass FM1LP

1223 Syn Bass FM2

1224 Syn Bass FM2LP

1225 Syn Bass TB

1226 R&B Saw Bass

1227 R&B Square Bass

1228 MS20 Bass Wave

1229 MS20 Synth

1230 SEM Square

1231 Chrom Res

1232 Compulsynth

1233 Monst Classic

1234 Monst Distort

1235 Next Dance

1236 Fat Synth LG

1237 Detuned Super

1238 Detuned PWM

1239 Polysix Unison L

1240 Polysix Unison R

1241 Synth Brass

1242 Pop Synth

1243 An.Strings1

1244 An.Strings2

1245 Vintage Synth Pad L

1246 Vintage Synth Pad R

1247 Vintage Analog

1248 Food Blender

# Multisample

1249 White Pad

1250 N1 Air Vox

1251 SynthBell

1252 Ether Bell

1253 Ether BellLP

1254 Lore

1255 Lore NT

1256 Space Lore

1257 Wave Sweep1

1258 Wave Sweep2

1259 Wave Sweep3

1260 Syn Ghostly

1261 Ghost

1262 Syn Air Pad

1263 Dream Str

1264 Syn AirVortex

1265 Syn Palawan

1266 Syn Clicker

1267 Cricket Spectrum

1268 Noise1

1269 Noise2

1270 Noise Pad

1271 Swish Terra

1272 Gamelan XEQ

1273 Saw1

1274 Saw2

1275 Saw3

1276 Pulse 02%

1277 Pulse 05%

1278 Pulse 08%

1279 Pulse 16%

1280 Pulse 33%

1281 Pulse 40%

1282 Square

# Multisample

1283 Square MG

1284 Square JP

1285 Triangle MG

1286 Ramp

1287 Ramp MG

1288 Sine

1289 DWGS Syn Sine1

1290 DWGS Syn Sine2

1291 DWGS Organ1

1292 DWGS Organ2

1293 DWGS Bell1

1294 DWGS Bell2

1295 DWGS Bell3

1296 DWGS Bell4

1297 DWGS Clav.

1298 DWGS Digi1

1299 DWGS Digi2

1300 DWGS Wire1

1301 DWGS Wire2

1302 DWGS Sync1

1303 DWGS Sync2

1304 DWGS Sync3

1305 Orchestra Hit 1

1306 Orchestra Hit 2

1307 Orchestra Hit GM L

1308 Orchestra Hit GM R

1309 Band Hit

1310 Impact Hit

1311 Brass Fall

1312 Vibe Chord

1313 Zap1

1314 Zap2

1315 Stadium

1316 Applause

Musical Resources |1071

# Multisample

1317 Birds1

1318 Birds2

1319 Crickets

1320 Church Bell

1321 Thunder

1322 Stream

1323 Bubble

1324 Dog

1325 Gallop

1326 Laughing

1327 Telephone Ring

1328 Scream

1329 Punch

1330 Heart Beat

1331 Footstep 1

1332 Footstep2

1333 Door Creak

1334 Door Slam

1335 Car Engine

1336 Car EngineLP

1337 Car Stop

1338 Car Pass

1339 Car Crash

1340 Train

1341 Helicopter

1342 Gun Shot

1343 Machine Gun

1344 Laser Gun

1345 Explosion

1346 Wind

1347 Chinese Gong

1348 Crash

1349 Crash Reverse

1350 Crash Reverse GM

# Multisample

1351 Orchestra Crash

1352 Ride Jazz

1353 Ride Edge1

1354 Ride Edge2

1355 HiHat Closed

1356 88 HiHat Open

1357 88 Cowbell

1358 88 Tom

1359 88 Conga

1360 88 Crash

1361 Tom

1362 Tom Brush

1363 Tom Process

1364 Electric Tom

1365 Melodic Tom GM

1366 Flexatone

1367 Tambourine

1368 Agogo Bell

1369 Meditation Tree

1370 Marc Tree

1371 Marc TreeLP

1372 Rain Stick

1373 Cowbell

1374 Castanet

1375 Temple Blocks

1376 Orchestra BD

1377 Timpani

1378 Taiko

1379 Djembe Open

1380 Djembe Mute

1381 Conga

1382 Quinto & Bongo

1383 Okonkolo

1384 Timbales

# Multisample

1385 Cowbell & Clave

1386 Cabasa

1387 Shaker

1388 Cabasa & Shaker

1389 Dumbek - Djambe - Udu

1390 Caxixi

1391 Tabla & Baya

1392 WoodBlock & Castanet

1393 Mix Latin Percussion

1394 Kangaroo

1395 DJ Eddie Set

1396 Bob Slice A L

1397 Bob Slice A R

1398 Bob Slice B L

1399 Bob Slice B R

1400 Claps Natural Set1 L

1401 Claps Natural Set1 R

1402 Claps Natural Set2 L

1403 Claps Natural Set2 R

1404 Claps Natural Set3 L

1405 Claps Natural Set3 R

1406 Snare Ghost

1407 Stereo Snares1&2 L

1408 Stereo Snares1&2 R

1409 Stereo Snare1 L

1410 Stereo Snare1 R

1411 Stereo Snare2 L

1412 Stereo Snare2 R

1413 BD Thunder Bright L

1414 BD Thunder Bright R

1415 FX SD Large Hall1 L

1416 FX SD Large Hall1 R

1417 FX SD Large Hall2 L

1418 FX SD Large Hall2 R

1072| Appendix

# Multisample

1419 FX Rim Large Hall1 L

1420 FX Rim Large Hall1 R

1421 FX Rim Large Hall2 L

1422 FX Rim Large Hall2 R

1423 Click

1424 Metronome W bell

1425 Metronome W

1426 Empty

1427 IT G.Piano V1-L

1428 IT G.Piano V1-R

1429 IT G.Piano V2-L

1430 IT G.Piano V2-R

1431 IT G.Piano V3-L

1432 IT G.Piano V3-R

1433 IT G.Piano V4-L

1434 IT G.Piano V4-R

1435 IT G.Piano V5-L

1436 IT G.Piano V5-R

1437 IT G.Piano V6-L

1438 IT G.Piano V6-R

1439 IT G.Piano Res V1-L

1440 IT G.Piano Res V1-R

1441 IT G.Piano Res V2-L

1442 IT G.Piano Res V2-R

1443 IT G.Piano Res V3-L

1444 IT G.Piano Res V3 -R

1445 IT G.Piano Res V4-L

1446 IT G.Piano Res V4-R

1447 IT G.Piano Res V5-L

1448 IT G.Piano Res V5-R

1449 IT G.Piano Res V6-L

# Multisample

1450 IT G.Piano Res V6-R

1451 Posaune 32 OT-L

1452 Posaune 32 OT-R

1453 Principal OT-L

1454 Principal OT-R

1455 Cornet OT-L

1456 Cornet OT-R

1457 Coppel Flute OT-L

1458 Coppel Flute OT-R

1459 Harmonic Trumpet OT-L

1460 Harmonic Trumpet OT-R

1461 Viola da Gamba OT-L

1462 Viola da Gamba OT-R

1463 Mixture A OT-L

1464 Mixture A OT-R

1465 Mixture B OT-L

1466 Mixture B OT-R

1467 Pieno OT-L

1468 Pieno OT-R

1469 Recorder Vibrato

1470 Whistle Robin

1471 Tenor Sax J Soft

1472 Tenor Sax J mp

1473 Tenor Sax J mf

1474 Tenor Sax J f

1475 Tenor Sax J Growl

1476 Tenor Sax J R-Up

1477 Tenor Sax J R-Dw

1478 Tenor Sax J Falls

1479 IT Accordion Bass V1 OT

1480 IT Accordion Bass V2 OT

# Multisample

1481 IT Accordion Bass V3 OT

1482 IT Accordion Bass Key On

1483 IT Accordion 16 V1 OT

1484 IT Accordion 16 V2 OT

1485 IT Accordion 16 V3 OT

1486 IT Accordion 16 V4 OT

1487 IT Accordion 8 V1 OT

1488 IT Accordion 8 V2 OT

1489 IT Accordion 8 V3 OT

1490 IT Accordion 8 V4 OT

1491 IT Accordion 4 V1 OT

1492 IT Accordion 4 V2 OT

1493 IT Accordion 4 V3 OT

1494 IT Accordion 4 V4 OT

1495 IT Accordion Noise Floor

1496 Bandoneon

1497 Bandoneon Stop

1498 Bandoneon Short

1499 Bandoneon Valve

1500 Bandoneon RX

1501 Ac. Guitar T410

1502 Ac. Guitar T410 Muted

1503 Ac. Guitar T410 Harm

1504 Ac. Guitar T410 RX

1505 J8 Analog Brass L

1506 J8 Analog Brass R

1507 Dumpstep Wha

1508 Dumpstep Lp

1509 Dumpstep One Shot

* IT Accordion courtesy by PSound.

Musical Resources |1073

Drum Samples

The following table contains all the Factory Drum Samples. DF: Drum Family.

# Drum Sample DF

0 BD Spn Sof 1 Room BD

1 BD Spn Sof 2 Room BD

2 BD Spn Sof 3 Room BD

3 BD Spn Sof 4 Room BD

4 BD Spn Sof 5 Room BD

5 BD Spn Sof 6 Room BD

6 BD Spn Sof 7 Room BD

7 BD Spn Sof 8 Room BD

8 BD Spn Son 1 Room BD

9 BD Spn Son 2 Room BD

10 BD Spn Son 3 Room BD

11 BD Spn Son 4 Room BD

12 BD Spn Son 5 Room BD

13 BD Spn Son 6 Room BD

14 BD Spn Son 7 Room BD

15 BD Spn Son 8 Room BD

16 BD DW Pop 1 BD

17 BD DW Pop 2 BD

18 BD DW Pop 3 BD

19 BD DW Pop 4 BD

20 BD DW Pop 5 BD

21 BD DW Pop 6 BD

22 BD DW Pop 7 BD

23 BD DW Pop 8 BD

24 BD Grt A 1 BD

25 BD Grt A 2 BD

26 BD Grt A 3 BD

27 BD Grt A 4 BD

28 BD Grt A 5 BD

29 BD Grt A 6 BD

30 BD Grt A 7 BD

# Drum Sample DF

31 BD Grt A 8 BD

32 BD Grt B 1 BD

33 BD Grt B 2 BD

34 BD Grt B 3 BD

35 BD Grt B 4 BD

36 BD Grt B 5 BD

37 BD Grt B 6 BD

38 BD Grt B 7 BD

39 BD Grt B 8 BD

40 BD Rock 1 BD

41 BD Rock 2 BD

42 BD Rock 3 BD

43 BD Rock 4 BD

44 BD Rock 5 BD

45 BD Rock 6 BD

46 BD Rock 7 BD

47 BD Rock 8 BD

48 BD 1 Studio 1 BD

49 BD 1 Studio 2 BD

50 BD 1 Studio 3 BD

51 BD 1 Studio 4 BD

52 BD 1 Studio 5 BD

53 BD 1 Studio 7 BD

54 BD 1 Studio 8 BD

55 BD 2 Studio 1 BD

56 BD 2 Studio 2 BD

57 BD 2 Studio 3 BD

58 BD 2 Studio 4 BD

59 BD 2 Studio 5 BD

60 BD 2 Studio 6 BD

61 BD 2 Studio 7 BD

# Drum Sample DF

62 BD 2 Studio 8 BD

63 BD Chamber 1 BD

64 BD Chamber 2 BD

65 BD Chamber 3 BD

66 BD Chamber 4 BD

67 BD Chamber 5 BD

68 BD Chamber 6 BD

69 BD Live 1 BD

70 BD Live 2 BD

71 BD Live 3 BD

72 BD Live 4 BD

73 BD Live 5 BD

74 BD Live 6 BD

75 BD Funk 1 BD

76 BD Funk 2 BD

77 BD Funk 3 BD

78 BD Funk 4 BD

79 BD Funk 5 BD

80 BD Funk 6 BD

81 BD Plate 1 BD

82 BD Plate 2 BD

83 BD Plate 3 BD

84 BD Plate 4 BD

85 BD 22 Inch Std1 BD

86 BD 22 Inch Std2 BD

87 BD 22 Inch Std3 BD

88 BD 22 Inch Std4 BD

89 BD 22 Inch Std5 BD

90 BD 22 Inch Std6 BD

91 BD 24x14 p BD

92 BD 24x14 mf BD

1074| Appendix

# Drum Sample DF

93 BD 24x14 f BD

94 BD 24x14 f GM BD

95 BD 24 inch Open p BD

96 BD 24 inch Open mf BD

97 BD 24 inch Open f BD

98 BD 26 inch Open p BD

99 BD 26 inch Open mf BD

100 BD 26 inch Open f BD

101 BD 26 inch Open ff BD

102 BD 26 inch Open ff GM BD

103 BD 26 inch Std p BD

104 BD 26 inch Std mf BD

105 BD 26 inch Std f BD

106 BD 26 inch Std ff BD

107 BD Natural1 p BD

108 BD Natural1 mf BD

109 BD Natural1 f BD

110 BD Natural2 p BD

111 BD Natural2 mf BD

112 BD Natural2 f BD

113 BD Natural2 ff BD

114 BD Pop1 BD

115 BD Pop2 BD

116 BD Pop3 p BD

117 BD Pop3 f BD

118 BD Pop4 p BD

119 BD Pop4 f BD

120 BD Pop5 BD

121 BD Acoustic1 p BD

122 BD Acoustic1 mf BD

123 BD Acoustic1 f BD

124 BD Acoustic2 mf BD

125 BD Acoustic2 mf GM BD

126 BD Acoustic2 f BD

# Drum Sample DF

127 BD Acoustic2 f GM BD

128 BD open p BD

129 BD open mf BD

130 BD open f BD

131 BD Peak BD

132 BD Dry1 BD

133 BD Dry2 BD

134 BD Dry3 BD

135 BD Normal BD

136 BD SoftRoom BD

137 BD Pillow BD

138 BD Woofer BD

139 BD MondoKill BD

140 BD Terminator BD

141 BD Tubby BD

142 BD Gated BD

143 BD Tight BD

144 BD Squash BD

145 BD Soul1 BD

146 BD Soul2 BD

147 BD Soul3 dist BD

148 BD Soul4 noise BD

149 BD Soul5 Long BD

150 BD Soul6 BD

151 BD Jazz OP1 BD

152 BD Jazz OP2 BD

153 BD Jazz OP3 BD

154 BD Jazz OP4 BD

155 BD Jazz OP5 BD

156 BD Jazz OP6 BD

157 BD Jazz OP7 BD

158 BD Jazz OP8 BD

159 BD Jazz OPW1 BD

160 BD Jazz OPW2 BD

# Drum Sample DF

161 BD Jazz OPW3 BD

162 BD Jazz OPW4 BD

163 BD Jazz OPW5 BD

164 BD Jazz OPW6 BD

165 BD Jazz OPW7 BD

166 BD Jazz OPW8 BD

167 BD Jazz Hi 1 BD

168 BD Jazz Hi 2 BD

169 BD Jazz Hi 3 BD

170 BD Jazz Hi 4 BD

171 BD Jazz Hi 5 BD

172 BD Jazz Hi 6 BD

173 BD Jazz Hi 7 BD

174 BD Jazz Hi 8 BD

175 BD Jazz Low 1 BD

176 BD Jazz Low 2 BD

177 BD Jazz Low 3 BD

178 BD Jazz Low 4 BD

179 BD Jazz Low 5 BD

180 BD Jazz Low 6 BD

181 BD Jazz Low 7 BD

182 BD Jazz Low 8 BD

183 BD Jazz open p BD

184 BD Jazz open f BD

185 BD Jazz wire open p BD

186 BD Jazz wire open f BD

187 BD Jazz BD

188 BD Jazz GM BD

189 BD async 1 BD

190 BD async 2 BD

191 BD async 3 BD

192 BD async 4 BD

193 BD Satur 1 BD

194 BD Satur 2 BD

Musical Resources |1075

# Drum Sample DF

195 BD Satur 3 BD

196 BD Elektro BD

197 BD HipHop1 BD

198 BD HipHop2 BD

199 BD IDM 1 BD

200 BD IDM 2 BD

201 BD Tribal 1 BD

202 BD Tribal 2 BD

203 BD Thunder bright BD

204 BD Thunder dark BD

205 BD Analog BD

206 BD MS20 A 1 BD

207 BD MS20 A 2 BD

208 BD MS20 A 3 BD

209 BD MS20 A 4 BD

210 BD MS20 A 5 BD

211 BD MS20 A 6 BD

212 BD MS20 B 1 BD

213 BD MS20 B 2 BD

214 BD MS20 B 3 BD

215 BD MS20 C 1 BD

216 BD MS20 C 2 BD

217 BD MS20 C 3 BD

218 BD MS20 D BD

219 BD MS20 Gliss Down BD

220 BD ET Down BD

221 BD ET DubStep 1 BD

222 BD ET DubStep 2 BD

223 BD ET DubStep 3 BD

224 BD ET HipHop 1 BD

225 BD ET HipHop 2 BD

226 BD ET HipHop 3 BD

227 BD ET House A 1 BD

228 BD ET House A 2 BD

# Drum Sample DF

229 BD ET House A 3 BD

230 BD ET House B 1 BD

231 BD ET House B 2 BD

232 BD ET House B 3 BD

233 BD ET Gliss Up 1 BD

234 BD ET Gliss Up 2 BD

235 BD ET Gliss Up 3 BD

236 BD ET Minimal A 1 BD

237 BD ET Minimal A 2 BD

238 BD ET Minimal A 3 BD

239 BD ET Minimal B 1 BD

240 BD ET Minimal B 2 BD

241 BD ET Minimal B 3 BD

242 BD Dance1 BD

243 BD Dance2 BD

244 BD Dance3 BD

245 BD House1 BD

246 BD House2 BD

247 BD House3 BD

248 BD House4 BD

249 BD House5 BD

250 BD Liquid BD

251 BD Techno1 BD

252 BD Techno2 BD

253 BD Hip1 BD

254 BD Hip2 BD

255 BD Hip3 BD

256 BD Hip4 BD

257 BD Kick1 BD

258 BD Kick2 BD

259 BD Electro BD

260 BD Ambient BD

261 BD Ambient Crackle BD

262 BD Ambient Rocker BD

# Drum Sample DF

263 BD Pop BD

264 BD Deep BD

265 BD Deep GM BD

266 BD Klanger BD

267 BD Electribe01 BD

268 BD Electribe02 BD

269 BD Electribe03 BD

270 BD Electribe04 BD

271 BD Electribe05 BD

272 BD Electribe06 BD

273 BD Electribe07 BD

274 BD Electribe08 BD

275 BD Electribe09 BD

276 BD Electribe10 BD

277 BD Electribe11 BD

278 BD Electribe12 BD

279 BD Electribe13 BD

280 BD Electribe14 BD

281 BD Electribe15 BD

282 BD Electribe16 BD

283 BD Electribe17 BD

284 BD Syn1 BD

285 BD Syn2 BD

286 BD Syn3 BD

287 BD Syn4 BD

288 BD Buzz BD

289 BD Orchestra Open p BD

290 BD Orchestra Open f BD

291 BD Orchestra muted BD

292 BD Orchestra BD

293 BD Orchestra GM BD

294 Timpani BD

295 SD DW Pop 1 SD

296 SD DW Pop 2 SD

1076| Appendix

# Drum Sample DF

297 SD DW Pop 3 SD

298 SD DW Pop 4 SD

299 SD DW Pop 5 SD

300 SD DW Pop 6 SD

301 SD DW Pop 7 SD

302 SD DW Pop 8 SD

303 SD Brady 1 SD

304 SD Brady 2 SD

305 SD Brady 3 SD

306 SD Brady 4 SD

307 SD Brady 5 SD

308 SD Brady 6 SD

309 SD Brady 7 SD

310 SD Brady 8 SD

311 SD Ldw A 1 SD

312 SD Ldw A 2 SD

313 SD Ldw A 3 SD

314 SD Ldw A 4 SD

315 SD Ldw A 5 SD

316 SD Ldw A 6 SD

317 SD Ldw A 7 SD

318 SD Ldw A 8 SD

319 SD Ldw B 1 SD

320 SD Ldw B 2 SD

321 SD Ldw B 3 SD

322 SD Ldw B 4 SD

323 SD Ldw B 5 SD

324 SD Ldw B 6 SD

325 SD Ldw B 7 SD

326 SD Ldw B 8 SD

327 SD Alc A 1 SD

328 SD Alc A 2 SD

329 SD Alc A 3 SD

330 SD Alc A 4 SD

# Drum Sample DF

331 SD Alc A 5 SD

332 SD Alc A 6 SD

333 SD Alc A 7 SD

334 SD Alc A 8 SD

335 SD Alc B 1 SD

336 SD Alc B 2 SD

337 SD Alc B 3 SD

338 SD Alc B 4 SD

339 SD Alc B 5 SD

340 SD Alc B 6 SD

341 SD Alc B 7 SD

342 SD Alc B 8 SD

343 SD Rock A 1 SD

344 SD Rock A 2 SD

345 SD Rock A 3 SD

346 SD Rock A 4 SD

347 SD Rock A 5 SD

348 SD Rock A 6 SD

349 SD Rock A 7 SD

350 SD Rock A 8 SD

351 SD Rock B 1 SD

352 SD Rock B 2 SD

353 SD Rock B 3 SD

354 SD Rock B 4 SD

355 SD Rock B 5 SD

356 SD Rock B 6 SD

357 SD Rock B 7 SD

358 SD Rock B 8 SD

359 SD D1 1 SD

360 SD D1 2 SD

361 SD D1 3 SD

362 SD D1 4 SD

363 SD D1 5 SD

364 SD D1 6 SD

# Drum Sample DF

365 SD D2 1 SD

366 SD D2 2 SD

367 SD D2 3 SD

368 SD D2 4 SD

369 SD D2 5 SD

370 SD D2 6 SD

371 SD P1 1 SD

372 SD P1 2 SD

373 SD P1 3 SD

374 SD P1 4 SD

375 SD P1 5 SD

376 SD P1 6 SD

377 SD P2 1 SD

378 SD P2 2 SD

379 SD P2 3 SD

380 SD P2 4 SD

381 SD P2 5 SD

382 SD P2 6 SD

383 SD S1 1 SD

384 SD S1 2 SD

385 SD S1 3 SD

386 SD S1 4 SD

387 SD S1 5 SD

388 SD S1 6 SD

389 SD S2 1 SD

390 SD S2 2 SD

391 SD S2 3 SD

392 SD S2 4 SD

393 SD S2 5 SD

394 SD S2 6 SD

395 SD Y1 1 SD

396 SD Y1 2 SD

397 SD Y1 3 SD

398 SD Y1 4 SD

Musical Resources |1077

# Drum Sample DF

399 SD Y1 5 SD

400 SD Y1 6 SD

401 SD Y2 1 SD

402 SD Y2 2 SD

403 SD Y2 3 SD

404 SD Y2 4 SD

405 SD Y2 5 SD

406 SD Y2 6 SD

407 SD Plate 1 SD

408 SD Plate 2 SD

409 SD Plate Ghost SD

410 SD Plate Rim SD

411 SD 1 Studio 1 SD

412 SD 1 Studio 2 SD

413 SD 1 Studio 3 SD

414 SD 1 Studio 4 SD

415 SD 1 Studio 5 SD

416 SD 1 Studio 6 SD

417 SD 1 Studio 7 SD

418 SD 1 Studio 8 SD

419 SD 2 Studio 1 SD

420 SD 2 Studio 2 SD

421 SD 2 Studio 3 SD

422 SD 2 Studio 4 SD

423 SD 2 Studio 5 SD

424 SD 2 Studio 6 SD

425 SD 2 Studio 7 SD

426 SD 2 Studio 8 SD

427 SD Crv p SD

428 SD Crv mf SD

429 SD Crv f SD

430 SD Crv+Rim p SD

431 SD Crv+Rim mf SD

432 SD Crv+Rim f SD

# Drum Sample DF

433 SD CrvOpen pp SD

434 SD CrvOpen p SD

435 SD CrvOpen mf SD

436 SD CrvOpen f SD

437 SD CrvOpRim pp SD

438 SD CrvOpRim p SD

439 SD CrvOpRim mf SD

440 SD CrvOpRim f SD

441 SD Crv Roll p SD

442 SD Crv Roll mf SD

443 SD Crv Roll f SD

444 SD Crv Stage p SD

445 SD Crv Stage mf SD

446 SD Crv Stage f SD

447 SD Crv+Rim Stage p SD

448 SD Crv+Rim Stage mf SD

449 SD Crv+Rim Stage f SD

450 SD Crv Open Stage pp SD

451 SD Crv Open Stage p SD

452 SD Crv Open Stage mf SD

453 SD Crv Open Stage f SD

454 SD Crv OpRim Stage pp SD

455 SD Crv OpRim Stage p SD

456 SD Crv OpRim Stage mf SD

457 SD Crv OpRim Stage f SD

458 SD Crv Gate1 p SD

459 SD Crv Gate1 mf SD

460 SD Crv Gate1 f SD

461 SD Crv+Rim Gate1 p SD

462 SD Crv+Rim Gate1 mf SD

463 SD Crv+Rim Gate1 f SD

464 SD Crv OpRim Gate1 pp SD

465 SD Crv OpRim Gate1 p SD

466 SD Crv OpRim Gate1 mf SD

# Drum Sample DF

467 SD Crv OpRim Gate1 f SD

468 SD Crv Roll Gate1 p SD

469 SD Crv Roll Gate1 mf SD

470 SD Crv Roll Gate1 f SD

471 SD Crv Gate2 p SD

472 SD Crv Gate2 mf SD

473 SD Crv Gate2 f SD

474 SD Crv+Rim Gate2 p SD

475 SD Crv+Rim Gate2 mf SD

476 SD Crv+Rim Gate2 f SD

477 SD Crv Roll Gate2 p SD

478 SD Crv Roll Gate2 mf SD

479 SD Crv Roll Gate2 f SD

480 SD Crv+Rim Plate p SD

481 SD Crv+Rim Plate mf SD

482 SD Crv+Rim Plate f SD

483 SD Crv Open Plate pp SD

484 SD Crv Open Plate p SD

485 SD Crv Open Plate mf SD

486 SD Crv Open Plate f SD

487 SD Crv OpRim Plate pp SD

488 SD Crv OpRim Plate p SD

489 SD Crv OpRim Plate mf SD

490 SD Crv OpRim Plate f SD

491 SD Crv Open Room pp SD

492 SD Crv Open Room p SD

493 SD Crv Open Room mf SD

494 SD Crv Open Room f SD

495 SD Crv OpRim Room pp SD

496 SD Crv OpRim Room p SD

497 SD Crv OpRim Room mf SD

498 SD Crv OpRim Room f SD

499 SD LdwBB1A Cl1 SD

500 SD LdwBB1A Cl2 SD

1078| Appendix

# Drum Sample DF

501 SD LdwBB1A Cl3 SD

502 SD LdwBB1A Cl4 SD

503 SD LdwBB1A OpRim1 SD

504 SD LdwBB1A OpRim2 SD

505 SD LdwBB1A OpRim3 SD

506 SD LdwBB1A OpRim4 SD

507 SD LdwBB1A Roll1 SD

508 SD LdwBB1A Roll2 SD

509 SD LdwBB1A Roll3 SD

510 SD LdwBB1B Op1 SD

511 SD LdwBB1B Op2 SD

512 SD LdwBB1B Op3 SD

513 SD LdwBB1B Op4 SD

514 SD LdwBB1B OpRim1 SD

515 SD LdwBB1B OpRim2 SD

516 SD LdwBB1B OpRim3 SD

517 SD LdwBB1B OpRim4 SD

518 SD LdwBB2 OpRim1 SD

519 SD LdwBB2 OpRim2 SD

520 SD LdwBB2 Std1 SD

521 SD LdwBB2 Std2 SD

522 SD LdwBB2 Std3 SD

523 SD LdwBB2 Roll1 SD

524 SD LdwBB2 Roll2 SD

525 SD LdwBB2 Roll3 SD

526 SD LdwBB2 Roll4 SD

527 SD LdwSup Std p SD

528 SD LdwSup Std mf SD

529 SD LdwSup Std f SD

530 SD LdwSup Std+Rim p SD

531 SD LdwSup Std+Rim mf SD

532 SD LdwSup Std+Rim f SD

533 SD LdwSup Std Gate p SD

534 SD LdwSup Std Gate mf SD

# Drum Sample DF

535 SD LdwSup Std Gate f SD

536 SD LdwSup S+R Gate p SD

537 SD LdwSup S+R Gate mf SD

538 SD LdwSup S+R Gate f SD

539 SD LdwSup Std Room p SD

540 SD LdwSup Std Room mf SD

541 SD LdwSup Std Room f SD

542 SD LdwSup S+R Room p SD

543 SD LdwSup S+R Room mf SD

544 SD LdwSup S+R Room f SD

545 SD LdwVintage Std p SD

546 SD LdwVintage Std mf SD

547 SD LdwVintage Std f SD

548 SD LdwVintage Std ff SD

549 SD LdwVintage S+Rim p SD

550 SD LdwVintage S+Rim mf SD

551 SD LdwVintage S+Rim f SD

552 SD Ldw Roll p SD

553 SD Ldw Roll mf SD

554 SD Ldw Roll f SD

555 SD LdwVint Room p SD

556 SD LdwVint Room mf SD

557 SD LdwVint Room f SD

558 SD LdwVint Room ff SD

559 SD LdwVint room S+R p SD

560 SD LdwVint room S+R mf SD

561 SD LdwVint room S+R f SD

562 SD Ldw Roll room p SD

563 SD Ldw Roll room mf SD

564 SD Ldw Roll room f SD

565 SD Spr Std p SD

566 SD Spr Std mf SD

567 SD Spr Std f SD

568 SD Spr StdRim p SD

# Drum Sample DF

569 SD Spr StdRim mf SD

570 SD Spr StdRim f SD

571 SD Spr Open p SD

572 SD Spr Open mf SD

573 SD Spr Open f SD

574 SD Spr Open ff SD

575 SD Spr OpRim p SD

576 SD Spr OpRim mf SD

577 SD Spr OpRim f SD

578 SD Spr OpRim ff SD

579 SD Spr Roll p SD

580 SD Spr Roll mf SD

581 SD P.E. Std p SD

582 SD P.E. Std mf SD

583 SD P.E. Std f SD

584 SD P.E. Std+Rim p SD

585 SD P.E. Std+Rim mf SD

586 SD P.E. Std+Rim f SD

587 SD P.E. Open p SD

588 SD P.E. Open mf SD

589 SD P.E. Open f SD

590 SD P.E. OpRim mf SD

591 SD P.E. OpRim f SD

592 SD P.E. Roll mf SD

593 SD P.E. Roll f SD

594 SD Natural p SD

595 SD Natural mf SD

596 SD Natural f SD

597 SD Natural Rim p SD

598 SD Natural Rim mf SD

599 SD Natural Rim f SD

600 SD Dry center1 SD

601 SD Dry center2 SD

602 SD Dry center3 SD

Musical Resources |1079

# Drum Sample DF

603 SD Dry Rim1 SD

604 SD Dry Rim2 SD

605 SD Dry Rim3 SD

606 SD Dry Roll SD

607 SD Pop1 p SD

608 SD Pop1 p GM SD

609 SD Pop1 mf SD

610 SD Pop1 mf GM SD

611 SD Pop1 f SD

612 SD Pop1 f GM SD

613 SD Pop1 +Rim mf SD

614 SD Pop1 +Rim mf GM SD

615 SD Pop1 +Rim f SD

616 SD Pop1 +Rim f GM SD

617 SD Pop2 p SD

618 SD Pop2 mf SD

619 SD Pop2 f SD

620 SD Pop2 ff SD

621 SD Flam SD

622 SD Black SD

623 SD S Gate1 SD

624 SD S Gate1 GM SD

625 SD S Gate2 SD

626 SD S Gate3 SD

627 SD Wood1 p SD

628 SD Wood1 mf SD

629 SD Wood1 f SD

630 SD Wood2 pp SD

631 SD Wood2 p SD

632 SD Wood2 mf SD

633 SD Wood2 f SD

634 SD Piccolo1 pp SD

635 SD Piccolo1 p SD

636 SD Piccolo1 mf SD

# Drum Sample DF

637 SD Piccolo1 f SD

638 SD Piccolo2 pp SD

639 SD Piccolo2 p SD

640 SD Piccolo2 mf SD

641 SD Piccolo2 f SD

642 SD Solid1 p SD

643 SD Solid1 mf SD

644 SD Solid1 f SD

645 SD Solid2 p SD

646 SD Solid2 mf SD

647 SD Solid2 f SD

648 SD Maple1 pp SD

649 SD Maple1 p SD

650 SD Maple1 mp SD

651 SD Maple1 mf SD

652 SD Maple1 f SD

653 SD Maple1 ff SD

654 SD Maple2 pp SD

655 SD Maple2 p SD

656 SD Maple2 mp SD

657 SD Maple2 mf SD

658 SD Maple2 f SD

659 SD Maple2 ff SD

660 SD Brass1 p SD

661 SD Brass1 mf SD

662 SD Brass1 f SD

663 SD Brass2 p SD

664 SD Brass2 mf SD

665 SD Brass2 f SD

666 SD Roll SD

667 SD Ghost Roll SD

668 SD Ghost p SD

669 SD Ghost f SD

670 SD Snr Ghost1 a SD

# Drum Sample DF

671 SD Snr Ghost1 b SD

672 SD Snr Ghost2 a SD

673 SD Snr Ghost2 b SD

674 SD Snr Ghost2 c SD

675 SD Snr Signature p SD

676 SD Snr Signature mf SD

677 SD Snr Signature f SD

678 SD Snr Signature Rim mf SD

679 SD Snr Signature Rim f SD

680 SD Snr Signature Rim1 SD

681 SD Snr Signature Rim2 SD

682 SD Dry1 SD

683 SD Dry2 SD

684 SD Dry3 SD

685 SD Full Room SD

686 SD Off Center SD

687 SD Jazz Ring SD

688 SD J center p SD

689 SD J center f SD

690 SD J edge1 SD

691 SD J edge2 SD

692 SD J edge3 SD

693 SD J edge4 SD

694 SD J std p SD

695 SD J std mf SD

696 SD J std f SD

697 SD J std+rim p SD

698 SD J std+rim mf SD

699 SD J std+rim f SD

700 SD Amb.Piccolo SD

701 SD Paper SD

702 SD Big Rock SD

703 SD Yowie SD

704 SD Trinity1 SD

1080| Appendix

# Drum Sample DF

705 SD Trinity2 SD

706 SD Stereo Gate SD

707 SD Stereo Gate GM SD

708 SD Processed SD

709 SD Processed GM SD

710 SD Processed + AMB SD

711 SD Cracker Room SD

712 SD El. Funk1 SD

713 SD El. Funk2 SD

714 SD El. Funk3 SD

715 SD Dance01 SD

716 SD Dance02 SD

717 SD Dance03 SD

718 SD Dance04 SD

719 SD Dance05 SD

720 SD Dance06 SD

721 SD Dance07 SD

722 SD Dance08 SD

723 SD Dance09 SD

724 SD Dance10 SD

725 SD Dance11 SD

726 SD Dance12 SD

727 SD Dance13 SD

728 SD Dance14 SD

729 SD Dance15 SD

730 SD Dance16 SD

731 SD Dance17 SD

732 SD Dance18 SD

733 SD Dance19 SD

734 SD Dance20 SD

735 SD Dance21 SD

736 SD Dance22 SD

737 SD Dance23 SD

738 SD Dance23 GM SD

# Drum Sample DF

739 SD Dance24 SD

740 SD House1 SD

741 SD House2 SD

742 SD House3 SD

743 SD House4 SD

744 SD BeatBox SD

745 SD Small SD

746 SD Rap SD

747 SD Noise SD

748 SD Reverse SD

749 SD Hip1 SD

750 SD Hip2 SD

751 SD Hip3 SD

752 SD Hip4 SD

753 SD Hip5 SD

754 SD Hip6 SD

755 SD Ringy SD

756 SD Tiny SD

757 SD Vintage1 SD

758 SD Vintage2 SD

759 SD Vintage3 SD

760 SD Vintage4 SD

761 SD Vintage5 SD

762 SD Vintage6 SD

763 SD AmbiHop SD

764 SD Brasser SD

765 SD Chili SD

766 SD Whopper SD

767 SD Syn.1 SD

768 SD Syn.2 SD

769 SD Syn.3 SD

770 SD Syn.4 SD

771 SD Electro SD

772 SD ET DubStep1_0 SD

# Drum Sample DF

773 SD ET DubStep1_1 SD

774 SD ET DubStep1_2 SD

775 SD Orchestra SD

776 SD Orch. Roll SD

777 SD Brush C1 SD

778 SD Brush C2 SD

779 SD Brush C3 SD

780 SD Brush C4 SD

781 SD Brush C5 SD

782 SD Brush C6 SD

783 SD Brush Mute1 SD

784 SD Brush Mute2 SD

785 SD Brush Mute3 SD

786 SD Brush Mute4 SD

787 SD Brush Mute5 SD

788 SD Brush Mute6 SD

789 SD Brush S1 1 SD

790 SD Brush S1 2 SD

791 SD Brush S1 3 SD

792 SD Brush S1 4 SD

793 SD Brush S1 5 SD

794 SD Brush S1 6 SD

795 SD Brush S2 1 SD

796 SD Brush S2 2 SD

797 SD Brush S2 3 SD

798 SD Brush S2 4 SD

799 SD Brush S2 5 SD

800 SD Brush S2 6 SD

801 SD Swirl A1 SD

802 SD Swirl A2 SD

803 SD Swirl A3 SD

804 SD Swirl A4 SD

805 SD Swirl B1 SD

806 SD Swirl B2 SD

Musical Resources |1081

# Drum Sample DF

807 SD Swirl B3 SD

808 SD Swirl B4 SD

809 SD Swirl C1 SD

810 SD Swirl C2 SD

811 SD Swirl C3 SD

812 SD Swirl C4 SD

813 SD Swirl L1 SD

814 SD Swirl L2 SD

815 SD Swirl L3 SD

816 SD Swirl M1 SD

817 SD Swirl M2 SD

818 SD Swirl M3 SD

819 SD Swirl S1 SD

820 SD Swirl S2 SD

821 SD Swirl S3 SD

822 SDTap&Swirl L1 SD

823 SDTap&Swirl L2 SD

824 SDTap&Swirl L3 SD

825 SDTap&Swirl L4 SD

826 SDTap&Swirl L5 SD

827 SDTap&Swirl L6 SD

828 SDTap&Swirl S1 SD

829 SDTap&Swirl S2 SD

830 SDTap&Swirl S3 SD

831 SDTap&Swirl S4 SD

832 SDTap&Swirl S5 SD

833 SDTap&Swirl S6 SD

834 SD Brush Swirl End SD

835 SD Brush Swirl End Up SD

836 SD Swirl GM SD

837 SD JBrush Loop1 SD

838 SD JBrush loop2 SD

839 SD JBrush mid SD

840 SD JBrush open p SD

# Drum Sample DF

841 SD JBrush open mf SD

842 SD JBrush open f SD

843 SD JBrush short SD

844 SD JBrush shot p SD

845 SD BrushHit1 SD

846 SD BrushHit2 SD

847 SD JazzBrush1 SD

848 SD JazzBrush2 SD

849 SD Brush1 (swirl1) SD

850 SD Brush1 (swirl2) SD

851 SD Brush1 (swirl3) SD

852 SD Brush1 (swirl4) SD

853 SD Brush1 SD

854 SD Brush2 (ghost1) SD

855 SD Brush2 (ghost2) SD

856 SD Brush2 (ghost3) SD

857 SD Brush2 SD

858 SD Brush2 (fill) 4 shots SD

859 SD Brush2 (fill) 3 shots SD

860 SD Brush2 (fill) 2 shots SD

861 SD Brush3 Hit SD

862 SD Brush3 Tap1 SD

863 SD Brush3 Tap2 SD

864 SD Brush3 Swirl SD

865 SD FX Large Hall1 SD

866 SD FX Large Hall2 SD

867 Rim Pop 1 SD

868 Rim Pop 2 SD

869 Rim Pop 3 SD

870 Rim Pop 4 SD

871 Rim Pop 5 SD

872 Rim Pop 6 SD

873 Rim Pop 7 SD

874 Rim Pop 8 SD

# Drum Sample DF

875 Rim1 m Room SD

876 Rim2 m Room SD

877 Rim3 m Room SD

878 Rim4 m Room SD

879 Rim1 st Room SD

880 Rim2 st Room SD

881 Rim3 st Room SD

882 Rim4 st Room SD

883 Rim1 m rev 80s SD

884 Rim2 m rev 80s SD

885 Rim3 m rev 80s SD

886 Rim4 m rev 80s SD

887 Rim1 st rev 80s SD

888 Rim2 st rev 80s SD

889 Rim3 st rev 80s SD

890 Rim4 st rev 80s SD

891 Rim1 m Gate 1 SD

892 Rim2 m Gate 1 SD

893 Rim3 m Gate 1 SD

894 Rim4 m Gate 1 SD

895 Rim1 st Gate 1 SD

896 Rim2 st Gate 1 SD

897 Rim3 st Gate 1 SD

898 Rim4 st Gate 1 SD

899 Rim1 m Gate 2 SD

900 Rim2 m Gate 2 SD

901 Rim3 m Gate 2 SD

902 Rim4 m Gate 2 SD

903 Rim1 st Gate 2 SD

904 Rim2 st Gate 2 SD

905 Rim3 st Gate 2 SD

906 Rim4 st Gate 2 SD

907 Rim1 m Hall SD

908 Rim2 m Hall SD

1082| Appendix

# Drum Sample DF

909 Rim3 m Hall SD

910 Rim4 m Hall SD

911 Rim1 st Hall SD

912 Rim2 st Hall SD

913 Rim3 st Hall SD

914 Rim4 st Hall SD

915 Rim1 Amb SD

916 Rim2 Amb SD

917 Rim3 Amb SD

918 Rim4 Amb SD

919 Rim Signature Hi SD

920 Rim Signature Mid SD

921 Rim Signature Low SD

922 Rim Shot p SD

923 Rim Shot f SD

924 Rim House1 SD

925 Rim House2 SD

926 Rim Synth SD

927 Rim Synth Click SD

928 Rim Synth Tamb SD

929 Rim Analog SD

930 Rim FX Large Hall1 SD

931 Rim FX Large Hall2 SD

932 Sidestick mf SD

933 Sidestick f SD

934 Sidestick Dance SD

935 SideStick Dry SD

936 SideStick Amb SD

937 DrumStick Hit SD

938 DrumStick Hit GM SD

939 DrumStick Hit Amb SD

940 Tom Pop Hi 1 Tm

941 Tom Pop Hi 2 Tm

942 Tom Pop Hi 3 Tm

# Drum Sample DF

943 Tom Pop Hi 4 Tm

944 Tom Pop Hi 5 Tm

945 Tom Pop Hi 6 Tm

946 Tom Pop Hi 7 Tm

947 Tom Pop Hi 8 Tm

948 Tom Pop Hi Mid 1 Tm

949 Tom Pop Hi Mid 2 Tm

950 Tom Pop Hi Mid 3 Tm

951 Tom Pop Hi Mid 4 Tm

952 Tom Pop Hi Mid 5 Tm

953 Tom Pop Hi Mid 6 Tm

954 Tom Pop Hi Mid 7 Tm

955 Tom Pop Hi Mid 8 Tm

956 Tom Pop Low Mid 1 Tm

957 Tom Pop Low Mid 2 Tm

958 Tom Pop Low Mid 3 Tm

959 Tom Pop Low Mid 4 Tm

960 Tom Pop Low Mid 5 Tm

961 Tom Pop Low Mid 6 Tm

962 Tom Pop Low Mid 7 Tm

963 Tom Pop Low Mid 8 Tm

964 Tom Pop Low 1 Tm

965 Tom Pop Low 2 Tm

966 Tom Pop Low 3 Tm

967 Tom Pop Low 4 Tm

968 Tom Pop Low 5 Tm

969 Tom Pop Low 6 Tm

970 Tom Pop Low 7 Tm

971 Tom Pop Low 8 Tm

972 Tom Pop Floor Hi 1 Tm

973 Tom Pop Floor Hi 2 Tm

974 Tom Pop Floor Hi 3 Tm

975 Tom Pop Floor Hi 4 Tm

976 Tom Pop Floor Hi 5 Tm

# Drum Sample DF

977 Tom Pop Floor Hi 6 Tm

978 Tom Pop Floor Hi 7 Tm

979 Tom Pop Floor Hi 8 Tm

980 Tom Pop Floor Low 1 Tm

981 Tom Pop Floor Low 2 Tm

982 Tom Pop Floor Low 3 Tm

983 Tom Pop Floor Low 4 Tm

984 Tom Pop Floor Low 5 Tm

985 Tom Pop Floor Low 6 Tm

986 Tom Pop Floor Low 7 Tm

987 Tom Pop Floor Low 8 Tm

988 Tom Rock Hi 1 Tm

989 Tom Rock Hi 2 Tm

990 Tom Rock Hi 3 Tm

991 Tom Rock Hi 4 Tm

992 Tom Rock Hi 5 Tm

993 Tom Rock Hi 6 Tm

994 Tom Rock Hi 7 Tm

995 Tom Rock Hi 8 Tm

996 Tom Rock Hi Mid 1 Tm

997 Tom Rock Hi Mid 2 Tm

998 Tom Rock Hi Mid 3 Tm

999 Tom Rock Hi Mid 4 Tm

1000 Tom Rock Hi Mid 5 Tm

1001 Tom Rock Hi Mid 6 Tm

1002 Tom Rock Hi Mid 7 Tm

1003 Tom Rock Hi Mid 8 Tm

1004 Tom Rock Low Mid 1 Tm

1005 Tom Rock Low Mid 2 Tm

1006 Tom Rock Low Mid 3 Tm

1007 Tom Rock Low Mid 4 Tm

1008 Tom Rock Low Mid 5 Tm

1009 Tom Rock Low Mid 6 Tm

1010 Tom Rock Low Mid 7 Tm

Musical Resources |1083

# Drum Sample DF

1011 Tom Rock Low Mid 8 Tm

1012 Tom Rock Low 1 Tm

1013 Tom Rock Low 2 Tm

1014 Tom Rock Low 3 Tm

1015 Tom Rock Low 4 Tm

1016 Tom Rock Low 5 Tm

1017 Tom Rock Low 6 Tm

1018 Tom Rock Low 7 Tm

1019 Tom Rock Low 8 Tm

1020 Tom Rock Floor Hi 1 Tm

1021 Tom Rock Floor Hi 2 Tm

1022 Tom Rock Floor Hi 3 Tm

1023 Tom Rock Floor Hi 4 Tm

1024 Tom Rock Floor Hi 5 Tm

1025 Tom Rock Floor Hi 6 Tm

1026 Tom Rock Floor Hi 7 Tm

1027 Tom Rock Floor Hi 8 Tm

1028 Tom Rock Floor Low 1 Tm

1029 Tom Rock Floor Low 2 Tm

1030 Tom Rock Floor Low 3 Tm

1031 Tom Rock Floor Low 4 Tm

1032 Tom Rock Floor Low 5 Tm

1033 Tom Rock Floor Low 6 Tm

1034 Tom Rock Floor Low 7 Tm

1035 Tom Rock Floor Low 8 Tm

1036 Tom D Hi p Tm

1037 Tom D Hi mf Tm

1038 Tom D Hi f Tm

1039 Tom D Mid p Tm

1040 Tom D Mid mf Tm

1041 Tom D Mid f Tm

1042 Tom D Low p Tm

1043 Tom D Low mf Tm

1044 Tom D Low f Tm

# Drum Sample DF

1045 Tom D Floor p Tm

1046 Tom D Floor mf Tm

1047 Tom D Floor f Tm

1048 Tom P Hi Tm

1049 Tom P Mid Tm

1050 Tom P Low Tm

1051 Tom P Floor Tm

1052 Tom R Vintage Hi Tm

1053 Tom R Vintage Mid Tm

1054 Tom R Vintage Floor Tm

1055 Tom Vintage Room Hi Tm

1056 Tom Vintage Room Mid Tm

1057 Tom Vintage Room Low Tm

1058 Tom1 Open Hi p Tm

1059 Tom1 Open Hi p flam Tm

1060 Tom1 Open Hi f Tm

1061 Tom1 Open Hi f flam Tm

1062 Tom1 Open Mid p Tm

1063 Tom1 Open Mid p flam Tm

1064 Tom1 Open Mid f Tm

1065 Tom1 Open Mid f flam Tm

1066 Tom1 Open Low p Tm

1067 Tom1 Open Low p flam Tm

1068 Tom1 Open Low f Tm

1069 Tom1 Open Low f flam Tm

1070 Tom1 Open Floor p Tm

1071 Tom1 Open Floor p flam Tm

1072 Tom1 Open Floor f Tm

1073 Tom1 Open Floor f flam Tm

1074 Tom2 Hi p Tm

1075 Tom2 Hi f Tm

1076 Tom2 Mid p Tm

1077 Tom2 Mid f Tm

1078 Tom2 Low p Tm

# Drum Sample DF

1079 Tom2 Low f Tm

1080 Tom2 Floor p Tm

1081 Tom2 Floor f Tm

1082 Tom3 Hi Tm

1083 Tom3 Floor Tm

1084 Tom4 Hi Tm

1085 Tom4 Low Tm

1086 Tom4 Floor Tm

1087 Tom5 Hi Tm

1088 Tom5 Low Tm

1089 Tom6 Vintage Hi p Tm

1090 Tom6 Vintage Hi mf Tm

1091 Tom6 Vintage Hi f Tm

1092 Tom6 Vintage Mid p Tm

1093 Tom6 Vintage Mid mf Tm

1094 Tom6 Vintage Mid f Tm

1095 Tom6 Vintage Low p Tm

1096 Tom6 Vintage Low mf Tm

1097 Tom6 Vintage Low f Tm

1098 Tom Jazz HW Hi 1 Tm

1099 Tom Jazz HW Hi 2 Tm

1100 Tom Jazz HW Hi 3 Tm

1101 Tom Jazz HW Hi 4 Tm

1102 Tom Jazz HW Hi 5 Tm

1103 Tom Jazz HW Low 1 Tm

1104 Tom Jazz HW Low 2 Tm

1105 Tom Jazz HW Low 3 Tm

1106 Tom Jazz HW Low 4 Tm

1107 Tom Jazz HW Low 5 Tm

1108 Tom Jazz HW Low 6 Tm

1109 Tom Jazz HW Low 7 Tm

1110 Tom Jazz HW Low 8 Tm

1111 Tom Jazz HW Floor 1 Tm

1112 Tom Jazz HW Floor 2 Tm

1084| Appendix

# Drum Sample DF

1113 Tom Jazz HW Floor 3 Tm

1114 Tom Jazz HW Floor 4 Tm

1115 Tom Jazz HW Floor 5 Tm

1116 Tom Jazz HW Floor 6 Tm

1117 Tom Jazz HW Floor 7 Tm

1118 Tom Jazz HW Floor 8 Tm

1119 Tom Jazz Hi center Tm

1120 Tom Jazz Hi center GM Tm

1121 Tom Jazz Hi edge Tm

1122 Tom Jazz Hi rim Tm

1123 Tom Jazz Low center Tm

1124 Tom Jazz Low center GM Tm

1125 Tom Jazz Low edge Tm

1126 Tom Jazz Low rim Tm

1127 Tom Jazz Hi Tm

1128 Tom Jazz Floor Tm

1129 Tom Brush Mt Hi 1 Tm

1130 Tom Brush Mt Hi 2 Tm

1131 Tom Brush Mt Hi 3 Tm

1132 Tom Brush Mt Hi 4 Tm

1133 Tom Brush Mt Hi 5 Tm

1134 Tom Brush Mt Hi 6 Tm

1135 Tom Brush Op Hi 1 Tm

1136 Tom Brush Op Hi 2 Tm

1137 Tom Brush Op Hi 3 Tm

1138 Tom Brush Op Hi 4 Tm

1139 Tom Brush Op Hi 5 Tm

1140 Tom Brush Op Hi 6 Tm

1141 Tom Brush Mt Low 1 Tm

1142 Tom Brush Mt Low 2 Tm

1143 Tom Brush Mt Low 3 Tm

1144 Tom Brush Mt Low 4 Tm

1145 Tom Brush Mt Low 5 Tm

1146 Tom Brush Mt Low 6 Tm

# Drum Sample DF

1147 Tom Brush Op Low 1 Tm

1148 Tom Brush Op Low 2 Tm

1149 Tom Brush Op Low 3 Tm

1150 Tom Brush Op Low 4 Tm

1151 Tom Brush Op Low 5 Tm

1152 Tom Brush Op Low 6 Tm

1153 Tom Brush1 (sd open) Tm

1154 Tom Brush1 (sd close) Tm

1155 Tom Brush2 (sd open) Tm

1156 Tom Brush2 (sd close) Tm

1157 Tom Brush3 Hi mf Tm

1158 Tom Brush3 Hi f Tm

1159 Tom Brush3 Hi f GM Tm

1160 Tom Brush3 Mid mf Tm

1161 Tom Brush3 Mid f Tm

1162 Tom Brush3 Mid f GM Tm

1163 Tom Brush3 Low mf Tm

1164 Tom Brush3 Low f Tm

1165 Tom Brush3 Low f GM Tm

1166 Tom Brush4 Tm

1167 Tom Brush5 Amb Hi Tm

1168 Tom Brush5 Amb Low Tm

1169 Tom Processed Tm

1170 E.Tom FM Tm

1171 E.Tom Real Tm

1172 HH Pop Z Cl 1 HH

1173 HH Pop Z Cl 2 HH

1174 HH Pop Z Cl 3 HH

1175 HH Pop Z Cl 4 HH

1176 HH Pop Z Cl 5 HH

1177 HH Pop Z Cl 6 HH

1178 HH Pop Z Cl 7 HH

1179 HH Pop Z Cl 8 HH

1180 HH Pop Z Op 1 HH

# Drum Sample DF

1181 HH Pop Z Op 2 HH

1182 HH Pop Z Op 3 HH

1183 HH Pop Z Op 4 HH

1184 HH Pop Z Op 5 HH

1185 HH Pop Z Op 6 HH

1186 HH Pop Z Op 7 HH

1187 HH Pop Z Op 8 HH

1188 HH Pop Z Ped 1 HH

1189 HH Pop Z Ped 2 HH

1190 HH Pop Z Ped 3 HH

1191 HH Pop Z Ped 4 HH

1192 HH Pop Z Ped 5 HH

1193 HH Pop Z Ped 6 HH

1194 HH Pop Z Ped 7 HH

1195 HH Pop Z Ped 8 HH

1196 HH Rock Cl 1 HH

1197 HH Rock Cl 2 HH

1198 HH Rock Cl 3 HH

1199 HH Rock Cl 4 HH

1200 HH Rock Cl 5 HH

1201 HH Rock Cl 6 HH

1202 HH Rock Cl 7 HH

1203 HH Rock Op 1 HH

1204 HH Rock Op 2 HH

1205 HH Rock Op 3 HH

1206 HH Rock Op 4 HH

1207 HH Rock Op 5 HH

1208 HH Rock Op 6 HH

1209 HH Rock Op 7 HH

1210 HH Rock HOp 1 HH

1211 HH Rock HOp 2 HH

1212 HH Rock HOp 3 HH

1213 HH Rock HOp 4 HH

1214 HH Rock HOp 5 HH

Musical Resources |1085

# Drum Sample DF

1215 HH Rock HOp 6 HH

1216 HH Rock HOp 7 HH

1217 HH Rock QOp 1 HH

1218 HH Rock QOp 2 HH

1219 HH Rock QOp 3 HH

1220 HH Rock QOp 4 HH

1221 HH Rock QOp 5 HH

1222 HH Rock QOp 6 HH

1223 HH Rock QOp 7 HH

1224 HH Rock Ped 1 HH

1225 HH Rock Ped 2 HH

1226 HH Rock Ped 3 HH

1227 HH Rock Ped 4 HH

1228 HH Rock Ped 5 HH

1229 HH Rock Ped 6 HH

1230 HH Rock Ped 7 HH

1231 HH Natural Cl p HH

1232 HH Natural Cl mf HH

1233 HH Natural Op1 p HH

1234 HH Natural Op1 mf HH

1235 HH Natural Op2 p HH

1236 HH Natural Op2 mf HH

1237 HH Natural Op3 HH

1238 HH Natural Op4 HH

1239 HH Natural pedal Cl HH

1240 HH Natural pedal Op HH

1241 HH Natural tip Cl p HH

1242 HH Natural tip Cl mf HH

1243 HH Natural tip Op1 p HH

1244 HH Natural tip Op1 mf HH

1245 HH Natural tip Op2 p HH

1246 HH Natural tip Op2 mf HH

1247 HH Natural tip Op3 HH

1248 HH Natural cup Op1 HH

# Drum Sample DF

1249 HH Natural cup Op2 HH

1250 HH Soul Cl p HH

1251 HH Soul Cl mf HH

1252 HH Soul Cl f HH

1253 HH Soul Op p HH

1254 HH Soul Op mf HH

1255 HH Soul Op f HH

1256 HH Vintage Cl p HH

1257 HH Vintage Cl mf HH

1258 HH Vintage Cl f HH

1259 HH Vintage Op HH

1260 HH Jazz Cl a HH

1261 HH Jazz Cl b HH

1262 HH Jazz Cl c HH

1263 HH Jazz Op1 a HH

1264 HH Jazz Op1 b HH

1265 HH Jazz Op1 c HH

1266 HH Jazz Op2 a HH

1267 HH Jazz Op2 b HH

1268 HH Jazz Op3 HH

1269 HH Jazz Op4 HH

1270 HH Jazz tip Cl a HH

1271 HH Jazz tip Cl b HH

1272 HH Jazz tip Cl c HH

1273 HH Jazz tip Op1 a HH

1274 HH Jazz tip Op1 b HH

1275 HH Jazz tip Op1 c HH

1276 HH Jazz tip Op2 a HH

1277 HH Jazz tip Op2 b HH

1278 HH Jazz tip Op3 HH

1279 HH Jazz ped Cl HH

1280 HH Jazz ped Op HH

1281 HH1 Closed pp HH

1282 HH1 Closed p HH

# Drum Sample DF

1283 HH1 Closed mf HH

1284 HH1 Closed f HH

1285 HH1 Open mp HH

1286 HH1 Open mf HH

1287 HH1 Foot mp HH

1288 HH1 Foot mf HH

1289 HH2 Closed pp HH

1290 HH2 Closed p HH

1291 HH2 Closed mp HH

1292 HH2 Closed mf HH

1293 HH2 Closed f HH

1294 HH2 Closed ff HH

1295 HH2 Open p HH

1296 HH2 Open f HH

1297 HH2 Foot p HH

1298 HH2 Foot f HH

1299 HH3 Closed1 HH

1300 HH3 Closed2 HH

1301 HH3 Open1 HH

1302 HH3 Open2 HH

1303 HH3 Sizzle HH

1304 HH3 Foot HH

1305 HH4 Closed1 HH

1306 HH4 Closed2 HH

1307 HH4 Open HH

1308 HH4 Foot HH

1309 HH4 Foot Open HH

1310 HH Old TiteClose HH

1311 HH Old Close1 HH

1312 HH Old Close2 HH

1313 HH Old Open1 HH

1314 HH Old Open2 HH

1315 HH Brush Nat Cl 1 HH

1316 HH Brush Nat Cl 2 HH

1086| Appendix

# Drum Sample DF

1317 HH Brush Nat Cl 3 HH

1318 HH Brush Nat Cl 4 HH

1319 HH Brush Nat Cl 5 HH

1320 HH Brush Nat Cl 6 HH

1321 HH Brush Nat Op a 1 HH

1322 HH Brush Nat Op a 2 HH

1323 HH Brush Nat Op a 3 HH

1324 HH Brush Nat Op a 4 HH

1325 HH Brush Nat Op a 5 HH

1326 HH Brush Nat Op a 6 HH

1327 HH Brush Nat Op b 1 HH

1328 HH Brush Nat Op b 2 HH

1329 HH Brush Nat Op b 3 HH

1330 HH Brush Nat Op b 4 HH

1331 HH Brush Nat Op b 5 HH

1332 HH Brush Nat Op b 6 HH

1333 HH Brush Nat Op c 1 HH

1334 HH Brush Nat Op c 2 HH

1335 HH Brush Nat Op c 3 HH

1336 HH Brush Nat Op c 4 HH

1337 HH Brush Nat Op c 5 HH

1338 HH Brush Nat Op c 6 HH

1339 HH Brush Nat Op d 1 HH

1340 HH Brush Nat Op d 2 HH

1341 HH Brush Nat Op d 3 HH

1342 HH Brush Nat Op d 4 HH

1343 HH Brush Nat Op d 5 HH

1344 HH Brush Nat Op d 6 HH

1345 HH Ped Nat Cl 1 HH

1346 HH Ped Nat Cl 2 HH

1347 HH Ped Nat Cl 3 HH

1348 HH Ped Nat Cl 4 HH

1349 HH Ped Nat Cl 5 HH

1350 HH Ped Nat Op 1 HH

# Drum Sample DF

1351 HH Ped Nat Op 2 HH

1352 HH Ped Nat Op 3 HH

1353 HH Ped Nat Op 4 HH

1354 HH Ped Nat Op 5 HH

1355 HH Brush Cl 1 HH

1356 HH Brush Cl 2 HH

1357 HH Brush Cl 3 HH

1358 HH Brush Op 1 HH

1359 HH Brush Op 2 HH

1360 HH Brush Op 3 HH

1361 HH Brush Op 4 HH

1362 HH1 MS20 Cl 1 HH

1363 HH1 MS20 Cl 2 HH

1364 HH1 MS20 Cl 3 HH

1365 HH1 MS20 Cl 4 HH

1366 HH1 MS20 Cl 5 HH

1367 HH1 MS20 Cl 6 HH

1368 HH1 MS20 Op 1 HH

1369 HH1 MS20 Op 2 HH

1370 HH1 MS20 Op 3 HH

1371 HH1 MS20 Op 4 HH

1372 HH1 MS20 Op 5 HH

1373 HH2 MS20 Cl 1 HH

1374 HH2 MS20 Cl 2 HH

1375 HH2 MS20 Cl 3 HH

1376 HH2 MS20 Cl 4 HH

1377 HH2 MS20 Cl 5 HH

1378 HH2 MS20 Cl 6 HH

1379 HH2 MS20 Op 4 HH

1380 HH2 MS20 Op 5 HH

1381 HH House Open1 HH

1382 HH House Open2 HH

1383 HH Hip HH

1384 HH Alpo Close HH

# Drum Sample DF

1385 HH Dance1 HH

1386 HH Dance2 HH

1387 HH Syn. Closed HH

1388 HH Syn. Open HH

1389 Ride T20 1 S 1 Cy

1390 Ride T20 2 S 1 Cy

1391 Ride T20 3 S 1 Cy

1392 Ride T20 4 S 1 Cy

1393 Ride T20 1 S 2 Cy

1394 Ride T20 2 S 2 Cy

1395 Ride T20 3 S 2 Cy

1396 Ride T20 4 S 2 Cy

1397 Ride T20 1 S 3 Cy

1398 Ride T20 2 S 3 Cy

1399 Ride T20 3 S 3 Cy

1400 Ride T20 4 S 3 Cy

1401 Ride T20 1 S 4 Cy

1402 Ride T20 2 S 4 Cy

1403 Ride T20 3 S 4 Cy

1404 Ride T20 4 S 4 Cy

1405 Ride T20 1 S 5 Cy

1406 Ride T20 2 S 5 Cy

1407 Ride T20 3 S 5 Cy

1408 Ride T20 4 S 5 Cy

1409 Ride T20 Cup 1 Cy

1410 Ride T20 Cup 2 Cy

1411 Ride T20 Cup 3 Cy

1412 Ride T20 Cup 4 Cy

1413 Ride Pop1 1 Cy

1414 Ride Pop1 2 Cy

1415 Ride Pop1 3 Cy

1416 Ride Pop1 4 Cy

1417 Ride Pop1 5 Cy

1418 Ride Pop1 6 Cy

Musical Resources |1087

# Drum Sample DF

1419 Ride Pop1 7 Cy

1420 Ride Pop1 8 Cy

1421 Ride Pop2 1 Cy

1422 Ride Pop2 2 Cy

1423 Ride Pop2 3 Cy

1424 Ride Pop2 4 Cy

1425 Ride Pop2 5 Cy

1426 Ride Pop2 6 Cy

1427 Ride Pop2 7 Cy

1428 Ride Pop2 8 Cy

1429 Ride Pop Bell 1 Cy

1430 Ride Pop Bell 2 Cy

1431 Ride Pop Bell 3 Cy

1432 Ride Pop Bell 4 Cy

1433 Ride Pop Bell 5 Cy

1434 Ride Pop Bell 6 Cy

1435 Ride Pop Bell 7 Cy

1436 Ride Pop Bell 8 Cy

1437 Ride Rock1 1 Cy

1438 Ride Rock1 2 Cy

1439 Ride Rock1 3 Cy

1440 Ride Rock2 1 Cy

1441 Ride Rock2 2 Cy

1442 Ride Rock2 3 Cy

1443 Ride Rock Bell 1 Cy

1444 Ride Rock Bell 2 Cy

1445 Ride Rock Bell 3 Cy

1446 Ride Z20 edge1 Cy

1447 Ride Z20 edge2 Cy

1448 Ride Z20 edge3 Cy

1449 Ride Z20 edge4 Cy

1450 Ride Z20 edge5 Cy

1451 Ride Z20 edge6 Cy

1452 Ride Z20 cup1 Cy

# Drum Sample DF

1453 Ride Z20 cup2 Cy

1454 Ride Z20 cup3 Cy

1455 Ride 20 mp1 Cy

1456 Ride 20 mp2 Cy

1457 Ride 20 mf1 Cy

1458 Ride 20 mf2 Cy

1459 Ride Edge1 Cy

1460 Ride Edge2 Cy

1461 Ride Cup Cy

1462 Ride Jazz Cy

1463 Ride Z22 Rivet 1 S1 Cy

1464 Ride Z22 Rivet 2 S1 Cy

1465 Ride Z22 Rivet 3 S1 Cy

1466 Ride Z22 Rivet 4 S1 Cy

1467 Ride Z22 Rivet 1 S2 Cy

1468 Ride Z22 Rivet 2 S2 Cy

1469 Ride Z22 Rivet 3 S2 Cy

1470 Ride Z22 Rivet 4 S2 Cy

1471 Ride Z22 Rivet 1 S3 Cy

1472 Ride Z22 Rivet 2 S3 Cy

1473 Ride Z22 Rivet 3 S3 Cy

1474 Ride Z22 Rivet 4 S3 Cy

1475 Ride Z22 Rivet Cup 1 Cy

1476 Ride Z22 Rivet Cup 2 Cy

1477 Ride Z22 Rivet Cup 3 Cy

1478 Ride Z22 Rivet Cup 4 Cy

1479 Ride Rivet Cy

1480 Ride Rivet Amb Cy

1481 Ride Brush1 Cy

1482 Ride Brush2 Cy

1483 Ride Brush3 Cy

1484 Ride Brush Nat 1 1 Cy

1485 Ride Brush Nat 1 2 Cy

1486 Ride Brush Nat 1 3 Cy

# Drum Sample DF

1487 Ride Brush Nat 2 1 Cy

1488 Ride Brush Nat 2 2 Cy

1489 Ride Brush Nat 2 3 Cy

1490 Ride Brush Nat Cup 1 Cy

1491 Ride Brush Nat Cup 2 Cy

1492 Ride Brush Nat Cup 3 Cy

1493 Ride Z Brush Edge 1 Cy

1494 Ride Z Brush Edge 2 Cy

1495 Ride Z Brush Cup Cy

1496 Crash Pop 1 1 Cy

1497 Crash Pop 1 2 Cy

1498 Crash Pop 1 3 Cy

1499 Crash Pop 1 4 Cy

1500 Crash Pop 1 5 Cy

1501 Crash Pop 1 6 Cy

1502 Crash Pop 1 7 Cy

1503 Crash Pop 1 8 Cy

1504 Crash Pop 2 1 Cy

1505 Crash Pop 2 2 Cy

1506 Crash Pop 2 3 Cy

1507 Crash Pop 2 4 Cy

1508 Crash Pop 2 5 Cy

1509 Crash Pop 2 6 Cy

1510 Crash Pop 2 7 Cy

1511 Crash Pop 2 8 Cy

1512 Crash Rock 1 1 Cy

1513 Crash Rock 1 2 Cy

1514 Crash Rock 1 3 Cy

1515 Crash Rock 2 1 Cy

1516 Crash Rock 2 2 Cy

1517 Crash Rock 2 3 Cy

1518 Crash 15 edge 1 Cy

1519 Crash 15 edge 2 Cy

1520 Crash 17 edge 1 Cy

1088| Appendix

# Drum Sample DF

1521 Crash 17 edge 2 Cy

1522 Crash 19 open 1 Cy

1523 Crash 19 open 2 Cy

1524 Crash T20 1 Cy

1525 Crash T20 2 Cy

1526 Crash T20 3 Cy

1527 Crash T20 4 Cy

1528 Crash Z 20 Cy

1529 Crash 1 Cy

1530 Crash 2 Cy

1531 Crash Z22 Rivet 1 A1 Cy

1532 Crash Z22 Rivet 2 A1 Cy

1533 Crash Z22 Rivet 3 A1 Cy

1534 Crash Z22 Rivet 4 A1 Cy

1535 Crash Brush 1 1 Cy

1536 Crash Brush 1 2 Cy

1537 Crash Brush 1 3 Cy

1538 Crash Brush 2 1 Cy

1539 Crash Brush 2 2 Cy

1540 Crash Reverse Cy

1541 Reverse Cymbal Cy

1542 Crash Dance 99 Cy

1543 Crash DDD-1 Cy

1544 Splash Pop 1 Cy

1545 Splash Pop 2 Cy

1546 Splash Pop 3 Cy

1547 Splash Pop 4 Cy

1548 Splash Pop 5 Cy

1549 Splash Pop 6 Cy

1550 Splash Pop 7 Cy

1551 Splash Pop 8 Cy

1552 Splash Rock 1 Cy

1553 Splash Rock 2 Cy

1554 Splash Rock 3 Cy

# Drum Sample DF

1555 Splash Rock 4 Cy

1556 Splash U11 1 Cy

1557 Splash U11 2 Cy

1558 Splash U11 3 Cy

1559 Splash U11 4 Cy

1560 Splash 8 edge1 Cy

1561 Splash 8 edge2 Cy

1562 Splash Cy

1563 Chinese Pop 1 Cy

1564 Chinese Pop 2 Cy

1565 Chinese Pop 3 Cy

1566 Chinese Pop 4 Cy

1567 Chinese Pop 5 Cy

1568 Chinese Pop 6 Cy

1569 Chinese Pop 7 Cy

1570 Chinese Pop 8 Cy

1571 China Rock Cymb 1 Cy

1572 China Rock Cymb 2 Cy

1573 China Rock Cymb 3 Cy

1574 China Cy

1575 Orchestra Cymbal Cy

1576 Finger Snaps LP

1577 Finger Snap LP

1578 Hand Claps 1 LP

1579 Hand Claps 2 LP

1580 Hand Claps 3 LP

1581 Hand Claps 4 LP

1582 Hand Claps 5 LP

1583 Claps Natural 1a LP

1584 Claps Natural 1b LP

1585 Claps Natural 1c LP

1586 Claps Natural 1d LP

1587 Claps Natural 2a LP

1588 Claps Natural 2b LP

# Drum Sample DF

1589 Claps Natural 2c LP

1590 Claps Natural 2d LP

1591 Claps Natural 2e LP

1592 Claps Natural 3a LP

1593 Claps Natural 3b LP

1594 Claps Natural 3c LP

1595 Claps Natural 3d LP

1596 Claps Natural 3e LP

1597 Claps Natural 3f LP

1598 Claps Natural 3g LP

1599 Claps Natural 3h LP

1600 Claps1 LP

1601 Claps2 LP

1602 Claps3 LP

1603 Claps4 LP

1604 Claps Ensemble 1 LP

1605 Claps Ensemble 2 LP

1606 Claps Ensemble 3 LP

1607 Claps Ensemble 4 LP

1608 Claps Analog LP

1609 Dance Claps1 LP

1610 Dance Claps2 LP

1611 Dance Claps3 LP

1612 Dance Claps4 LP

1613 Dance Claps5 LP

1614 Dance Claps6 LP

1615 Dance Conga1 Lo-Open LP

1616 Dance Conga1 Hi-Open LP

1617 Dance Tambourine HP

1618 Electric Bongo LP

1619 Syn. Bongo Hi LP

1620 Syn. Bongo Low LP

1621 Syn. Castanet LP

1622 Syn. Shaker HP

Musical Resources |1089

# Drum Sample DF

1623 Syn. Noise SFX

1624 Syn. FX1 SFX

1625 Syn. FX2 SFX

1626 Syn. FX3 SFX

1627 Syn. FX4 SFX

1628 Syn. FX5 SFX

1629 Syn. Perc. Ahh SFX

1630 Boom SFX

1631 Zap1 SFX

1632 Zap2 SFX

1633 Vinyl Hit SFX

1634 DJ Vinyl Sliced 01 SFX

1635 DJ Vinyl Sliced 02 SFX

1636 DJ Vinyl Sliced 03 SFX

1637 DJ Vinyl Sliced 04 SFX

1638 DJ Vinyl Sliced 05 SFX

1639 DJ Vinyl Sliced 06 SFX

1640 DJ Vinyl Sliced 07 SFX

1641 DJ Vinyl Sliced 08 SFX

1642 DJ Vinyl Sliced 09 SFX

1643 DJ Vinyl Sliced 10 SFX

1644 DJ Vinyl Sliced 11 SFX

1645 DJ Vinyl Sliced 12 SFX

1646 DJ Vinyl Sliced 13 SFX

1647 DJ Vinyl Sliced 14 SFX

1648 DJ Vinyl Sliced 15 SFX

1649 DJ Vinyl Sliced 16 SFX

1650 DJ Vinyl Sliced 17 SFX

1651 DJ Vinyl Sliced 18 SFX

1652 DJ Vinyl Sliced 19 SFX

1653 DJ Vinyl Sliced 20 SFX

1654 DJ Vinyl Sliced 21 SFX

1655 DJ Vinyl Sliced 22 SFX

1656 DJ Vinyl Sliced 23 SFX

# Drum Sample DF

1657 DJ Vinyl Sliced 24 SFX

1658 DJ Scratch1 SFX

1659 DJ Scratch2 SFX

1660 DJ Scratch3 SFX

1661 DJ Scratch4 SFX

1662 DJ Scratch5 SFX

1663 DJ Scratch6 SFX

1664 DJ Hit Rub SFX

1665 DJ Vocal Rub1 SFX

1666 DJ Vocal Rub2 SFX

1667 DJ BD Rub SFX

1668 DJ SD Rub SFX

1669 Guiro Long Nat p LP

1670 Guiro Long Nat f LP

1671 Guiro Long LP

1672 Guiro Short Nat p LP

1673 Guiro Short Nat f LP

1674 Guiro Short LP

1675 Vibraslap HP

1676 Vibraslap Amb HP

1677 Long Whistle HP

1678 Short Whistle HP

1679 Samba Whistle HP

1680 Samba Whistle Lp HP

1681 Cuica Open 1 LP

1682 Cuica Open 2 LP

1683 Cuica Open 3 LP

1684 Cuica Mute 1 LP

1685 Cuica Mute 2 LP

1686 Cuica Hi LP

1687 Cuica Lo LP

1688 Surdo Open LP

1689 Surdo Mute LP

1690 Surdo Open GM LP

# Drum Sample DF

1691 Surdo Mute GM LP

1692 Tumba Open1 mf LP

1693 Tumba Open1 f LP

1694 Tumba Open2 mf LP

1695 Tumba Open2 f LP

1696 Tumba Open Flam LP

1697 Tumba Glissando LP

1698 Tumba Basstone LP

1699 Tumba O.Slap Flam mf LP

1700 Tumba O.Slap Flam f LP

1701 Tumba Muffled LP

1702 Low Conga 1 LP

1703 Low Conga 2 LP

1704 Low Conga 3 LP

1705 Low Conga 4 LP

1706 Low Conga 5 LP

1707 Conga1 Lo Basstone LP

1708 Conga1 Lo Open mf LP

1709 Conga1 Lo Open Slap LP

1710 Conga1 Lo Glissando LP

1711 Conga1 Lo Muffled LP

1712 Conga1 Lo Closed LP

1713 Conga1 Lo Closed Slap LP

1714 Conga1 Lo Heel LP

1715 Conga1 Lo Toe LP

1716 Open Hi Conga 1 LP

1717 Open Hi Conga 2 LP

1718 Open Hi Conga 3 LP

1719 Open Hi Conga 4 LP

1720 Mute Hi Conga 1 LP

1721 Mute Hi Conga 2 LP

1722 Mute Hi Conga 3 LP

1723 Conga1 Hi Basstone mf LP

1724 Conga1 Hi Basstone f LP

1090| Appendix

# Drum Sample DF

1725 Conga1 Hi Open mf LP

1726 Conga1 Hi Open Slap LP

1727 Conga1 Hi Muffled LP

1728 Conga1 Hi Closed LP

1729 Conga1 Hi Closed Slap LP

1730 Conga1 Hi Heel LP

1731 Conga1 Hi Toe LP

1732 Conga2 Lo Open LP

1733 Conga2 Lo Mt Slap LP

1734 Conga2 Lo Slap LP

1735 Conga2 Hi Open LP

1736 Conga2 Hi Mute LP

1737 Conga2 Hi Mt Slap LP

1738 Conga2 Hi Slap1 LP

1739 Conga2 Hi Slap2 LP

1740 Conga2 Heel LP

1741 Conga2 Toe LP

1742 Quinto1 Open LP

1743 Quinto1 Closed LP

1744 Quinto1 Closed Slap LP

1745 Quinto1 Toe LP

1746 Quinto2 Basstone LP

1747 Quinto2 Open mp LP

1748 Quinto2 Open Flam LP

1749 Quinto2 Open Slap LP

1750 Quinto2 Muffled LP

1751 Quinto2 C.Slap Flam p LP

1752 Quinto2 C.Slap Flam f LP

1753 Quinto2 Heel LP

1754 Low Bongo 1 LP

1755 Low Bongo 2 LP

1756 Low Bongo 3 LP

1757 Hi Bongo 1 LP

1758 Hi Bongo 2 LP

# Drum Sample DF

1759 Hi Bongo 3 LP

1760 Bongo1 Lo Muffled mp LP

1761 Bongo1 Lo Muffled f LP

1762 Bongo1 Lo Closed LP

1763 Bongo1 Lo Flam LP

1764 Bongo1 Lo MuffledFlam LP

1765 Bongo1 Lo Stick LP

1766 Bongo1 Lo StickEdge mf LP

1767 Bongo1 Lo StickEdge f LP

1768 Bongo1 Lo StickBounce LP

1769 Bongo1 Lo Fingernail LP

1770 Bongo1 Lo Cuptone LP

1771 Bongo1 Lo Slap LP

1772 Bongo1 Hi Open mf LP

1773 Bongo1 Hi Open f LP

1774 Bongo1 Hi Pops LP

1775 Bongo1 Hi Hightone LP

1776 Bongo1 Hi OpenFlam LP

1777 Bongo1 Hi Fingernail LP

1778 Bongo1 Hi Stick LP

1779 Bongo1 Hi StickEdge mf LP

1780 Bongo1 Hi StickEdge f LP

1781 Bongo1 Hi StickBounce LP

1782 Bongo1 Hi Cuptone LP

1783 Bongo1 Hi Slap LP

1784 Bongo2 Lo Open a LP

1785 Bongo2 Lo Open b LP

1786 Bongo2 Lo Mute LP

1787 Bongo2 Hi Open a LP

1788 Bongo2 Hi Open b LP

1789 Bongo2 Hi Muffled LP

1790 Bongo2 Hi Slap LP

1791 Bongo2 Lo Heel LP

1792 Bongo2 Lo Muffled LP

# Drum Sample DF

1793 Bongo3 Lo Open LP

1794 Bongo3 Lo Slap LP

1795 Bongo3 Lo Stick LP

1796 Bongo3 Hi Open LP

1797 Bongo3 Hi Slap LP

1798 Bongo3 Hi Stick1 LP

1799 Bongo3 Hi Stick2 LP

1800 Okonkolo Boca Open mp LP

1801 Okonkolo Boca Open mf LP

1802 Okonkolo Boca Open f LP

1803 Okonkolo Boca Open ff LP

1804 Okonkolo Cha Open p LP

1805 Okonkolo Cha Open mf LP

1806 Okonkolo Cha Open f LP

1807 Okonkolo Cha Open ff LP

1808 Okonkolo Cha Slap p LP

1809 Okonkolo Cha Slap mf LP

1810 Okonkolo Cha Slap f LP

1811 Baya Open LP

1812 Baya Ghe LP

1813 Baya GheUp a LP

1814 Baya GheUp b LP

1815 Baya KaPalm LP

1816 Baya KaToe a LP

1817 Baya KaToe b LP

1818 Baya Nail a LP

1819 Baya Nail b LP

1820 Baya Nail c LP

1821 Baya Ge LP

1822 Baya Up LP

1823 Baya UpDown a LP

1824 Baya UpDown b LP

1825 Baya Mute1 LP

1826 Baya Mute2 LP

Musical Resources |1091

# Drum Sample DF

1827 Baya Mute3 LP

1828 Tabla1 Na LP

1829 Tabla1 Open LP

1830 Tabla1 Tin LP

1831 Tabla1 Mute1 LP

1832 Tabla1 Mute2 LP

1833 Tabla1 Mute3 LP

1834 Tabla2 Tin a LP

1835 Tabla2 Tin b LP

1836 Tabla2 Na a LP

1837 Tabla2 Na b LP

1838 Tabla2 Na c LP

1839 Tabla2 Tun a LP

1840 Tabla2 Tun b LP

1841 Tabla2 Tele a LP

1842 Tabla2 Tele b LP

1843 Tabla2 Tele c LP

1844 Tabla2 Ti a LP

1845 Tabla2 Ti b LP

1846 Tabla2 Ti c LP

1847 Tabla2 Tera LP

1848 Tsuzumi LP

1849 Taiko Open LP

1850 Taiko Rim LP

1851 Low Timbale 1 LP

1852 Low Timbale 2 LP

1853 Low Timbale 3 LP

1854 Low Timbale 4 LP

1855 Low Timbale 5 LP

1856 Timbales1 Lo Op mp LP

1857 Timbales1 Lo Op mf LP

1858 Timbales1 Lo Op mf GM

LP

1859 Timbales1 Lo Edge mf LP

1860 Timbales1 Lo Edge f LP

# Drum Sample DF

1861 Timbales1 Lo RimShot LP

1862 Timbales1 Lo Abanico LP

1863 Timbales1 Lo Roll LP

1864 Timbales1 Lo Mute mf LP

1865 Timbales1 Lo Mute f LP

1866 Timbales1 Lo Paila mf HP

1867 Timbales1 Lo Paila f HP

1868 High Timbale 1 LP

1869 High Timbale 2 LP

1870 High Timbale 3 LP

1871 High Timbale 4 LP

1872 High Timbale 5 LP

1873 Timbales1 Hi Open LP

1874 Timbales1 Hi Edge LP

1875 Timbales1 Hi Edge GM LP

1876 Timbales1 Hi Rim p LP

1877 Timbales1 Hi Rim mf LP

1878 Timbales1 Hi Rim f LP

1879 Timbales1 Hi Abanico1 LP

1880 Timbales1 Hi Abanico2 LP

1881 Timbales1 Hi Mute LP

1882 Timbales1 Hi Paila mf HP

1883 Timbales1 Hi Paila f HP

1884 Timbales2 Lo Open LP

1885 Timbales2 Lo Mute LP

1886 Timbales2 Lo Rim LP

1887 Timbales2 Hi Edge LP

1888 Timbales2 Hi Rim1 LP

1889 Timbales2 Hi Rim2 LP

1890 Timbales2 Paila HP

1891 Cowbell Amb HP

1892 Cowbell1 HP

1893 Cowbell2 HP

1894 Cowbell3 HP

# Drum Sample DF

1895 Cowbell4 Open HP

1896 Cowbell4 Mute HP

1897 Cowbell5 Open a HP

1898 Cowbell5 Open b HP

1899 Cowbell5 Mute HP

1900 Cowbell6 HP

1901 Cowbell7-Open HP

1902 Cowbell7-Mute HP

1903 Cowbell Rock 1 HP

1904 Cowbell Rock 2 HP

1905 Cowbell Rock 3 HP

1906 Cowbell Rock 4 HP

1907 Hi Agogo HP

1908 Low Agogo HP

1909 Agogo Bell HP

1910 Chacha Bell HP

1911 Mambo Bell HP

1912 Recoreco short1 HP

1913 Recoreco short2 HP

1914 Recoreco short3 HP

1915 Recoreco long HP

1916 Open Triangle p HP

1917 Open Triangle f HP

1918 Triangle1 Open HP

1919 Triangle2 Open Lp HP

1920 Triangle2 Closed c HP

1921 Mute Triangle p HP

1922 Mute Triangle f HP

1923 Triangle1 Mute HP

1924 Sleigh Bell HP

1925 Rap Sleigh Bell HP

1926 Jingle Bell Amb HP

1927 Jingle Bell HP

1928 Bells Open HP

1092| Appendix

# Drum Sample DF

1929 Finger Cymbal HP

1930 Marc Tree HP

1931 Marc Tree GM HP

1932 Marc TreeLP HP

1933 Marc Tree Amb HP

1934 Rainstick SFX

1935 Flexatone HP

1936 Chinese Gong Cy

1937 Claves p LP

1938 Claves f LP

1939 Claves1 Lo a LP

1940 Claves1 Lo b LP

1941 Claves1 Hi a LP

1942 Claves1 Hi b LP

1943 Claves2 LP

1944 Low Wood Block p LP

1945 Low Wood Block f LP

1946 Hi Wood Block p LP

1947 Hi Wood Block f LP

1948 Wood Block 1 a LP

1949 Wood Block 1 b LP

1950 Wood Block 2 a LP

1951 Wood Block 2 b LP

1952 Wood Block 3 a LP

1953 Wood Block 3 b LP

1954 Wood Block 4 a LP

1955 Wood Block 4 b LP

1956 Wood Block 5 a LP

1957 Wood Block 5 b LP

1958 Wood Block 6 a LP

1959 Wood Block 6 b LP

1960 Wood Block 7 LP

1961 Wood Block 8 LP

1962 Castanet Amb LP

# Drum Sample DF

1963 Castanet 1 a LP

1964 Castanet 1 b LP

1965 Castanet 1 c LP

1966 Castanet 2 LP

1967 Castanet Single LP

1968 Castanet Single GM LP

1969 Castanet Double LP

1970 Cabasa Amb 1 HP

1971 Cabasa Amb 2 HP

1972 Cabasa Amb 3 HP

1973 Cabasa 1 L a Down HP

1974 Cabasa 1 L a Up HP

1975 Cabasa 1 L b Down HP

1976 Cabasa 1 L b Up HP

1977 Cabasa 1 S a Down HP

1978 Cabasa 1 S a Up HP

1979 Cabasa 1 S b Down HP

1980 Cabasa 1 S b up HP

1981 Cabasa 2 L Stack b HP

1982 Cabasa 2 L Stack a HP

1983 Cabasa 2 L Roll HP

1984 Cabasa 2 S Stack a HP

1985 Cabasa 2 S Stack b HP

1986 Cabasa 2 S Roll HP

1987 Cabasa 3 WS HP

1988 Cabasa 3 Up HP

1989 Cabasa 3 Down HP

1990 Cabasa 3 Tap HP

1991 Caxixi1 a HP

1992 Caxixi1 b HP

1993 Caxixi1 c HP

1994 Caxixi2 a HP

1995 Caxixi2 b HP

1996 Caxixi2 c HP

# Drum Sample DF

1997 Caxixi3 Hard HP

1998 Caxixi3 Soft HP

1999 Shaker Amb HP

2000 Shaker1 PuE_Sh a HP

2001 Shaker1 PuE_Sh b HP

2002 Shaker1 Pull a HP

2003 Shaker1 Pull b HP

2004 Shaker1 Accent a HP

2005 Shaker1 Accent b HP

2006 Shaker1 Slow a HP

2007 Shaker1 Slow b HP

2008 Shaker1 Slow c HP

2009 Shaker1 Roll a HP

2010 Shaker1 Roll b HP

2011 Shaker1 Roll c HP

2012 Shaker2 HP

2013 Shaker3 HP

2014 Maracas Amb 1 HP

2015 Maracas Amb 2 HP

2016 Maracas Amb 3 HP

2017 Maracas Amb 4 HP

2018 Maracas Push HP

2019 Maracas Pull HP

2020 Dumbek a LP

2021 Dumbek b LP

2022 Dumbek c LP

2023 Dumbek d LP

2024 Dumbek e LP

2025 Dumbek f LP

2026 Dumbek g LP

2027 Dumbek h LP

2028 Dumbek i LP

2029 Dumbek j LP

2030 Dumbek k LP

Musical Resources |1093

# Drum Sample DF

2031 Djembe L Basstone a LP

2032 Djembe L Basstone b LP

2033 Djembe L Basstone c LP

2034 Djembe L Open LP

2035 Djembe L Open Slap LP

2036 Djembe L Closed Slap LP

2037 Djembe S Basstone a LP

2038 Djembe S Basstone b LP

2039 Djembe S Basstone c LP

2040 Djembe Open LP

2041 Djembe Mute LP

2042 Djembe Slap LP

2043 Djembe S Open LP

2044 Djembe S Open Slap a LP

2045 Djembe S Open Slap b LP

2046 Djembe S Closed Slap a LP

2047 Djembe S Closed Slap b LP

2048 Djembe S Closed Slap c LP

2049 Djembe Bass LP

2050 Udu Open a LP

2051 Udu Open b LP

2052 Udu Open c LP

2053 Udu Open d LP

2054 Udu Slide a HP

2055 Udu Slide b HP

2056 Udu Half Open a LP

2057 Udu Half Open b LP

2058 Udu Half Open c LP

2059 Udu Bell a LP

2060 Udu Bell b LP

2061 WD Brazillia1 SD

2062 WD Brazillia2 SD

2063 WD Ethno SD1 SD

2064 WD Ethno SD2 SD

# Drum Sample DF

2065 WD Ethno SD3 SD

2066 WD Ethno SD4 SD

2067 WD Ethno SD5 SD

2068 WD Ethno SD6 SD

2069 WD Kangaroo1 SFX

2070 WD Kangaroo2 SFX

2071 WD Kangaroo3 SFX

2072 WD Kangaroo4 SFX

2073 WD Kangaroo5 SFX

2074 WD Kangaroo6 SFX

2075 WD Kangaroo7 SFX

2076 WD Kangaroo8 SFX

2077 Tambourine Push HP

2078 Tambourine Pull HP

2079 Tambourine Acc1 A HP

2080 Tambourine Acc1 B HP

2081 Tambourine Acc2 HP

2082 Tambourine Mute1 LP

2083 Tambourine Mute2 LP

2084 Tambourine Open LP

2085 Tambourine Nat 1 HP

2086 Tambourine Nat 2 HP

2087 Tambourine Nat 3 HP

2088 Tambourine Nat 4 HP

2089 Tambourine Nat 5 HP

2090 Tambourine Rock 1 HP

2091 Tambourine Rock 2 HP

2092 Tambourine Rock 3 HP

2093 Tambourine Rock 4 HP

2094 M.E.1 Douf Rim Ak LP

2095 M.E.1 Douf Tek Ak1 LP

2096 M.E.1 Douf Tek Ak2 LP

2097 M.E.1 Pand Open LP

2098 M.E.1 Pand Pattern1 LP

# Drum Sample DF

2099 M.E.1 Pand Pattern2 LP

2100 M.E.1 Pand Pattern3 LP

2101 M.E.1 Pand Pattern4 LP

2102 M.E.1 Rek Dom Ak HP

2103 M.E.1 Rek Jingle HP

2104 M.E.1 Rik1 LP

2105 M.E.1 Rik2 LP

2106 M.E.1 Rik3 LP

2107 M.E.1 Sagat Half Open HP

2108 M.E.1 Sagat Close HP

2109 M.E.1 Surdo L Open LP

2110 M.E.1 Surdo L Mute LP

2111 M.E.1 Tabla Medium LP

2112 M.E.1 Tabla Dom LP

2113 M.E.1 Tabla Flam LP

2114 M.E.1 Tabla Rim LP

2115 M.E.1 Tabla Tak LP

2116 M.E.1 Timbales HP

2117 M.E.1 Udu f Open LP

2118 M.E.1 Alkis LP

2119 M.E.1 Bandir Open LP

2120 M.E.1 Bandir Closed LP

2121 M.E.1 Bongo Roll LP

2122 M.E.1 Darbuka1 Tek1 LP

2123 M.E.1 Darbuka1 Tek2 LP

2124 M.E.1 Darbuka1 Open LP

2125 M.E.1 Darbuka1 Closed LP

2126 M.E.1 Darbuka2 LP

2127 M.E.1 Darbuka3 LP

2128 M.E.1 Darbuka4 LP

2129 M.E.1 Darbuka5 D1 LP

2130 M.E.1 Darbuka5 D2 LP

2131 M.E.1 Darbuka5 D3 LP

2132 M.E.1 Darbuka6 Mute LP

1094| Appendix

# Drum Sample DF

2133 M.E.1 Darbuka6 Open LP

2134 M.E.1 Darbuka6 Rim LP

2135 M.E.1 Darbuka6 Dom Ak LP

2136 M.E.1 Davul HP

2137 M.E.1 Hollo1 LP

2138 M.E.1 Hollo2 LP

2139 M.E.1 Kup1 LP

2140 M.E.1 Kup2 LP

2141 M.E.1 Ramazan Davul1 LP

2142 M.E.1 Ramazan Davul2 LP

2143 M.E.1 Ramazan Davul3 LP

2144 M.E.1 Tef1 HP

2145 M.E.1 Tef2 HP

2146 M.E.1 Tef3 HP

2147 M.E.2 BD Kick BD

2148 M.E.2 SD SD

2149 M.E.2 Asagum LP

2150 M.E.2 Asmatek LP

2151 M.E.2 Bendirgum LP

2152 M.E.2 Bendirtek1 LP

2153 M.E.2 Bendirtek2 LP

2154 M.E.2 Dm1 LP

2155 M.E.2 Findik LP

2156 M.E.2 Gum LP

2157 M.E.2 Hollotokat LP

2158 M.E.2 Islik1 SFX

2159 M.E.2 Islik2 SFX

2160 M.E.2 Kapalit LP

2161 M.E.2 Kasik1 LP

2162 M.E.2 Kasik2 LP

2163 M.E.2 Kasik3 LP

2164 M.E.2 Kasik4 LP

2165 M.E.2 Kemik LP

2166 M.E.2 Kenar1 LP

# Drum Sample DF

2167 M.E.2 Kenartek LP

2168 M.E.2 Ramazangum LP

2169 M.E.2 Ramazantek LP

2170 M.E.2 Renk LP

2171 M.E.2 Renkbir LP

2172 M.E.2 Renkiki LP

2173 M.E.2 Tefacik LP

2174 M.E.2 Tefgum LP

2175 M.E.2 Teftek1 LP

2176 M.E.2 Teftokat LP

2177 M.E.2 Teftrill LP

2178 M.E.2 Tefzil LP

2179 M.E.2 Tek1 LP

2180 M.E.2 Tek2 LP

2181 M.E.2 Tekbir LP

2182 M.E.2 Tokat LP

2183 M.E.2 Toprgum LP

2184 M.E.2 Toprtek1 LP

2185 M.E.2 Toprtek2 LP

2186 M.E.2 Toprtokat LP

2187 M.E.2 TRILL1 LP

2188 M.E.2 Zil1 HP

2189 M.E.2 Zil2 HP

2190 M.E.2 Zil3 HP

2191 M.E.2 Zilgit SFX

2192 Orchestra Hit SFX

2193 Band Hit SFX

2194 Impact Hit SFX

2195 Metal Hit SFX

2196 Yeah! SFX

2197 Yeah! Solo SFX

2198 Uhh SFX

2199 Hit It SFX

2200 Uhhhh Solo SFX

# Drum Sample DF

2201 Comp Voice Noise SFX

2202 Stadium Amb SFX

2203 Stadium SFX

2204 Applause Amb SFX

2205 Applause SFX

2206 Scream SFX

2207 Laughing SFX

2208 Footsteps1 SFX

2209 Footsteps2 SFX

2210 Bird1 SFX

2211 Bird2 SFX

2212 Dog SFX

2213 Gallop SFX

2214 Crickets SFX

2215 Cat SFX

2216 Growl SFX

2217 Heart Beat SFX

2218 Heart Beat GM SFX

2219 Punch SFX

2220 Tribe SFX

2221 Door Creak SFX

2222 Door Slam SFX

2223 Car Engine SFX

2224 Car Stop SFX

2225 Car Pass SFX

2226 Car Crash SFX

2227 Train SFX

2228 Helicopter SFX

2229 Gun Shot1 SFX

2230 Gun Shot2 SFX

2231 Machine Gun SFX

2232 Laser Gun SFX

2233 Explosion SFX

2234 Thunder SFX

Musical Resources |1095

# Drum Sample DF

2235 Wind SFX

2236 Stream SFX

2237 Bubble SFX

2238 Bubble GM SFX

2239 Church Bell SFX

2240 Telephone Ring SFX

2241 Xylophone Spectr SFX

2242 Cricket Spectrum SFX

2243 Air Vortex SFX

2244 Noise White SFX

2245 Noise FM Mod SFX

2246 Tubular HP

2247 Gamelan HP

2248 Tambura HP

2249 Gtr Cut Noise1 SFX

2250 Gtr Cut Noise2 SFX

2251 Power Chord SFX

2252 Fret Noise SFX

2253 Dist. Slide1 SFX

2254 Dist. Slide2 SFX

2255 E.Gtr Pick1 SFX

2256 E.Gtr Pick2 SFX

2257 Gtr Scratch1 SFX

2258 Gtr Scratch2 SFX

2259 Ac.Bs-String Slap SFX

2260 Amp Noise SFX

2261 Space Lore SFX

2262 Swish Terra SFX

2263 Hand Drill SFX

2264 Mouth Harp SFX

2265 Slice Groove A 001 BD

2266 Slice Groove A 002 SD

2267 Slice Groove A 003 SD

2268 Slice Groove A 004 SD

# Drum Sample DF

2269 Slice Groove A 005 SFX

2270 Slice Groove A 006 SD

2271 Slice Groove A 007 BD

2272 Slice Groove A 008 BD

2273 Slice Groove A 009 BD

2274 Slice Groove A 010 SFX

2275 Slice Groove A 011 SD

2276 Slice Groove A 012 SD

2277 Slice Groove A 013 SFX

2278 Slice Groove A 014 SFX

2279 Slice Groove A 015 SD

2280 Slice Groove A 016 SFX

2281 Slice Groove A 017 SFX

2282 Slice Groove A 018 SFX

2283 Slice Groove A 019 SFX

2284 Slice Groove A 020 BD

2285 Slice Groove A 021 HH

2286 Slice Groove A 022 SFX

2287 Slice Groove A 023 SD

2288 Slice Groove A 024 SFX

2289 Slice Groove A 025 BD

2290 Slice Groove A 026 SD

2291 Slice Groove A 027 BD

2292 Slice Groove A 028 BD

2293 Slice Groove A 029 SD

2294 Slice Groove A 030 SD

2295 Slice Groove A 031 SD

2296 Slice Groove A 032 SD

2297 Slice Groove A 033 SD

2298 Slice Groove A 034 SD

2299 Slice Groove A 035 SD

2300 Slice Groove A 036 BD

2301 Slice Groove A 037 BD

2302 Slice Groove A 038 SD

# Drum Sample DF

2303 Slice Groove A 039 SD

2304 Slice Groove A 040 SFX

2305 Slice Groove A 041 SFX

2306 Slice Groove A 042 SD

2307 Slice Groove A 043 SFX

2308 Slice Groove A 044 SFX

2309 Slice Groove A 045 SFX

2310 Slice Groove A 046 SFX

2311 Slice Groove A 047 SFX

2312 Slice Groove A 048 SFX

2313 Slice Groove A 049 SFX

2314 Slice Groove A 050 SFX

2315 Slice Groove A 051 SD

2316 Slice Groove A 052 SFX

2317 Slice Groove A 053 SFX

2318 Slice Groove A 054 SD

2319 Slice Groove A 055 HH

2320 Slice Groove A 056 SD

2321 Slice Groove A 057 SFX

2322 Slice Groove A 058 BD

2323 Slice Groove A 059 SD

2324 Slice Groove A 060 SD

2325 Slice Groove A 061 SD

2326 Slice Groove A 062 Tm

2327 Slice Groove A 063 Tm

2328 Slice Groove A 064 BD

2329 Slice Groove A 065 SFX

2330 Slice Groove A 066 SFX

2331 Slice Groove A 067 SFX

2332 Slice Groove A 068 SD

2333 Slice Groove A 069 SFX

2334 Slice Groove A 070 SFX

2335 Slice Groove A 071 SFX

2336 Slice Groove A 072 SFX

1096| Appendix

# Drum Sample DF

2337 Slice Groove A 073 BD

2338 Slice Groove A 074 SD

2339 Slice Groove A 075 BD

2340 Slice Groove A 076 SFX

2341 Slice Groove A 077 SD

2342 Slice Groove A 078 BD

2343 Slice Groove A 079 SFX

2344 Slice Groove A 080 SFX

2345 Slice Groove A 081 SFX

2346 Slice Groove A 082 BD

2347 Slice Groove A 083 BD

2348 Slice Groove A 084 SFX

2349 Slice Groove A 085 BD

2350 Slice Groove A 086 SD

2351 Slice Groove A 087 SFX

2352 Slice Groove A 088 BD

2353 Slice Groove A 089 BD

2354 Slice Groove A 090 HH

2355 Slice Groove A 091 BD

2356 Slice Groove A 092 SD

2357 Slice Groove A 093 SFX

2358 Slice Groove A 094 SFX

2359 Slice Groove A 095 SFX

2360 Slice Groove A 096 SFX

2361 Slice Groove A 097 BD

2362 Slice Groove A 098 BD

2363 Slice Groove A 099 SD

2364 Slice Groove A 100 SFX

2365 Slice Groove A 101 SFX

2366 Slice Groove A 102 SFX

2367 Slice Groove A 103 SFX

2368 Slice Groove A 104 SFX

2369 Slice Groove A 105 SFX

2370 Slice Groove A 106 BD

# Drum Sample DF

2371 Slice Groove A 107 SFX

2372 Slice Groove A 108 SFX

2373 Slice Groove A 109 SFX

2374 Slice Groove A 110 SFX

2375 Slice Groove A 111 HH

2376 Slice Groove A 112 SFX

2377 Slice Groove A 113 BD

2378 Slice Groove A 114 SD

2379 Slice Groove A 115 SFX

2380 Slice Groove A 116 SFX

2381 Slice Groove A 117 SFX

2382 Slice Groove A 118 SFX

2383 Slice Groove A 119 HH

2384 Slice Groove A 120 BD

2385 Slice Groove A 121 SFX

2386 Slice Groove A 122 SFX

2387 Slice Groove A 123 SFX

2388 Slice Groove A 124 SD

2389 Slice Groove A 125 SD

2390 Slice Groove A 126 SD

2391 Slice Groove A 127 BD

2392 Slice Groove A 128 SD

2393 Slice Groove B 001 SD

2394 Slice Groove B 002 BD

2395 Slice Groove B 003 BD

2396 Slice Groove B 004 BD

2397 Slice Groove B 005 SFX

2398 Slice Groove B 006 SFX

2399 Slice Groove B 007 SFX

2400 Slice Groove B 008 BD

2401 Slice Groove B 009 SD

2402 Slice Groove B 010 HH

2403 Slice Groove B 011 BD

2404 Slice Groove B 012 BD

# Drum Sample DF

2405 Slice Groove B 013 SD

2406 Slice Groove B 014 SD

2407 Slice Groove B 015 SFX

2408 Slice Groove B 016 BD

2409 Slice Groove B 017 SD

2410 Slice Groove B 018 SFX

2411 Slice Groove B 019 SFX

2412 Slice Groove B 020 SFX

2413 Slice Groove B 021 SFX

2414 Slice Groove B 022 BD

2415 Slice Groove B 023 HH

2416 Slice Groove B 024 SFX

2417 Slice Groove B 025 SFX

2418 Slice Groove B 026 SFX

2419 Slice Groove B 027 BD

2420 Slice Groove B 028 SD

2421 Slice Groove B 029 SFX

2422 Slice Groove B 030 SFX

2423 Slice Groove B 031 SFX

2424 Slice Groove B 032 BD

2425 Slice Groove B 033 BD

2426 Slice Groove B 034 HH

2427 Slice Groove B 035 HH

2428 Slice Groove B 036 HH

2429 Slice Groove B 037 SFX

2430 Slice Groove B 038 BD

2431 Slice Groove B 039 BD

2432 Slice Groove B 040 BD

2433 Slice Groove B 041 SFX

2434 Slice Groove B 042 SD

2435 Slice Groove B 043 SD

2436 Slice Groove B 044 HH

2437 Slice Groove B 045 BD

2438 Slice Groove B 046 SD

Musical Resources |1097

# Drum Sample DF

2439 Slice Groove B 047 SFX

2440 Slice Groove B 048 SFX

2441 Slice Groove B 049 SFX

2442 Slice Groove B 050 BD

2443 Slice Groove B 051 SFX

2444 Slice Groove B 052 BD

2445 Slice Groove B 053 SFX

2446 Slice Groove B 054 SFX

2447 Slice Groove B 055 SFX

2448 Slice Groove B 056 SFX

2449 Slice Groove B 057 SFX

2450 Slice Groove B 058 SFX

2451 Slice Groove B 059 HH

2452 Slice Groove B 060 SD

2453 Slice Groove B 061 SFX

2454 Slice Groove B 062 SFX

2455 Slice Groove B 063 SFX

2456 Slice Groove B 064 BD

2457 Slice Groove B 065 BD

2458 Slice Groove B 066 SFX

2459 Slice Groove B 067 SFX

2460 Slice Groove B 068 SFX

2461 Slice Groove B 069 SFX

2462 Slice Groove B 070 SD

2463 Slice Groove B 071 SFX

2464 Slice Groove B 072 SD

2465 Slice Groove B 073 SFX

2466 Slice Groove B 074 HH

2467 Slice Groove B 075 BD

2468 Slice Groove B 076 SFX

2469 Slice Groove B 077 SFX

2470 Slice Groove B 078 SD

2471 Slice Groove B 079 SFX

2472 Slice Groove B 080 BD

# Drum Sample DF

2473 Slice Groove B 081 SD

2474 Slice Groove B 082 SD

2475 Slice Groove B 083 SD

2476 Slice Groove B 084 SFX

2477 Slice Groove B 085 SD

2478 Slice Groove B 086 HH

2479 Slice Groove B 087 SD

2480 Slice Groove B 088 SD

2481 Slice Groove B 089 SD

2482 Slice Groove B 090 SD

2483 Slice Groove B 091 SD

2484 Slice Groove B 092 SD

2485 Slice Groove B 093 BD

2486 Slice Groove B 094 SFX

2487 Slice Groove B 095 SFX

2488 Slice Groove B 096 SFX

2489 Slice Groove B 097 SFX

2490 Slice Groove B 098 SFX

2491 Slice Groove B 099 BD

2492 Slice Groove B 100 SFX

2493 Slice Groove B 101 SD

2494 Slice Groove B 102 SFX

2495 Slice Groove B 103 BD

2496 Slice Groove B 104 BD

2497 Slice Groove B 105 HH

2498 Slice Groove B 106 BD

2499 Slice Groove B 107 SFX

2500 Slice Groove B 108 SFX

2501 Slice Groove B 109 HH

2502 Slice Groove B 110 SFX

2503 Slice Groove B 111 HH

2504 Slice Groove B 112 BD

2505 Slice Groove B 113 BD

2506 Slice Groove B 114 SFX

# Drum Sample DF

2507 Slice Groove B 115 SD

2508 Slice Groove B 116 SD

2509 Slice Groove B 117 HH

2510 Slice Groove B 118 SFX

2511 Slice Groove B 119 SD

2512 Slice Groove B 120 BD

2513 Slice Groove B 121 BD

2514 Slice Groove B 122 SFX

2515 Slice Groove B 123 BD

2516 Slice Groove B 124 SFX

2517 Slice Groove B 125 SFX

2518 Slice Groove B 126 SD

2519 Slice Groove B 127 SFX

2520 Slice Groove B 128 SFX

2521 Grv BD1 BD

2522 Grv BD2 BD

2523 Grv BD3 BD

2524 Grv BD4 BD

2525 Grv BD5 BD

2526 Grv BD6 BD

2527 Grv BD7 BD

2528 Grv BD8 BD

2529 Grv BD9 BD

2530 Grv BD10 BD

2531 Grv BD11 BD

2532 Grv BD12 BD

2533 Grv BD13 BD

2534 Grv BD14 BD

2535 Grv BD15 BD

2536 Grv BD16 BD

2537 Grv BD17 BD

2538 Grv BD18 BD

2539 Grv BD19 BD

2540 Grv BD20 BD

# Drum Sample DF

2541 Grv BD21 BD

2542 Grv BD22 BD

2543 Grv BD23 BD

2544 Grv SD1 SD

2545 Grv SD2 SD

2546 Grv SD3 SD

2547 Grv SD4 SD

2548 Grv SD5 SD

2549 Grv SD6 SD

2550 Grv SD7 SD

2551 Grv SD8 SD

2552 Grv SD9 SD

2553 Grv SD10 SD

2554 Grv SD11 SD

2555 Grv SD12 SD

2556 Grv SD13 SD

2557 Grv SD14 SD

2558 Grv SD15 SD

2559 Grv SD16 SD

2560 Grv SD17 SD

2561 Grv Rim1 SD

2562 Grv Rim2 SD

2563 Grv Rim3 SD

2564 Grv Rim4 SD

2565 Grv Rim5 SD

2566 Grv Rim6 SD

2567 Grv HH Closed1 HH

2568 Grv HH Closed2 HH

2569 Grv HH Closed3 HH

2570 Grv HH Closed4 HH

2571 Grv HH Closed5 HH

2572 Grv HH Closed6 HH

2573 Grv HH Closed7 HH

2574 Grv HH Closed8 HH

# Drum Sample DF

2575 Grv HH Closed9 HH

2576 Grv HH Closed10 HH

2577 Grv HH Closed11 HH

2578 Grv HH Closed12 HH

2579 Grv HH Closed13 HH

2580 Grv HH Closed14 HH

2581 Grv HH Closed15 HH

2582 Grv HH Closed16 HH

2583 Grv HH Closed17 HH

2584 Grv HH Open1 HH

2585 Grv HH Open2 HH

2586 Grv HH Open3 HH

2587 Grv HH Open4 HH

2588 Grv Hi Tom1 Tm

2589 Grv Hi Tom2 Tm

2590 Grv Low Tom1 Tm

2591 Grv Low Tom2 Tm

2592 Grv Ride Cy

2593 Grv Crash1 Cy

2594 Grv Crash2 Cy

2595 Grv Claps1 LP

2596 Grv Claps2 LP

2597 Grv Claps3 LP

2598 Grv Claps4 LP

2599 Grv Claps5 LP

2600 Grv Claps6 LP

2601 Grv Claps7 LP

2602 Grv Claps8 LP

2603 Grv Claps9 LP

2604 Grv Claps10 LP

2605 Grv Fx1 SFX

2606 Grv Fx2 SFX

2607 Grv Fx3 SFX

2608 Grv Fx4 SFX

# Drum Sample DF

2609 Grv Fx5 SFX

2610 Grv Fx6 SFX

2611 Grv Fx7 SFX

2612 Grv Fx8 SFX

2613 Grv Fx9 SFX

2614 Grv Fx10 SFX

2615 Grv Fx11 SFX

2616 Grv Fx12 SFX

2617 Grv Fx13 SFX

2618 Grv Fx14 SFX

2619 Grv Fx15 SFX

2620 Grv Fx16 SFX

2621 Grv Fx17 SFX

2622 Grv Fx18 SFX

2623 Grv Fx19 SFX

2624 Grv Fx20 SFX

2625 Grv Fx21 SFX

2626 Grv Fx22 SFX

2627 Grv Fx23 SFX

2628 Grv Fx24 SFX

2629 Grv Fx25 SFX

2630 Grv Fx26 SFX

2631 Grv Fx27 SFX

2632 Grv Fx28 SFX

2633 Grv Fx29 SFX

2634 Grv Fx30 SFX

2635 Grv Fx31 SFX

2636 Grv Fx32 SFX

2637 Grv Fx33 SFX

2638 Grv Fx34 SFX

2639 Grv Fx35 SFX

2640 Grv Slice1 SFX

2641 Grv Slice2 SFX

2642 Grv Slice3 SFX

Musical Resources |1099

# Drum Sample DF

2643 Grv Slice4 SFX

2644 Grv Slice5 SFX

2645 Grv Slice6 SFX

2646 Grv Slice7 SFX

2647 Grv Slice8 SFX

2648 Grv Slice9 SFX

2649 Grv Slice10 SFX

2650 Grv Slice11 SFX

2651 Grv Slice12 SFX

2652 Grv Slice13 SFX

2653 Grv Slice14 SFX

2654 Grv Slice15 SFX

2655 Grv Slice16 SFX

2656 Grv Slice17 SFX

2657 Grv Slice18 SFX

2658 Grv Slice19 SFX

2659 Grv Slice20 SFX

2660 Grv Slice21 SFX

2661 Grv Slice22 SFX

2662 Grv Slice23 SFX

2663 55 BD BD

2664 55 Claps LP

2665 55 CongaHi LP

2666 55 CongaLow LP

2667 55 Cowbell Hi HP

2668 55 Cowbell Low HP

2669 55 Crash Cy

2670 55 HH Close HH

2671 55 HH Open HH

2672 55 Ride Cy

2673 55 Rim SD

2674 55 SD SD

2675 55 Timbales Hi LP

2676 55 Tom Hi Tm

# Drum Sample DF

2677 55 Tom Mid Tm

2678 55 Tom Low Tm

2679 66 BD BD

2680 66 SD SD

2681 66 HH Close HH

2682 66 HH Open HH

2683 66 Tom Tm

2684 66 Congas LP

2685 66 Cymbal Cy

2686 66 Cowbell HP

2687 78 BD BD

2688 78 SD1 SD

2689 78 SD2 SD

2690 78 HH Cl1 HH

2691 78 HH Cl2 HH

2692 78 HH Open HH

2693 78 Tom Tm

2694 78 Cymbal Cy

2695 78 Bongos LP

2696 78 Congas LP

2697 78 Claves LP

2698 88 BD1 BD

2699 88 BD2 BD

2700 88 BD Long BD

2701 88 SD1 SD

2702 88 SD2 SD

2703 88 SD2 GM SD

2704 88 SD3 SD

2705 88 SD3 GM SD

2706 88 RIM Shot1 SD

2707 88 Rim Shot2 SD

2708 88 Rim Shot2 GM SD

2709 88 HH Close1 HH

2710 88 HH Close1 acc HH

# Drum Sample DF

2711 88 HH Close1 acc GM HH

2712 88 HH Close2 HH

2713 88 HH Close2 GM HH

2714 88 HH Open1 HH

2715 88 HH Open1 GM HH

2716 88 HH Open2 HH

2717 88 Tom1 Tm

2718 88 Tom2 Tm

2719 88 Cymbal Cy

2720 88 Cymbal Acc1 Cy

2721 88 Cymbal Acc2 Cy

2722 88 Crash Cy

2723 88 Crash GM Cy

2724 88 Bongos LP

2725 88 Congas1 LP

2726 88 Congas2 LP

2727 88 Claps1 LP

2728 88 Claps2 LP

2729 88 Claves LP

2730 88 Cowbell HP

2731 88 Maracas HP

2732 99 BD1 BD

2733 99 BD2 BD

2734 99 BD3 BD

2735 99 SD1 SD

2736 99 SD2 SD

2737 99 SD3 SD

2738 99 RIM Shot SD

2739 99 HH Close1 HH

2740 99 HH Close2 HH

2741 99 HH Close3 HH

2742 99 HH Open1 HH

2743 99 HH Open2 HH

2744 99 HH Open3 HH

1100| Appendix

# Drum Sample DF

2745 99 Tom Hi Tm

2746 99 Tom Mid Tm

2747 99 Tom Low Tm

2748 99 Claps LP

2749 99 Guiro1 LP

2750 99 Guiro2 LP

2751 99 Ride Cy

2752 99 Ride Dance Cy

2753 99 Crash1 Cy

2754 99 Crash2 Cy

2755 99 Crash3 Cy

2756 99 Cabasa HP

2757 99 Bongo Hi LP

2758 99 Bongo Low LP

2759 99 Agogo Hi HP

2760 99 Agogo Low HP

2761 99 Conga Hi LP

2762 99 Conga Mid LP

2763 99 Conga Low LP

2764 99 WoodBlock LP

2765 99 Timbale Hi LP

2766 99 Timbale Mid LP

2767 99 Metal HP

2768 Click SFX

2769 Click GM SFX

2770 Seq Click SFX

2771 Metronome W Bell SFX

2772 Metronome W SFX

2773 BR_Agg2Bc1grv1 HP

2774 BR_Agg2Bc1grv2 HP

2775 BR_Agg2Bc1grv3 HP

2776 BR_Agg2Bc1grv4 HP

2777 BR_Agg2Bc1grv5 HP

2778 BR_Agg2Bc2agu1 HP

# Drum Sample DF

2779 BR_Agg2Bc2agu2 HP

2780 BR_Agg2Bc2agu3 HP

2781 BR_Agg2Bc2agu4 HP

2782 BR_Agg2Bc2agu5 HP

2783 BR_Agg4Bc1grv1lp HP

2784 BR_Agg4Bc1grv2lp HP

2785 BR_Agg4Bc1grv3lp HP

2786 BR_Agg4Bc1grv4lp HP

2787 BR_Agg4Bc1grv5lp HP

2788 BR_Agg4Bc4agu1lp HP

2789 BR_Agg4Bc4agu2lp HP

2790 BR_Agg4Bc4agu3lp HP

2791 BR_Agg4Bc4agu4lp HP

2792 BR_Agg4Bc4agu5lp HP

2793 BR_Agg4Bc21lp HP

2794 BR_Agg4Bc22lp HP

2795 BR_Agg4Bc23lp HP

2796 BR_Agg4Bc24lp HP

2797 BR_Agg4Bc25lp HP

2798 BR_Agg4Bc31lp HP

2799 BR_Agg4Bc32lp HP

2800 BR_Agg4Bc33lp HP

2801 BR_Agg4Bc34lp HP

2802 BR_Agg4Bc35lp HP

2803 BR_AggMad1grv1 HP

2804 BR_AggMad1grv2 HP

2805 BR_AggMad1grv3 HP

2806 BR_AggMad1grv4 HP

2807 BR_AggMad1grv5 HP

2808 BR_AggMad2agu1 HP

2809 BR_AggMad2agu2 HP

2810 BR_AggMad2agu3 HP

2811 BR_AggMad2agu4 HP

2812 BR_AggMad2agu5 HP

# Drum Sample DF

2813 BR_AlfaiaBqt1 LP

2814 BR_AlfaiaBqt2 LP

2815 BR_AlfaiaBqt3 LP

2816 BR_AlfaiaBqt4 LP

2817 BR_AlfaiaCl1 LP

2818 BR_AlfaiaCl2 LP

2819 BR_AlfaiaCl3 LP

2820 BR_AlfaiaCl4 LP

2821 BR_AlfaiaOp1 LP

2822 BR_AlfaiaOp2 LP

2823 BR_AlfaiaOp3 LP

2824 BR_AlfaiaOp4 LP

2825 BR_ApitoA HP

2826 BR_ApitoB HP

2827 BR_ApitoC HP

2828 BR_CaxixiAAnsw_f HP

2829 BR_CaxixiAAnsw_p HP

2830 BR_CaxixiAQues_f HP

2831 BR_CaxixiAQues_p HP

2832 BR_CaxixiBAnsw_f HP

2833 BR_CaxixiBAnsw_p HP

2834 BR_CaxixiBQues_f HP

2835 BR_CaxixiBQues_p HP

2836 BR_ChocalhoAnsw HP

2837 BR_ChocalhoQues HP

2838 BR_CuicaAgu1 LP

2839 BR_CuicaAgu2 LP

2840 BR_CuicaAgu3 LP

2841 BR_CuicaGrvA1 LP

2842 BR_CuicaGrvA2 LP

2843 BR_CuicaGrvA3 LP

2844 BR_CuicaGrvB1 LP

2845 BR_CuicaGrvB2 LP

2846 BR_CuicaGrvB3 LP

Musical Resources |1101

# Drum Sample DF

2847 BR_CuicaGrvC1 LP

2848 BR_CuicaGrvC2 LP

2849 BR_CuicaGrvC3 LP

2850 BR_CuicaMedA1 LP

2851 BR_CuicaMedA2 LP

2852 BR_CuicaMedA3 LP

2853 BR_CuicaMedB1 LP

2854 BR_CuicaMedB2 LP

2855 BR_CuicaMedB3 LP

2856 BR_FrigidBorda1 HP

2857 BR_FrigidBorda2 HP

2858 BR_FrigidBorda3 HP

2859 BR_FrigidBorda4 HP

2860 BR_FrigidCentro1 HP

2861 BR_FrigidCentro2 HP

2862 BR_FrigidCentro3 HP

2863 BR_FrigidCentro4 HP

2864 BR_GanzaAnsw_f HP

2865 BR_GanzaAnsw_p HP

2866 BR_GanzaQues_f HP

2867 BR_GanzaQues_p HP

2868 BR_Gongue1 HP

2869 BR_Gongue2 HP

2870 BR_Gongue3 HP

2871 BR_Gongue4 HP

2872 BR_Gongue5 HP

2873 BR_MatchbFng1 LP

2874 BR_MatchbFng2 LP

2875 BR_MatchbFng3 LP

2876 BR_MatchbFng4 LP

2877 BR_PndCocoCls1 LP

2878 BR_PndCocoCls2 LP

2879 BR_PndCocoCls3 LP

2880 BR_PndCocoCls4 LP

# Drum Sample DF

2881 BR_PndCocoCls5 LP

2882 BR_PndCocoDeepMt1 LP

2883 BR_PndCocoDeepMt2 LP

2884 BR_PndCocoDeepMt3 LP

2885 BR_PndCocoDeepMt4 LP

2886 BR_PndCocoDeepMt5 LP

2887 BR_PndCocoOpn1 LP

2888 BR_PndCocoOpn2 LP

2889 BR_PndCocoOpn3 LP

2890 BR_PndCocoOpn4 LP

2891 BR_PndCocoPlt1 LP

2892 BR_PndCocoPlt2 LP

2893 BR_PndCocoPlt3 LP

2894 BR_PndCocoPlt4 LP

2895 BR_PndCocoPlt5 LP

2896 BR_PndCocoRuloLong LP

2897 BR_PndCocoRuloShort LP

2898 BR_PndCocoSlap1 LP

2899 BR_PndCocoSlap2 LP

2900 BR_PndCocoSlap3 LP

2901 BR_PndCouroCls1 LP

2902 BR_PndCouroCls2 LP

2903 BR_PndCouroCls3 LP

2904 BR_PndCouroCls4 LP

2905 BR_PndCouroCls5 LP

2906 BR_PndCouroDeepMt1 LP

2907 BR_PndCouroDeepMt2 LP

2908 BR_PndCouroDeepMt3 LP

2909 BR_PndCouroDeepMt4 LP

2910 BR_PndCouroOpn1 LP

2911 BR_PndCouroOpn2 LP

2912 BR_PndCouroOpn3 LP

2913 BR_PndCouroOpn4 LP

2914 BR_PndCouroPlt1 LP

# Drum Sample DF

2915 BR_PndCouroPlt2 LP

2916 BR_PndCouroPlt3 LP

2917 BR_PndCouroPlt4 LP

2918 BR_PndCouroPlt5 LP

2919 BR_PndCouroPltOnly1 LP

2920 BR_PndCouroPltOnly2 LP

2921 BR_PndCouroRuloLong LP

2922 BR_PndCouroRuloMedium LP

2923 BR_PndCouroRuloShort LP

2924 BR_PndCouroSlap1 LP

2925 BR_PndCouroSlap2 LP

2926 BR_PndCouroSlap3 LP

2927 BR_PndCouroSlap4 LP

2928 BR_PndNylonCls1 LP

2929 BR_PndNylonCls2 LP

2930 BR_PndNylonCls3 LP

2931 BR_PndNylonCls4 LP

2932 BR_PndNylonCls5 LP

2933 BR_PndNylonOpn1 LP

2934 BR_PndNylonOpn2 LP

2935 BR_PndNylonOpn3 LP

2936 BR_PndNylonOpn4 LP

2937 BR_PndNylonOpn5 LP

2938 BR_PndNylonPlt1 LP

2939 BR_PndNylonPlt2 LP

2940 BR_PndNylonPlt3 LP

2941 BR_PndNylonPlt4 LP

2942 BR_PndNylonPlt5 LP

2943 BR_PndNylonRuloLong LP

2944 BR_PndNylonRuloMedium LP

2945 BR_PndNylonRuloShort LP

2946 BR_PndNylonSlap1 LP

2947 BR_PndNylonSlap2 LP

2948 BR_PndNylonSlap3 LP

1102| Appendix

# Drum Sample DF

2949 BR_PndNylonSlap4 LP

2950 BR_PndNylonSlap5 LP

2951 BR_PndTradCls1 LP

2952 BR_PndTradCls2 LP

2953 BR_PndTradCls3 LP

2954 BR_PndTradCls4 LP

2955 BR_PndTradCls5 LP

2956 BR_PndTradOpn1 LP

2957 BR_PndTradOpn2 LP

2958 BR_PndTradOpn3 LP

2959 BR_PndTradOpn4 LP

2960 BR_PndTradOpn5 LP

2961 BR_PndTradPlat1 LP

2962 BR_PndTradPlat2 LP

2963 BR_PndTradPlat3 LP

2964 BR_PndTradPlat4 LP

2965 BR_PndTradPlat5 LP

2966 BR_PndTradRuloLong LP

2967 BR_PndTradRuloShort LP

2968 BR_PndTradSlap1 LP

2969 BR_PndTradSlap2 LP

2970 BR_PndTradSlap3 LP

2971 BR_PndTradSlap4 LP

2972 BR_PratoHit1 HP

2973 BR_PratoHit2 HP

2974 BR_PratoHit3 HP

2975 BR_PratoSlide1 HP

2976 BR_PratoSlide2 HP

2977 BR_PratoSlide3 HP

2978 BR_RecoHitA1 HP

2979 BR_RecoHitA2 HP

2980 BR_RecoHitA3 HP

2981 BR_RecoHitA4 HP

2982 BR_RecoHitA5 HP

# Drum Sample DF

2983 BR_RecoHitB1 HP

2984 BR_RecoHitB2 HP

2985 BR_RecoHitB3 HP

2986 BR_RecoHitB4 HP

2987 BR_RecoHitB5 HP

2988 BR_RecoSlideA1 HP

2989 BR_RecoSlideA2 HP

2990 BR_RecoSlideA3 HP

2991 BR_RecoSlideA4 HP

2992 BR_RecoSlideA5 HP

2993 BR_RecoSlideB1 HP

2994 BR_RecoSlideB2 HP

2995 BR_RecoSlideB3 HP

2996 BR_RecoSlideB4 HP

2997 BR_RecoSlideB5 HP

2998 BR_RecoSlideLn1 HP

2999 BR_RecoSlideLn2 HP

3000 BR_RecoSlideMd1 HP

3001 BR_RecoSlideMd2 HP

3002 BR_RecoSlideMd3 HP

3003 BR_RecoSlideMd4 HP

3004 BR_RecoSlideMd5 HP

3005 BR_RpnqMtMad1 LP

3006 BR_RpnqMtMad2 LP

3007 BR_RpnqMtMad3 LP

3008 BR_RpnqMtMad4 LP

3009 BR_RpnqMtNyl1 LP

3010 BR_RpnqMtNyl2 LP

3011 BR_RpnqMtNyl3 LP

3012 BR_RpnqMtNyl4 LP

3013 BR_RpnqMtVim1 LP

3014 BR_RpnqMtVim2 LP

3015 BR_RpnqMtVim3 LP

3016 BR_RpnqMtVim4 LP

# Drum Sample DF

3017 BR_RpnqRimMad1 LP

3018 BR_RpnqRimMad2 LP

3019 BR_RpnqRimMad3 LP

3020 BR_RpnqRimMad4 LP

3021 BR_RpnqRimNyl1 LP

3022 BR_RpnqRimNyl2 LP

3023 BR_RpnqRimNyl3 LP

3024 BR_RpnqRimNyl4 LP

3025 BR_RpnqRimVim1 LP

3026 BR_RpnqRimVim2 LP

3027 BR_RpnqRimVim3 LP

3028 BR_RpnqRimVim4 LP

3029 BR_RpqAnelHndMt1 LP

3030 BR_RpqAnelHndMt2 LP

3031 BR_RpqAnelHndMt3 LP

3032 BR_RpqAnelHndMt4 LP

3033 BR_RpqAnelOpn1 LP

3034 BR_RpqAnelOpn2 LP

3035 BR_RpqAnelOpn3 LP

3036 BR_RpqAnelOpn4 LP

3037 BR_RpqAnelRpq1 LP

3038 BR_RpqAnelRpq2 LP

3039 BR_RpqAnelRpq3 LP

3040 BR_RpqAnelRpq4 LP

3041 BR_SmbSnr1Opn1 SD

3042 BR_SmbSnr1Opn2 SD

3043 BR_SmbSnr1Opn3 SD

3044 BR_SmbSnr1Opn4 SD

3045 BR_SmbSnr1Rim1 SD

3046 BR_SmbSnr1Rim2 SD

3047 BR_SmbSnr1Rim3 SD

3048 BR_SmbSnr1Rim4 SD

3049 BR_SmbSnr1Rll1 SD

3050 BR_SmbSnr1Rll2 SD

Musical Resources |1103

# Drum Sample DF

3051 BR_SmbSnr1Rll3 SD

3052 BR_SmbSnr1Rll4 SD

3053 BR_SmbSnr2Opn1 SD

3054 BR_SmbSnr2Opn2 SD

3055 BR_SmbSnr2Opn3 SD

3056 BR_SmbSnr2Opn4 SD

3057 BR_SmbSnr2Rim1 SD

3058 BR_SmbSnr2Rim2 SD

3059 BR_SmbSnr2Rim3 SD

3060 BR_SmbSnr2Rim4 SD

3061 BR_SmbSnr2Rll1 SD

3062 BR_SmbSnr2Rll2 SD

3063 BR_SmbSnr2Rll3 SD

3064 BR_SmbSnr2Rll4 SD

3065 BR_SmbSnr3Opn1 SD

3066 BR_SmbSnr3Opn2 SD

3067 BR_SmbSnr3Opn3 SD

3068 BR_SmbSnr3Opn4 SD

3069 BR_SmbSnr3Rim1 SD

3070 BR_SmbSnr3Rim2 SD

3071 BR_SmbSnr3Rim3 SD

3072 BR_SmbSnr3Rim4 SD

3073 BR_SmbSnr3Rll1 SD

3074 BR_SmbSnr3Rll2 SD

3075 BR_SmbSnr3Rll3 SD

3076 BR_SmbSnr3Rll4 SD

3077 BR_SrdPriHandMt1 LP

3078 BR_SrdPriHandMt2 LP

3079 BR_SrdPriHandMt3 LP

3080 BR_SrdPriHandMt4 LP

3081 BR_SrdPriMt1 LP

3082 BR_SrdPriMt2 LP

3083 BR_SrdPriMt3 LP

3084 BR_SrdPriMt4 LP

# Drum Sample DF

3085 BR_SrdPriMtBqtCl1 LP

3086 BR_SrdPriMtBqtCl2 LP

3087 BR_SrdPriMtBqtCl3 LP

3088 BR_SrdPriMtBqtCl4 LP

3089 BR_SrdPriOp1 LP

3090 BR_SrdPriOp2 LP

3091 BR_SrdPriOp3 LP

3092 BR_SrdPriOp4 LP

3093 BR_SrdQuaCl1 LP

3094 BR_SrdQuaCl2 LP

3095 BR_SrdQuaCl3 LP

3096 BR_SrdQuaCl4 LP

3097 BR_SrdQuaHandMt1 LP

3098 BR_SrdQuaHandMt2 LP

3099 BR_SrdQuaHandMt3 LP

3100 BR_SrdQuaHandMt4 LP

3101 BR_SrdQuaOp1 LP

3102 BR_SrdQuaOp2 LP

3103 BR_SrdQuaOp3 LP

3104 BR_SrdQuaOp4 LP

3105 BR_SrdSegHandMt1 LP

3106 BR_SrdSegHandMt2 LP

3107 BR_SrdSegHandMt3 LP

3108 BR_SrdSegHandMt4 LP

3109 BR_SrdSegMtBqtCl1 LP

3110 BR_SrdSegMtBqtCl2 LP

3111 BR_SrdSegMtBqtCl3 LP

3112 BR_SrdSegMtBqtCl4 LP

3113 BR_SrdSegOp1 LP

3114 BR_SrdSegOp2 LP

3115 BR_SrdSegOp3 LP

3116 BR_SrdSegOp4 LP

3117 BR_SrdTerHandMt1 LP

3118 BR_SrdTerHandMt2 LP

# Drum Sample DF

3119 BR_SrdTerHandMt3 LP

3120 BR_SrdTerHandMt4 LP

3121 BR_SrdTerMtBqtCl1 LP

3122 BR_SrdTerMtBqtCl2 LP

3123 BR_SrdTerMtBqtCl3 LP

3124 BR_SrdTerMtBqtCl4 LP

3125 BR_SrdTerOp1 LP

3126 BR_SrdTerOp2 LP

3127 BR_SrdTerOp3 LP

3128 BR_SrdTerOp4 LP

3129 BR_Tamborica1 LP

3130 BR_Tamborica2 LP

3131 BR_Tamborica3 LP

3132 BR_Tamborica4 LP

3133 BR_TamzaoFngMt1 LP

3134 BR_TamzaoFngMt2 LP

3135 BR_TamzaoFngMt3 LP

3136 BR_TamzaoFngMt4 LP

3137 BR_TamzaoFngMt5 LP

3138 BR_TamzaoHndMt1 LP

3139 BR_TamzaoHndMt2 LP

3140 BR_TamzaoHndMt3 LP

3141 BR_TamzaoHndMt4 LP

3142 BR_TamzaoHndMt5 LP

3143 BR_TamzaoLatat1 LP

3144 BR_TamzaoLatat2 LP

3145 BR_TamzaoLatat3 LP

3146 BR_TamzaoLatat4 LP

3147 BR_TamzaoLatat5 LP

3148 BR_TamzaoOpenA1 LP

3149 BR_TamzaoOpenA2 LP

3150 BR_TamzaoOpenA3 LP

3151 BR_TamzaoOpenA4 LP

3152 BR_TamzaoOpenA5 LP

1104| Appendix

# Drum Sample DF

3153 BR_TamzinHndMt1 LP

3154 BR_TamzinHndMt2 LP

3155 BR_TamzinHndMt3 LP

3156 BR_TamzinHndMt4 LP

3157 BR_TamzinHndSlp1 LP

3158 BR_TamzinHndSlp2 LP

3159 BR_TamzinHndSlp3 LP

3160 BR_TamzinHndSlp4 LP

3161 BR_TamzinOpen1 LP

3162 BR_TamzinOpen2 LP

3163 BR_TamzinOpen3 LP

3164 BR_TamzinOpen4 LP

3165 BR_TamzinShell1 LP

3166 BR_TamzinShell2 LP

3167 BR_TamzinShell3 LP

3168 BR_TamzinShell4 LP

3169 BR_TimbaHiMaoFec1 LP

3170 BR_TimbaHiMaoFec2 LP

3171 BR_TimbaHiMaoFec3 LP

3172 BR_TimbaHiMaoFec4 LP

3173 BR_TimbaHiVas1 LP

3174 BR_TimbaHiVas2 LP

3175 BR_TimbaHiVas3 LP

3176 BR_TimbaHiVas4 LP

3177 BR_TimbaLoFng1 LP

3178 BR_TimbaLoFng2 LP

3179 BR_TimbaLoFng3 LP

3180 BR_TimbaLoFng4 LP

# Drum Sample DF

3181 BR_TimbaLoOpn1 LP

3182 BR_TimbaLoOpn2 LP

3183 BR_TimbaLoOpn3 LP

3184 BR_TimbaLoOpn4 LP

3185 BR_TimbauLoBs LP

3186 BR_TimbauToBs1 LP

3187 BR_TimbauToBs2 LP

3188 BR_TimbauToBs3 LP

3189 BR_TimbauToOpFlm1 LP

3190 BR_TimbauToOpFlm2 LP

3191 BR_TimbauToOpFlm3 LP

3192 BR_TmbUpstr1 LP

3193 BR_TmbUpstr2 LP

3194 BR_TmbUpstr3 LP

3195 BR_TmbUpstr4 LP

3196 BR_TmbUpstr5 LP

3197 BR_TrianguloCl1 HP

3198 BR_TrianguloCl2 HP

3199 BR_TrianguloCl3 HP

3200 BR_TrianguloOp1lp HP

3201 BR_TrianguloOp2lp HP

3202 BR_TrianguloOp3lp HP

3203 BR_WdTmbDmpFng1 LP

3204 BR_WdTmbDmpFng2 LP

3205 BR_WdTmbDmpFng3 LP

3206 BR_WdTmbDmpFng4 LP

3207 BR_WdTmbDmpFng5 LP

3208 BR_WdTmbOpnA1 LP

# Drum Sample DF

3209 BR_WdTmbOpnA2 LP

3210 BR_WdTmbOpnA3 LP

3211 BR_WdTmbOpnA4 LP

3212 BR_WdTmbOpnB1 LP

3213 BR_WdTmbOpnB2 LP

3214 BR_WdTmbOpnB3 LP

3215 BR_WdTmbOpnB4 LP

3216 BR_WdTmbRm1 LP

3217 BR_WdTmbRm2 LP

3218 BR_WdTmbRm3 LP

3219 BR_WdTmbRm4 LP

3220 BR_ZabuBotBacCl1 LP

3221 BR_ZabuBotBacCl2 LP

3222 BR_ZabuBotBacCl3 LP

3223 BR_ZabuBotBacCl4 LP

3224 BR_ZabuBotCl1 LP

3225 BR_ZabuBotCl2 LP

3226 BR_ZabuBotCl3 LP

3227 BR_ZabuBotCl4 LP

3228 BR_ZabuBotGrvOp1 LP

3229 BR_ZabuBotGrvOp2 LP

3230 BR_ZabuBotGrvOp3 LP

3231 BR_ZabuBotGrvOp4 LP

3232 BR_ZabuTopBacCl1 LP

3233 BR_ZabuTopBacCl2 LP

3234 BR_ZabuTopBacCl3 LP

3235 BR_ZabuTopBacCl4 LP

3236 BR_ZabuTopCl1 LP

Musical Resources |1105

# Drum Sample DF

3237 BR_ZabuTopCl2 LP

3238 BR_ZabuTopCl3 LP

3239 BR_ZabuTopCl4 LP

3240 BR_ZabuTopGrvOp1 LP

3241 BR_ZabuTopGrvOp2 LP

3242 BR_ZabuTopGrvOp3 LP

# Drum Sample DF

3243 BR_ZabuTopGrvOp4 LP

3244 BR_ZabuTopOp1 LP

3245 BR_ZabuTopOp2 LP

3246 BR_ZabuTopOp3 LP

3247 BR_ZabuTopOp4 LP

3248 Empty

Legend:

BD = Bass Drum

SD = Snare Drum

Tm = Tom

HH = Hi Hat

Cy = Cymbal

LP = Low Percussion

HP = Hi Percussion

SFX = Special FX

1106| Appendix

# Pad

HIt - Drum

1 88 Cowbell

2 88 Crash

3 China

4 Crash 1

5 Crash 2

6 Rev. Cymbal

7 Ride 1

8 Ride 2

9 Ride Bell

10 Splash

11 Sticks

12 Rim-Shot

13 Hi Tom Flam

14 Mid Tom Flam

15 Low Tom Flam

16 Tom Flam End

17 Drum Single A

18 Drum Single B

19 Drum Single C

20 Drum Single D

21 Drum Sing.HouseA

22 Drum Sing.HouseB

23 Drum Sing.HouseC

24 Drum Sing.HouseD

25 Drum Kit A

26 Drum Kit B

27 Drum Kit C

28 Drum Kit D

29 Drum Kit E

30 Drum Kit F

# Pad

HIt - Percussion

1 Agogo 1

2 Agogo 2

3 Castanet 1

4 Castanet 2

5 Conga Hi

6 Conga Low

7 Conga Mute

8 Conga Slap

9 Cowbell

10 Cuica 1

11 Cuica 2

12 Jingle Bell

13 Long Guiro

14 Short Guiro

15 Open Bells

16 Rain Stick

17 Tamb. Acc. 1

18 Tamb. Acc. 2

19 Tamb. Open

20 Tamb. Push

21 Timbale Hi

22 Timbale Low

23 Timbale Rim 1

24 Timbale Rim 2

25 Triangle 1

26 Triangle 2

27 Vibra Slap

28 Whistle 1

29 Whistle 2

30 Windchimes 1

# Pad

31 Windchimes 2

32 Windchimes 3

HIt - World 1

1 Baya 1

2 Baya 2

3 China Gong

4 Darbuka 1

5 Darbuka 2

6 Darbuka 3

7 Darbuka 4

8 Darbuka 5

9 Darbuka 6

10 Darbuka 7

11 Darbuka 8

12 Davul

13 Douf Rim Ak

14 Dragon Gong

15 Hollo 1

16 Hollo 2

Hit - World 2

1 Kup 1

2 Kup 2

3 Kup 3

4 Kup 4

5 Ramazan 1

6 Ramazan 2

7 Ramazan 3

8 Rek Dom Ak

9 Rik 1

10 Rik 2

11 Rik 3

Pads

The following table contains all the Factory Pads.

Musical Resources |1107

# Pad

12 Sagat 1

13 Sagat 2

14 Tef 1

15 Tef 2

16 Tef 3

17 Tef 4

18 Tef 5

19 Tef 6

HIt - Orchestral

1 Brass Fall

2 Orch.Cymbal 1

3 Orch.Cymbal 2

4 Orch. Hit

5 Orch. Snare

6 Orch. Sn. Roll

7 Timpani 1

8 Timpani 2

9 Timpani 3

10 Timpani 4

11 Orchestra Tutti

HIt - Synth&Pad

1 Cosmic

2 VCF Modulation

3 Planet Lead

4 Brightness

5 Crystal

6 New Age Pad

7 Fifths Lead

8 Calliope

9 Caribbean

10 Rezbo

11 Digital Polisix

12 Motion Raver

13 Moving Bell

# Pad

14 Elastick Pad

15 Rave

16 Dance Remix

17 Vintage Sweep

18 You Decide

HIt - Voice

1 Aah !

2 Hit it !

3 Laughing

4 Scream

5 Uuh !

6 Yeah ! 1

7 Yeah ! 2

HIt - Blocks

1 Blk Funk 1 A

2 Blk Funk 1 B

3 Blk Funk 1 C

4 Blk Funk 1 D

5 Blk Funk 2 A

6 Blk Funk 2 B

7 Blk Funk 2 C

8 Blk Funk 2 D

9 Blk Organ A

10 Blk Organ B

11 Blk Organ C

12 Blk Organ D

13 Blk Choir A

14 Blk Choir B

15 Blk Choir C

16 Blk Choir D

HIt - Misc&SFX 1

1 Applause

2 Birds 1

3 Birds 2

# Pad

4 Cat

5 Church Bell

6 Crickets

7 Dist. Slide 1

8 Dist. Slide 2

9 Dog

10 Door Creak

11 Door Slam

12 Footsteps 1

13 Footsteps 2

14 Heart Beat

15 Horse Gallop

16 Lion

17 Scratch 1

18 Scratch 2

19 Scratch 3

20 Scratch 4

21 Scratch 5

22 Scratch 6

23 Stadium

HIt - Misc&SFX 2

1 Bubble

2 Car Crash

3 Car Engine

4 Car Pass

5 Car Stop

6 Explosion

7 Gun Shot

8 Helicopter

9 Jet Plane

10 Laser Gun

11 Machine Gun

12 Phone Ring

13 Punch

1108| Appendix

# Pad

14 River

15 Seashore

16 Siren

17 Starship

18 Thunder

19 Train

20 Wind

21 Side Wind

SEQ - Drum

1 Drum DrumBasSolo

2 Drum Snare Solo

3 Drum 8 Bt Easy

4 Drum 8 Bt Medium

5 Drum Rock 1

6 Drum Rock 2

7 Drum Brush 1 3/4

8 Drum Brush 2 3/4

9 Drum Disco 1

10 Drum Disco 2

11 Drum Disco 3

12 Drum Disco 4

13 Drum Funk 1

14 Drum Funk 2

15 Drum Brush Shuff

16 Drum Latin

17 Drum Progressiv1

18 Drum Progressiv2

19 Drum Fill 1

20 Drum Fill 2

21 Drum Break

22 Drum End

SEQ - Percussion

1 Perc FingerSnap

2 Perc Triang.+HH

# Pad

3 Perc Latin 1

4 Perc Latin 2

5 Perc Latin 3

6 Perc Mix

7 Perc Soft

8 Perc Conga

9 Perc Conga+Ride

10 Perc Conga+Mix

11 Perc Conga+Bongo

12 Perc Conga+Tamb.

13 Perc Shaker

14 Perc Shak+Tamb 1

15 Perc Shak+Tamb 2

16 Perc Shak+Cong 1

17 Perc Shak+Cong 2

18 Perc Tambourine1

19 Perc Tambourine2

20 Perc Tamb+Conga1

21 Perc Tamb+Conga2

22 Perc Guiro+Bongo

23 Perc Cowbel+Tamb

24 Perc 3/4

25 Perc 6/8

SEQ - Groove

1 Grv Drum 1

2 Grv Drum 2

3 Grv Brush

4 Grv Jazzy

5 Grv Latin

6 Grv HipHop 1

7 Grv HipHop 2

8 Grv HipHop 3

9 Grv HipHop 4

10 Grv HipHop 5

# Pad

11 Grv HipHop 6

12 Grv Funk 1

13 Grv Funk 2

14 Grv Funk 3

15 Grv House 1

16 Grv House 2

17 Grv Analog

18 Grv Garage 1

19 Grv Garage 2

20 Grv Dance 1

21 Grv Dance 2

22 Grv Techno 1

23 Grv Techno 2

SEQ - Bass

1 Bass Pick Easy

2 Bass Pick Med.

3 Bass Pick Busy

4 Bass Finger Easy

5 Bass Finger Med.

6 Bass Finger Walk

7 Bass Latin

8 Bass Slap

9 Bass Digital

10 Bass Synth

11 Bass DigiFilter1

12 Bass DigiFilter2

13 Bass DigiFilter3

SEQ - Piano

1 Piano Accomp 1

2 Piano Accomp 2

3 Piano Accomp 3

4 Piano Accomp 4

5 Piano Accomp 5

6 Piano Accomp 6

Musical Resources |1109

# Pad

7 Piano Accomp 7

8 Piano Accomp 8

9 Piano Accomp 9

10 Piano Arpeg. 1

11 Piano Arpeg. 2

12 Piano Arp 1 3/4

13 Piano Arp 2 3/4

14 Piano Arp Down

15 Piano Arp Up

16 Piano Rhythm 1/8

17 Piano Rhythm1/8T

18 Piano Latin Rock

19 Piano Salsa 1

20 Piano Salsa 2

21 Pno GlissDwnWhit

22 Pno GlissUpWhite

23 Pno GlissDwnBlak

24 Pno GlissUpBlack

25 Honky End

SEQ - Guitar

1 Gtr Steel Strum1

2 Gtr Steel Strum2

3 Gtr Steel Strum3

4 Gtr Steel Strum4

5 Gtr Steel Strum5

6 Gtr Steel Strum6

7 GtSteelStrum 3/4

8 Gtr Steel Arp 1

9 Gtr Steel Arp 2

10 Gtr Steel Arp 3

11 GtrSteel Arp 6/8

12 Gtr Steel Mute 1

13 Gtr Steel Mute 2

14 Guitar Country

# Pad

15 Gtr Nylon Strum1

16 Gtr Nylon Strum2

17 Gtr Nylon Strum3

18 Gtr Nylon Strum4

19 Gtr Nylon Strum5

20 Gtr Nylon Strum6

21 Gtr Nylon Arp 1

22 Gtr Nylon Arp 2

23 Gtr Nylon Arp 3

24 GtrNylon Arp 3/4

SEQ - Orchestral

1 Timpani Roll 1

2 Timpani Roll 2

3 Orch. Tutti 1

4 Orch. Tutti 2

5 Orch. Tutti 3

6 Orch. Tutti 4

7 Orch. Harp 1

8 Orch. Harp 2

9 Orch. Harp 3

10 Orch. Harp 4

11 Orch. Harp 5

12 French Horns 1

13 French Horns 2

14 Strings 1

15 Strings 2

16 Strings 3

17 Strings 4

18 Strings 5

19 Strings 6

20 Strings 7

SEQ - Solo

1 Solo Marimba

2 Solo Kalimba 1

# Pad

3 Solo Kalimba 2

4 Solo Steel Drums

5 Solo Vibes

6 Solo Gtr Dist.

7 Solo Slide Steel

8 Solo Banjo

9 Solo Violin

10 Solo Harpsi 3/4

11 Solo Harpsi 4/4

12 Solo Gtr Funk

13 Solo Piano 1

14 Solo Piano 2

15 Solo Piano 3

16 Solo Piano 4

17 Solo Synth 1

18 Solo Synth 2

19 Solo Synth 3

20 Solo Synth 4

21 Solo Synth 5

22 Solo Synth 6

23 Solo Guitar 1

24 Solo Guitar 2

25 Solo Guitar 3

SEQ - Synth&Pad

1 Synth Seq 1

2 Synth Seq 2

3 Synth Seq 3

4 Synth Seq 4

5 Synth Seq 5

6 Synth Seq 6

7 Synth Seq 7

8 Synth Seq 8

9 Synth Seq 9

10 Synth Seq 10

1110| Appendix

# Pad

11 Synth Seq 11

12 Synth Portam. 1

13 Synth Portam. 2

14 Synth Portam. 3

15 Synth Portam. 4

16 Synth Filter 1

17 Synth Filter 2

18 Synth Pad Panned

19 Synth Master Pad

20 Synth Dark Pad

21 Side Line Buzz

22 Side Line Lab

# Pad

SEQ - Misc&SFX

1 Military 1

2 Military 2

3 Military 3

4 Military 4

5 Horror 1

6 Horror 2

7 Horror 3

8 Horror 4

9 Lullaby 1

10 Lullaby 2

11 Nature River

# Pad

12 Nature Storm

13 Metronome 3/4

14 PreCount 3/4

15 Metronome 4/4

16 PreCount 4/4

17 PreCount 4/4 Dbl

18 Toccata

19 5th Intro

20 Spring

21 Circus 1

22 Circus 2

23 Side Wind

Recognized chords |1111

59 recognized chords

The following pages show the main recognized chords, when the selected Chord Recognition mode is Fingered 3-Notes.

2-note

T

T

T

T

3-note

T

T

T T

T

Major 2-note4-note

T

T

Major 6th

3-note

T

4-note

T

T

Major 7th 2-note

T

T= constituent notes of the chord = can be used as tension

3-note

T

T

Sus 4 2-note 3-note

Sus 2

3-note

T T

T T

2-note

T T

T

4-note

T T

TT T

Dominant 7th

4-note

T

T

Dominant 7th Sus 4 3-note

T

T

3-note Flat 5th

4-note

T

T

Major 7th Sus 4

T

4-note Major 7th 5

T T

T T

4-note Dominant 7th 5

1112| Appendix

T= constituent notes of the chord = can be used as tension

4-note

T T

Minor 7th 3-note

T

4-note

T T

Minor-Major 7th 3-note

T

3-note

T

T

Diminished 4-note

Diminished 7th 4-note

T T

Diminished Major 7th

4-note

T T T

Minor 7th 5

3-note

T

T

Augmented 4-note

TT T

T

Augmented 7th 4-note

TT T

T

Augmented Major 7th

No 3rd, no 5thNo 3rd 1-note2-note

3-note

T T

Minor 2-note

T

4-note

T T

Minor 6th

Installing the options |1113

60 Installing the options

assembling the amplification system (PaaS)

If you purchased the (optional) PaAS Amplification System, here is how to in- stall it, and add a three-way amplification system, a pair of integrated speak- ers and a bass-reflex box.

Installing the PaAS will not deactivate the main audio outputs. Connecting the headphones will deactivate the PaAS (but not the main audio outputs).

Assembling the amplification bar

Precautions

Installation of the Amplification System is done at the users own risk. KORG will assume no responsibility for any damage or injury resulting from its im- proper installation or use.

Be very careful not to make the speaker box fall when installing it, or it can be damaged.

1114| Appendix

Installation

1 Remove the protective cap (b) from the connector (c) on the back of the in- strument (a), by gently pulling it and making it turn down.

b a

b

ac

Installing the options |1115

2 Now locate the front (d1) and the rear (d2) side of the speaker box, to be sure you will place it in the right way.

d2

d1

3 Lift the speaker box (d) by making the back side (d2) look toward you and the front side (d1) toward the Pa4X. Align its extruding guide (e) to the match- ing slot (f) on the back of the instrument (a). Slightly tilt the speaker box (d) forward, to prevent the fixing pin (j, see below) to damage the back of the instrument. To align them correctly, use one of the two plastic stoppers/ delimiters (h) as a reference point, making one of the flanks or the speaker boxs guide (e) touch it.

e f

h

d

a

1116| Appendix

4 Insert the speaker boxs extruding guide (e) entirely into the slot (f) on the back of the instrument, being sure the speaker box is perfectly horizontal.

f e

Be sure the nylon supports (i) for the music stand are perfectly resting on the control panel of the instrument (a).

i a

Installing the options |1117

5 When the speaker box (d) is perfectly aligned to the stoppers/delimiters, and the fixing pin (j) is over the corresponding hole (k) on the back of the instru- ment (a), tilt down the speaker box (d), to make the fixing pin (j) enter the hole (k).

d

k

a

j

6 Use the SPEAKER LOCK slider (l) next to the display to lock (or later unlock) the speaker box (d). When the box is locked, you must see the closed lock icon ( ). This will firmly join the speaker box (d) to the instrument (a).

a

l

d

1118| Appendix

7 At this point, the speaker box is correctly installed. To remove it, reverse the above instructions.

Please note that, since Pa4X has to recognize the new circuit, the integrated speakers will start operating only a few seconds after the speaker box has been installed.

Turning the integrated loudspeakers on and off

The integrated speakers are automatically deactivated when inserting a jack into the PHONES connector. They can also be deactivated from the display.

Turn the speakers off (or back on)

1 Go to the Global > Audio & Video > MP3/Speakers page.

2 Use the Speakers On/Off checkbox to turn the (optional) integrated speak- ers on or off. The speakers can be installed by adding the (optional) PaAS Amplification System.

3 Press the EXIT button to return to the previous page.

Controlling the output volume of the integrated loudspeakers

Adjust the output level with the MASTER VOLUME knob.

Installing the options |1119

assembling the music stand

Follow these instructions to assemble the supplied music stand.

Assembling the music stand without the amplification bar installed

1 Insert the music stand into the dedicated guide on the back of Pa4X, as shown in the illustration.

2 Freely adjust the music stand, by sliding it to the left or the right of the stan- dard central position.

1120| Appendix

Assembling the music stand with the amplification bar installed

When the (optional) PaAS amplification system is installed, make the music stand rest over the nylon supports in front of the PaAS, as shown in the il- lustration.

Installing the options |1121

assembling the stand (St-SV1-BK)

You can use the KORG ST-SV1-BK stand as a steady support for your Pa4X.

Precautions before assembly

Before you begin to assemble the stand, please keep the following in mind:

To assemble the stand, two people are strongly suggested. Failing to do so may damage the instrument and cause injury.

When placing the instrument on the stand, be careful not to pinch your hands.

Be sure to follow the steps in order, and make sure that the parts are as- sembled in the correct orientation and position.

Do not apply weight to the edge of the instrument before tightening the screws, otherwise it may fall down.

Assembly instructions

1 Open the packing carton and take out the contents. Remove the stand (B) from the package by grabbing it by the four brackets (a). Lay it on the ground, with the legs on top (see illustration).

a a B

a a 2 Remove the protective sheet, and keep it in a safe place for future use.

1122| Appendix

3 Slightly lift the stand, and push the spring bolt (b) located under the tubing.

b

4 Once the spring bolt has been extended, raise the leg (c), until you hear a click. At this point, the spring bolt (c) is automatically retracted, and the leg is fixed in place. Please repeat the same procedure for all four legs.

c

b

c

Installing the options |1123

5 Lift the bracket (a), and insert it into the corresponding hole (d) in the leg (c). Repeat the same procedure for all four legs.

Warning: Be careful not to pinch your fingers between the leg and the bracket!

ac

d

ac d

6 Turn the stand (B) upside down, so that the feet are laying on the floor. Place the concave side of the bracket (e) toward you.

e

B

1124| Appendix

7 Adjust the height of the feet (f), by turning them by hand and leveling the stand on each side, even if it is not completely even. We suggest you prevent the nut (g) from turning with the help of the supplied 11/16 wrench (h). After adjusting each of the feet, make sure that the nut (g) touches the legs bor- der.

g

f

h

8 Using two people, lift the instrument (A), and attach it to the ST-SV1-BK stand (B), being sure the concave side of the bracket (e) is pointing toward the front side of the instrument (A).

A

Bi

Installing the options |1125

9 If the instrument and the stand are correctly aligned, the screws (j) should fit into the threaded nuts of the holes (k). If this does not happen, align the instrument and stand again. Once the screws are inside the threaded nuts, tighten them to attach the instrument to the stand.

k A

B j

j

10 Be sure all screw are tightened, and all brackets correctly inserted.

11 Place the instrument in the location where it will be played.

Precautions after assembly

Use caution when transporting the instrument

Remove the instrument from its stand, and transport them separately. Please use the included loop fastener tapes to secure the stand legs dur- ing transport and avoid any damage. After transportation, refer to these instructions and re-assemble the instrument and stand.

Loosening of the screws

After assembly, the various screws and bolts of the stand may loosen as time goes by, causing the stand to wobble. If this occurs, re-tighten the screws.

Disassembly

If you need to packup the instrument, reverse the assembly order by which the instrument was attached to the stand and the stand was assembled. For improved protection, we suggest you also replace the protective sheet (see step 1).

1126| Appendix

replacing the clock backup battery

You can replace the clock backup battery with a standard lithium battery (model CR2032). You can buy the needed battery at a store that sells com- puter or electronics components. Do not use replacements other than the one indicated, or you risk to damage the instrument!

Precautions

Installation of the battery is done at the users own risk. KORG will assume no responsibility for any data loss, damage or injury resulting from its im- proper installation or use.

Be sure to disconnect the instrument from the AC plug, before opening it.

To prevent your bodys static electricity from damaging the boards compo- nents, touch an unpainted metallic component before proceeding with the installation.

Installation

For installation, you will need a cross-point screwdriver (not supplied).

1 Disconnect the instrument from the AC power.

2 From the back of the instrument, use the cross-point screwdriver to remove the fixing screw (a), then remove the cover and keep it apart.

Installing the options |1127

3 With the help of your fingernail, lift the exhausted battery (c) from its lower side, and remove it from the battery slot, being very careful not to let it fall inside the instrument.

4 Insert the new battery (d) into the empty battery slot, being sure the positive (+) side is facing down. Be very careful not to let it fall inside the instrument.

1128| Appendix

5 Replace the cover (b) to the original position. Attach the cover to the back of the instrument by fastening the fixing screw (a).

6 When the installation is finished, connect the power cord, and switch the instrument on again.

7 Go to the Global > General Controls > Clock & Power page, and set the date and time.

Installing the options |1129

Installing a microSD card

To expand the available onboard storage memory, you can install an (optional) microSD card. The card can be installed by the user. Do not use types of cards other than the one indicated (microSD), or you risk to damage the instrument!

Please consider a card containing localized musical resources could have already been installed by your KORG Distributor. If you are not sure, contact them before removing the installed card.

Precautions

Installation of the microSD card is done at the users own risk. KORG will as- sume no responsibility for any data loss, damage or injury resulting from its improper installation or use.

Be sure to disconnect the instrument from the AC plug, before opening it. Warning: Removing or inserting the microSD card while the instrument is connected to the AC plug may damage the instrument and the card!

To prevent your bodys static electricity from damaging the boards compo- nents, touch an unpainted metallic component before proceeding with the installation.

1130| Appendix

Installation

For installation, you will need a cross-point screwdriver (not supplied).

1 Disconnect the instrument from the AC plug.

2 From the back of the instrument, use the cross-point screwdriver to remove the fixing screw (a), then remove the cover and keep it apart.

3 Push on the microSD card (c) already installed in the slot (if any) to unlock it, and remove it, being very careful not to let it fall inside the instrument.

4 Insert the microSD card (d) into the empty card slot, being sure the connec- tor side is facing up and toward the instrument. Gently push the card, until you hear a click sound meaning it is properly inserted. Warning: Be sure to insert the card correctly, or it may slip inside the instrument!

Installing the options |1131

5 Replace the cover (b) to the original position. Attach the cover to the back of the instrument by fastening the fixing screw (a).

1132| Appendix

6 When the installation is finished, connect the power cord, and switch the instrument on again.

Accessing the microSD card

For maximum compatibility, we recommend to format the card before ac- cessing it the first time. Go to the Media > Format page, and format it (SD device). Warning: Formatting a storage device will delete all the data it con- tains!

After formatting, you can access the card from any Media page or from the Song Select window, by using the Device selector and choosing the SD stor- age device.

Installing the options |1133

Installing an additional internal drive

The HDIK-3 kit allows you to install a standard internal 2.5 SATA hard disk drive (HDD) or solid state drive (SSD) in your Pa4X-61 (an additional drive comes as standard with Pa4X-76). The additional drive is not supplied with the kit, so you will have to purchase it separately. Do not use types of drive other than the ones mentioned above, or you risk to damage the instru- ment!

Precautions

Installation of the kit is done at the users own risk. KORG will assume no responsibility for any damage or injury resulting from its improper installation or use.

Be sure to disconnect the instrument from the AC plug, before opening it.

To prevent your bodys static electricity from damaging the boards components, touch an unpainted metallic component before proceeding with the installation.

Never force the connectors, that can only be inserted in a way.

List of parts

Before beginning with the installation, be sure to have all the parts listed in the following table. You also need a cross-point screwdriver (not supplied).

a HDD interface x 1

b HDD support x 1

c M3x6 TC screws x 6

d M3x4 TC screws x 2

Backup

Before installing or replacing the drive, please backup or save your User data to an USB storage device, by using the Media > Utility > Full Resource Backup or Media > Save > All operations.

1134| Appendix

Installation

1 Extract the drive assembling kit from its package, being careful not to touch any component on the interface boards surface with your fingers. Turn the instrument upside down, being careful not to damage the display, joystick and knobs.

2 Attach the connector of the interface board (a) to the matching connector on the hard disk or solid state drive. Align the two connectors, and delicately push them together.

a

3 Use two screws (c) to secure the hard disk or solid state drive (not supplied with the kit) to the interface board (a) and to the metal support (b), as shown in the illustration. Use the two screws (d) to secure the hard disk or solid state drive to the support (b).

a

b

d d

c c

HD

Installing the options |1135

4 From the bottom of the instrument, remove the two fixing screws (e) and keep them apart. Open the cover (f) by lifting it as if it was hinged on the op- posite side, and keep it apart.

5 Disconnect the data cable (i) from the fixing clip (g), and remove the clip (g) by unscrewing the fixing screw (h).

i

6 Connect the data cable (i) to the dedicated connector on the interface board (a).

7 Place the previously assembled drive kit over the four dedicated spacers inside the instrument (the drive can only be installed in a way), being care- ful not to pinch and damage the cable. Fix the assembly with the last four screws (c) found in the installation kit.

1136| Appendix

8 By following the opening instructions in reversal, close the instrument by replacing the cover (f).

9 When the installation is finished, turn the instrument over, connect the pow- er cord, and switch the instrument on again.

Installing the options |1137

Accessing the additional drive

For maximum compatibility, we recommend to format the new drive before accessing it the first time. Go to the Media > Format page, and format it (HD device). Warning: Formatting a storage device will delete all the data it contains!

After formatting, you can access the drive from any Media page or from the Song Select window, by using the Device selector and choosing the HD storage device.

1138| Appendix

61 Shortcuts

Shift functions

You can keep the SHIFT button pressed, and press another button on the control panel to directly jump to an edit page or dialog box.

Shift + Functions

Various modes

Dial, Up/Down Tempo Change

Scroll Arrows When a list is shown: Goes to Next/Previous alphabetical section of the currently selected column

Sound Sends the Sound assigned to the selected track to the Sound mode

Global Selects the Global > MIDI > General Controls page. This is a quick way to jump to MIDI editing pages.

Media Selects the Global > Mode Preferences > Media page

Start/Stop Panic; stops all notes playing, and resets all controllers

Fade In/Out Selects the Fade In/Out Time parameter in the Global > General Controls > Basic page

Auto Fill Selects the Global > Mode Preferences > Style page

Synchro Start/Stop Selects the Global > Midi > General Controls page

Tempo Lock Selects the Global > General Controls > Lock page

Upper Octave (either) Selects the Style Play/Song Play > Mixer/Tuning > Tuning page

Transpose (either) Selects the Global > Tuning > Transpose Controls page

Slider Mode Selects the Global > Controllers > Sliders page

Slider Proportionally changes the volume level of the Sounds/tracks of the same type (all the Upper Sounds, all the Song tracks)

Style Play mode

Style Play Selects the Global > Mode Preferences > Style page

Chord Scan buttons

Memory

Variation Selects the corresponding Variation in the Style Play > Controls > Drum/Fill page

Ensemble Selects the Ensemble Type parameter in the Style Play > Keyboard/ Ensemble > Ensemble page

Shortcuts |1139

Shift + Functions

Pad (any) Selects the Pad/Switches > Pad page

Assignable Switch (any) Selects the Pad/Switches > Switch page

Song Play mode

Song Play Selects the Global > Mode Preferences > Song & Seq page

Play/Stop (Player 1 or 2)

Sync Start of either Players

JukeBox

>> Play the next Song in the JukeBox list

<< Play the previous Song in the JukeBox list

Lyrics

Display Load a TXT file

Sequencer mode

Sequencer Selects the Global > Mode Preferences > Song & Seq page

Sampling

Dial, Up/Down Scrolls through the list of Samples or Multisamples in memory

Microphone

Mic Selects the Global > Mic Setup > Setup page

Harmony Selects the Style Play/Song Play/Sequencer > Voice Preset > Harmony page

Double Selects the Style Play/Song Play/Sequence > Voice Preset > Double page

Long keypress

You can keep a button pressed for about one second to directly jump to an edit page or dialog box.

Long keypress Functions

any mode

Split Opens the Split Point dialog box. Play a note to set the new Split Point.

Style Play mode

Style buttons Opens the Write Current Style Settings window

Style Play and Song Play mode

Keyboard Set Library buttons

Opens the Write Keyboard Set to Library window

1140| Appendix

Long keypress Functions

Keyboard Set buttons (under the display)

Opens the Write Keyboard Set to Style window

My Setting Opens the Write My Setting window

Mic/Voice Preset Opens the Write Voice Preset window

SongBook Create a new SongBook Entry and opens the Write Song window (only if pressed outside the SongBook)

Record Opens the MP3 Record dialog box

Global mode

Global Touch Panel Calibration

Special functions

Other available shortcuts are the following ones.

Style Play mode

Tempo +/ (together) Original Tempo

Transpose #/b (together) Set the Master Transpose to 0

Upper Octave +/- (together) Set the Upper Octave to the original setting

Troubleshooting |1141

62 troubleshooting

In case of problems, please check the following list to find a solution.

Problem Solution

General problems

Power does not turn on Make sure that (1) the power cable is plugged into the outlet, (2) the cable is plugged into the connector on the back of the instrument, (3) and is not damaged, (4) there are no problems with the mains.

Is the POWER indicator turned on?

If the power still does not turn on, contact your dealer or the nearest KORG Service Center.

Power does not turn off Press the POWER button again and keep it pressed for a few seconds. At the end, the buttons indicator will turn off, and the instrument will be set to standby.

No sound Is the VOLUME knob set to a position other than 0?

Is a jack inserted into the HEADPHONES connector? Unplug it.

Check the connections to your amp or mixer.

Make sure that all the components of the amplifying system are turned on.

Is the Local parameter set to off? Turn it on.

Is the Attack parameter value of the selected Sound too high? Set it to a lower value, to let the sound start faster. Is the Volume parameter too low? Set it to a higher value.

Lowest note are not played When the SPLIT indicator is turned on, the keyboard is divided into a Lower part (lower notes, below the split point) and an Upper part (higher notes, above the split point). Is the Lower part muted? Unmute it.

Wrong sounds Do the User banks contain modified data? Load the appropri- ate data for the Song or the Style you wish to play.

Has one of the User Drum Kits been replaced? Load the ap- propriate Drum Kits.

Have the Styles or Keyboard Sets been replaced? Load the ap- propriate data.

Sound does not stop Keep the SHIFT button pressed, and press the START/STOP button to send a Panic message, and turn all notes off.

Make sure that the Damper pedal calibration is correctly set.

1142| Appendix

Problem Solution

The selected Style or Song cannot start

Make sure that the Clock parameter is set to Internal. If you are using the MIDI Clock of another device (like a sequencer), you must set the MIDI Clock parameter to MIDI or USB, and make sure that the external device transmits MIDI Clock data.

Does not respond to MIDI messages

Make sure that the MIDI or USB cable is connected correctly.

Make sure that the external device is transmitting through MIDI channels enabled to receive in Pa4X.

Make sure that the MIDI IN Filters do not prevent the reception of messages.

Percussive instruments are not played correctly

Make sure that the Drum track is set to Drum Mode and the external device has not transposition applied.

Some clicks can be heard when playing a percussive instrument

This is part of the sound, and not a problem.

A background noise can be heard after selecting a Keyboard Set or Style

The selected Keyboard Set or Style recalled the effect St. Analog Record, simulating the noise of a old vinyl recording.

Media related problems

Cannot format a device Is the USB cable correctly connected?

Is the USB device correctly powered?

Is the device inserted correctly?

Is the write protect tab of the disk or card in the protect posi- tion? Unprotect it.

Cannot save data to a device Is the device formatted?

Is the device inserted correctly?

Is the write protect tab of the disk or card in the protect posi- tion? Unprotect it.

Cannot load data from a device

Is the device inserted correctly?

Does the device contain data compatible with Pa4X?

The message Over Current Condition Detected on USB port: please remove the USB media appears in the display

The USB device is probably defective, due to a short circuit, and cannot be used. While this will not damage Pa4X, it is ad- visable to remove the device.

Specs |1143

63 Specs

KOrG Pa4X Features

Keyboard Pa4X-76: 76 keys (E1 G7)

Pa4X-61: 61 keys (C2 C7)

Semi-weighted keys with velocity and aftertouch

System Upgradable operating system

Multitasking, Load while play

Sound Generator EDS-X (Enhanced Definition Synthesis eXpanded)

Filters with resonance, 3-band EQ on each Sound/channel

Polyphony 128 voices, 128 oscillators

Effects Accompaniment/Song: 4 insert effects; 3 master effects (148 types)

Keyboard Sounds: 1 insert effect; 2 master effects (148 types)

Final mastering effects by Waves Audio:

Waves Audio MAXX Suite, including MaxxEQ, MaxxBass, MaxxTreble, MaxxStereo, MaxxVolume

Voice Processor Technology by TCHelicon:

Four-part Harmonizer, Double, Mod, Reverb, Delay, Filter, HardTune, Pitch Correction; plus Compressor, EQ, Gate (Adaptive Mic Setting on the Mic input)

Sounds / Drum Kits Factory: More than 2,000 Factory Sounds including two multilay- er Stereo Grand Pianos with damper and body resonance, GM/XG sound sets and more than 110 Drum Kits

User: 768 Sounds, 384 Drum Kits

Digital Drawbars: 9 footages, percussion, key on/off, leakage, rotary speaker effect

DNC (Defined Nuance Control) Technology

Natural Ambience Drums Sounds

Full Sounds/Drum Kits editing

Sampling User PCM Sample memory: 1.5 GB data, equivalent to 3 GB linear when compressed

Loads KORG, WAV, AIFF and SoundFont formats

Saves KORG, WAV and AIFF formats

Full Edit, Time Slice, Sampling

1144| Appendix

KOrG Pa4X Features

Styles Factory: More than 580 Factory Styles, freely reconfigurable sets

User: 1,248 locations, including User, Favorite and Direct banks

Eight Accompaniment tracks, 4 Keyboard Sets, 4 Pads per Style; Style Settings (Sounds and Arranger parameters) on each Style

Guitar Mode 2, Parallel and Fixed NTT (Note Transposition Table)

Style/Pad Record with Step Record, Track and Event Edit

Style Creator Bot (MIDI Song to Style Converter)

Style controls: 3 Intros, 4 Variations, 4 Fills, Break, 3 Endings, Synchro Start, Synchro Stop, Tap Tempo/Reset, Bass Inversion, Auto Fill, Manual Bass, Memory, Accompaniment Mute, Drum Mapping, Snare & Kick Designation, Style to Keyboard Set Mode

Chord Sequencer Chord Sequence recorder in Style Play mode

Chord Sequences can be saved to Style and SongBook Entries

Edit functions: Delete, Copy from Style/SongBook, Import/Export from/to SMF

Keyboard Set Library Memorize Keyboard Sound settings

Factory: More than 500 Factory Keyboard Sets, freely reconfigu- rable

User: 1,056 locations, including User and Direct banks

My Setting special Keyboard Set

KAOSS FX Automatic MIDI FX generator

More than 65 Factory Presets

Song Play Patented XDS Crossfade Dual Sequencer Player with X-Fader control

Supported formats: MID, KAR, MP3+Lyrics, MP3+G

Two Players with separate Select, Start/Stop, Home, Rewind and Fast Forward controls

Lyrics, Score, and Chord data can be displayed on screen, or on an external video monitor

Markers with Add, Delete, Edit and Loop functions

Jukebox function

MP3 Player / Recorder Double MP3 Player and MP3 Recorder

Transpose (+6/-5 semitones)

Tempo change (30%)

Vocal Remover

Records MP3 files, including Styles, MIDI Songs, MP3 Songs, Keyboard Sounds, Pads, Microphone, Effects, KAOSS Effects

Specs |1145

KOrG Pa4X Features

Sequencer Quick Record (Backing Sequence), Multitrack and Step Record func- tions

Full-featured sequencer, 16 tracks, Up to 200,000 events, SMF (MID) native format

SongBook Fully programmable music database, based on Styles, MIDI Songs (MID and KAR files), MP3 Songs, with automatic selection of Style Play and Song Play modes

User definable Set Lists, with Entries selectable from the control panel

Filtering and sorting options

Compatibility i-Series models: Styles

Pa-Series models: Styles, Performances/Keyboard Sets, Programs/ Sounds, Songs, SongBook Entries, Pads

Pads Four Assignable Pads + Stop buttons

Pad Record function

General Controls Master Volume; Fade In/Out; Keyboard-Acc/Song Balance; Ensemble; Octave Transpose; Master Transpose; Quarter Tone and Arabic Scale memorized inside Keyboard Sets; Joystick; Ribbon; Mic Volume; Harmony/Double; Delay/Reverb; Mic Preset; Mic On/Off; Harmony On/Off; Double On/Off; 8 Assignable Sliders; Slider Mode; MP3 Volume; 3 Assignable Switches; Tempo +/-; Tempo Lock; Metronome On/Off; Dial; Up/+; Down/-; Search; Shift; Chord Scan (Lower, Upper); Split; Keyboard Tracks Sound Select and On/Off; Record

Control Inputs Damper pedal (supports half-pedaling with the optional DS-1H pedal)

Assignable pedal/switch

EC5 multiswitch pedal

Mic/Line Inputs Mic: Combo XLR balanced with Gain control and Phantom Power

Line 1: Left/Right (1/4 jack) line inputs, balanced

Line 2: Stereo (1/8 mini-jack) line input, unbalanced

Outputs Audio Outputs: Left/Right, Out 1, Out 2 (1/4 jack) balanced

Headphone output (1/4 jack)

Video out (RCA connector)

MIDI IN, OUT, THRU standard MIDI connectors

USB to MIDI using the USB ports

User-definable MIDI Presets

USB Type A (HOST, for memory and controllers) x 2 (front/rear)

Type B (DEVICE, for personal computers and tablets) x 1 (rear)

2.0 Hi-Speed connections

1146| Appendix

KOrG Pa4X Features

Storage Hard Disk Drive

Pa4X-76: standard

Pa4X-61: optional, user installable; HDIK-3 hard disk installation kit required

microSD card (card not included); rear panel slot with plastic cover

USB external drives (drive not included); 1 front panel port, 1 rear panel port

Display 7 Wide capacitive color TouchView TFT display

Clock Internal System Clock

Power Consumption 100-240 Volts, 50/60 Hz

< 0.5 Watt in standby / 16 Watt normal / 35 Watt with PaAS installed

Dimensions (W x D x H)

Pa4X-76: 1,192 x 364.4 x 125.56 mm / 46.93 x 14.35 x 4.94

Pa4X-61: 980 x 364.4 x 125.56 mm / 38.58 x 14.35 x 4.94

(without music stand, display fully lowered)

Weight Pa4X-76: 16.3 kg / 35.93 lbs

Pa4X-61: 13.9 kg / 30.64 lbs

Accessories AC Power Cable, Music Stand, Quick Guide manual

Options PaAS Amplification System

ST-SV1-BK Keyboard Stand

HDIK-3 Hard Disk Installation Kit (for Pa4X-61 only)

EC-5 Multiswitch Pedal

EXP-2 Foot Controller, XVP-10 Expression/Volume Pedal, VOX V860 Volume Pedal

DS-1H Damper Pedal (supports half-pedaling)

PS-1, PS-3 Pedal Switch

Specifications are subject to change without notice due to continuous prod- uct development and improvement.

Specs |1147

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IMPORTANT NOTICE TO CONSUMERS

This product has been manufactured accord- ing to strict specifications and voltage re- quirements 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 manu- facturers or distributors warranty.

Please also retain your receipt as proof of purchase otherwise your product may be dis- qualified from the manufacturers or distribu- tors warranty.

NOTICE REGARDING DISPOSAL (EU ONLY)

If this symbol is shown on the product, manual, battery, or package, you must dispose of it in the correct manner to avoid harm to human health or dam- age to the environment. Contact your local administrative body for details on the correct disposal method. If the battery contains heavy metals in excess of the regulated amount, a chemical symbol is displayed below the symbol on the battery or battery package.

In case of electromagnetic radiations a tem- porary deterioration of the quality of audio performances may occur. A deterioration that might arise can be a sound signal emit- ted. This will stop when the electromagnetic disturbance ceases.

THE FCC REGULATION WARNING (FOR USA)

This equipment has been tested and found to comply with the limits for a Class B digi- tal device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful in- terference 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 com- munications. However, there is no guarantee that interference will not occur in a particu- lar installation. If this equipment does cause harmful interference to radio or television re- ception, which can be determined by turning the equipment off and on, the user is encour- aged to try to correct the interference by one or more of the following measures:

Reorient or relocate the receiving antenna.

Increase the separation between the equip- ment and receiver.

Connect the equipment into an outlet on a circuit different from that to which the receiv- er is connected.

Consult the dealer or an experienced radio/ TV technician for help.

If items such as cables are included with this equipment, you must use those included items.

Unauthorized changes or modification to this system can void the users authority to oper- ate this equipment.

DECLARATION OF CONFORMITY (FOR USA)

Responsible Party: KORG USA INC.

Address: 316 SOUTH SERVICE ROAD, MELVILLE

Telephone: 1-631-390-6500

Equipment Type: Professional Arranger

Model: Pa4X

This device complies with Part 15 of FCC Rules. Operation is subject to the following two con- ditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interfer- ence that may cause undesired operation.

PERCHLORATE (CALIFORNIA, USA ONLY)

Perchlorate Material special handling may apply. See www.dtsc.ca.gov/hazardous- waste/perchlorate.

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KORG Italy 2020. All rights reserved PART NUMBER: MAN0010102

Address KORG ITALY SpA Via Cagiata, 85 60027 Osimo (AN) Italy

Web www.korg.com

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Manualsnet FAQs

If you want to find out how the Pa4X ORIENTAL KORG works, you can view and download the KORG Pa4X ORIENTAL User Manual on the Manualsnet website.

Yes, we have the User Manual for KORG Pa4X ORIENTAL as well as other KORG manuals. All you need to do is to use our search bar and find the user manual that you are looking for.

The User Manual should include all the details that are needed to use a KORG Pa4X ORIENTAL. Full manuals and user guide PDFs can be downloaded from Manualsnet.com.

The best way to navigate the KORG Pa4X ORIENTAL User Manual is by checking the Table of Contents at the top of the page where available. This allows you to navigate a manual by jumping to the section you are looking for.

This KORG Pa4X ORIENTAL User Manual consists of sections like Table of Contents, to name a few. For easier navigation, use the Table of Contents in the upper left corner.

You can download KORG Pa4X ORIENTAL User Manual free of charge simply by clicking the “download” button in the upper right corner of any manuals page. This feature allows you to download any manual in a couple of seconds and is generally in PDF format. You can also save a manual for later by adding it to your saved documents in the user profile.

To be able to print KORG Pa4X ORIENTAL User Manual, simply download the document to your computer. Once downloaded, open the PDF file and print the KORG Pa4X ORIENTAL User Manual as you would any other document. This can usually be achieved by clicking on “File” and then “Print” from the menu bar.