Home

Style Edit

1. ccoo CC32 PC Name Sound Family 121 0 0 Akustik Piano GM GM2 KG Piano 121 1 0 Ak Piano breit GM2 KG Piano 121 2 0 Ak Piano warm GM2 KG Piano 121 3 0 Konz Fluegel Factory Piano 121 4 0 Klassik Piano Factory Piano 121 5 0 Jazz Piano Factory Piano 121 6 0 Piano amp Vibraphon Factory Piano 121 7 0 Piano amp Streicher Factory Piano 121 8 0 Rock Piano Factory Piano 121 9 0 Fluegel amp Flaeche1 Factory Piano 121 10 0 Fluegel RX Factory Piano 121 11 0 Fluegel RX DEMO Factory Piano 121 12 0 Live Fluegel 1 Factory Piano 121 13 0 Konz Fluegel RX Factory Piano 121 14 0 Live Fluegel 2 Factory Piano 121 15 0 Fluegel amp Synth1 Factory Piano 121 16 0 Fluegel amp Streich Factory Piano 121 17 0 Fluegel amp Synth2 Factory Piano 121 0 1 PianoBrillant GM GM2 XG Piano 121 1 1 Piano Brillant GM2 XG Piano 121 2 1 Piano amp Flaeche1 Legacy Piano 121 3 1 Piano amp Flaeche2 Legacy Piano 121 4 1 Piano amp Flaeche3 Factory Piano 121 5 1 Piano BrillantRX Factory Piano 121 6 1 Boogie Hammer Factory Piano 121 0 2 E Fluegel GM GM2 XG Piano 121 1 2 E Fluegel breit GM2 XG Piano 121 2 2 M1 Piano Legacy Piano 121 3 2 1990er Piano Legacy Piano 121
2. ccoo CC32 PC Name Bank 120 0 0 Standard Kit GM GM2 XG Schlagz 120 0 1 Standard Kit RK2 Factory Schlagz amp SFX 120 0 2 Standard Kit RK3 Factory Schlagz amp SFX 120 0 3 Ambient Kit RK Factory Schlagz amp SFX 120 0 4 Pop Std Kit RK Factory Schlagz amp SFX 120 0 5 Standard Kit RX1 Factory Schlagz amp SFX 120 0 6 Standard Kit RX4 Factory Schlagz amp SFX 120 0 7 Standard Kit Legacy Schlagz amp SFX 120 0 8 Room Kit GM GM2 XG Schlagz 120 0 9 HipHop Kit 1 Factory Schlagz amp SFX 120 0 10 Jungle Kit Factory Schlagz amp SFX 120 0 11 Techno Kit 1 Factory Schlagz amp SFX 120 0 12 Room Kit 2 Legacy Schlagz amp SFX 120 0 13 HipHop Kit 2 Legacy Schlagz amp SFX 120 0 14 Techno Kit 2 Legacy Schlagz amp SFX 120 0 15 Techno Kit 3 Legacy Schlagz amp SFX 120 0 16 Power Kit GM GM2 XG Schlagz 120 0 17 Power Kit 2 Legacy Schlagz amp SFX 120 0 18 Power Kit RX1 Factory Schlagz amp SFX 120 0 19 Power Kit RX2 Factory Schlagz amp SFX 120 0 20 Power Kit 1 Amb Factory Schlagz amp SFX 120 0 21 Power Kit 2 Amb Factory Schlagz amp SFX 120 0 22 Rock Kit Amb Factory Schlagz amp SFX 120 0 23 Gate Kit Amb Factory Schlagz amp SFX 120 0 24
3. ccoo CC32 PC Name Sound Family ccoo CC32 PC Name Sound Family 121 7 55 Synth Hit 2 Legacy Synth Solo 121 18 57 Posaune amp Tromp Factory Blech Solo 121 8 55 Synth Hit 3 Legacy Blech Ensemb 121 19 57 Gls Posaune Mono Factory Blech Solo 121 9 55 Orch Hit Stereo Factory Blech Ensemb 121 20 57 Gliss Posaune Factory Blech Solo 121 10 55 Orch Hit Stereo2 Factory Blech Ensemb 121 0 58 TubaGM GM2 XG Blaeser 121 0 56 Trompete GM GM2 XG Blaeser 121 1 58 Oberkr Tuba 2 Factory Blech Solo 121 1 56 Trompete warm GM2 XG Blaeser 121 2 58 Tuba Gold Factory Blech Solo 121 2 56 Trompete ueberbl Factory Blech Solo 121 3 58 Dynabone Legacy Blech Solo 121 3 56 Trompete monoph Legacy Blech Solo 121 4 58 Ob Tuba amp E Bass 1 Legacy Blech Solo 121 4 56 Trompete Expr 2 Factory Blech Solo 121 5 58 Ob Tuba amp E Bass 2 Legacy Blech Solo 121 5 56 Trompete Stimm Factory Blech Solo 121 6 58 Alpen Tuba Factory Blech Solo 121 6 56 2 Trompeten Factory Blech Solo 121 7 58 Oberkr Tuba 1 Factory Blech Solo 121 7 56 Fluegelhorn 1 Legacy Blech Solo 121 8 58 Tuba amp Bs kurz 1 Factory Blech Solo 121 8 56 Fluegelhorn warm Legacy Blech Solo 121 9 58
4. En din Fie EG This effect is suitable for guitar and organ sounds Right o I n FX Amt 100 Mono In Mono Out FX Amt 20 Stereo In Stereo Out Left gt o Speed RPM 33 1 3 45 78 Sets the r p m of a record ioii Overdie Hai ae iode Overdrive i Gain Sets the modulation depth f Drive Flutter Pre Low cut j 3 Band PEQ S H Wah m Driver ZANAN Amp Simulation Noise Density Sets the noise density F Output Level Noise Tone Sets the noise tone i i Direct Mix Noise Level Sets the noise level ight H Ja Src Off Tempo Selects the modulation source for EX Amt gi P the noise level Dua Amt _100 100 Sets the modulation amount of the noise level g Wah Off On Switches Wah on off Click Level 0 100 Sets the click noise level IC WW Selects the modulation source that Src Off Tempo h switches the Wah on and off Src Op Tempo Selects the modulation source for 26 the click noise level Toggle Selects the switching mode for the I Sw M t modulation source that switches the Amt _100 100 Sets the modulation amount of the oment Wah on and off gt click noise level wafe EO Trim 0 100 Sets the EO input level Range 10 10 Sets the range of Wah Pre EQ Cutoff 1 Hz 300 10 00k Sets the EQ center frequency Wah Sweep Src Off Te
5. MIDI C t ll CC CC Name Pa3X Function on ro ers 91 Fx A C A C reverb send level 92 Fx 2 ctl The following is a table including all Control Change messages 93 Fx B D B D modul send level and their effect on various Pa3X functions Note that not all con 94 Fx 4 ctl trollers are available in all operative modes 95 Fx 5 ctl 96 Data Inc ccs CC Name Pa3X Function 97 Data D c 0 Bank Select Program selection 98 NRPN Lsb See table below 1 Modi Y Joystick forward d 99 NRPN Msb See table below 2 Mod2 Y Joystick backward 100 RPN Lsb See MIDI Implementation Chart 3 Undef ctl 101 RPN Msb See MIDI Implementation Chart 4 Foot ctl 102 119 Undefined ctl 5 Port time 120 AllSOff 6 Data ent 121 Res Ctl Reset All Controllers 7 Volume Track volume 122 LocalCt 8 Balance 123 NoteOff 9 Undef ctl 124 OmniOff 10 Pan Pot Track panning 125 Omni On 11 Expression Expression 126 Mono On 12 Fx Ctl 1 CC 12 127 Poly On 13 Fx Ctl 2 CC 13 Hen Undeketib The following NRPN messages are recognized by Pa3X in 16 Gen pc 1 Ribbon Controller Song Play and Sequencer mode only 17 Gen pc 2 18 Slider NRPN CC 99 CC 98 CC 06 19 Gen pc 4 MSB LSB Data Entry 20 31 Undef ctlpp Vibrato Rate 1 8 0 127 2 Control Change 32 63 are the LSB Least Significant Bytet of Control Vibr
6. ccoo CC32 PC Sound Name Sounds Bank order i 121 46 4 Balladen E Piano EE 121 29 4 Amp Phas E Piano The following table lists all Pa3X Factory Sounds as they appear 121 30 4 verzerrt E Piano in the banks accessed by pressing the SOUND SELECT buttons i 121 36 4 Brillant Wurly on the control panel 121 38 4 Amp Wurly Legend The table also includes MIDI data used to remotely select 121 17 4 Klass Wurly 1 the Sounds CC00 Control Change 0 or Bank Select MSB CC32 m SS 4 kass Wurly gt ass Wur Control Change 32 or Bank Select LSB PC Program Change 4 Bank Sound Select button 2 z u 121 24 4 Glock E Piano 4 See Ben NI 121 32 4 Glock E Piano 5 121 41 4 Wurly Clean Factory Piano 121 39 4 Wurly Tremolo 1 121 13 0 Konz Fluegel RX onz Fluege 121 37 4 Wurly Tremolo 2 121 10 0 Fluegel RX uege 121 44 4 Chorus Wurly 121 12 0 Live Fluegel 1 Ive Fluege 121 40 4 AmpChorus Wurly 121 14 0 Live Fluegel 2 121 34 4 Suitcase88 E P 2 121 16 0 Fluegel amp Streich 121 20 4 Suitcase88 E P3 121 8 2 Fluegel amp E Piano 121 21 4 Suitcase88 E P4 121 15 0 Fluegel amp Synth1 uegel amp syn 121 17 5 VPM E Piano 121 17 0 Fluegel 8 Synth2 uegel amp Syn 121 9 5 Klass Dig EP 1 121 6 1 B ie H oogie Hammer 121 14 5 Klass Dig EP 2 121 3 0 Konz Fluegel onz Fluege 121 11 5 DW8000 E Piano 121 2 3 Honky Ton
7. Name Family Name Family Name Family 1260 M E 2 Asagum Low Perc 1313 Stadium SFX 1366 Gtr Scratch1 SFX 1261 M E 2 Asmatek Low Perc 1314 Applause SFX 1367 Gtr Scratch2 SFX 1262 M E 2 Bendirgum Low Perc 1315 Scream SFX 1368 Ac Bs String Slap SFX 1263 M E2 Bendirtek1 Low Perc 1316 Laughing SFX 1369 Amp Noise SFX 1264 M E 2 Bendirtek2 Low Perc 1317 Footsteps1 SFX 1370 Space Lore SFX 1265 M E 2 Dm1 Low Perc 1318 Footsteps2 SFX 1371 Swish Terra SFX 1266 M E 2 Findik Low Perc 1319 Bird1 SFX 1372 Hand Drill SFX 1267 M E 2 Gum Low Perc 1320 Bird2 SFX 1373 Mouth Harp SFX 1268 M E 2 Hollotokat Low Perc 1321 Dog SFX 1374 Grv BD1 Bass Drum 1269 M E 2 Islik1 SFX 1322 Gallop SFX 1375 GrvBD2 Bass Drum 1270 M E 2 Islik2 SFX 1323 Crickets SFX 1376 Grv BD3 Bass Drum 1271 M E2 Kapalit Low Perc 1324 Cat SFX 1377 GrvBD4 Bass Drum 1272 M E 2 Kasik1 Low Perc 1325 Growl SFX 1378 GrvBD5 Bass Drum 1273 M E 2 Kasik2 Low Perc 1326 Heart Beat SFX 1379 Grv BD6 Bass Drum 1274 M E 2 Kasik3 Low Perc 1327 Heart Beat GM SFX 1380 GrvBD7 Bass Drum 1275 M E 2 Kasik4 Low Perc 1328 Punch SFX 1381 GrvBD8 Bass Drum 1276 M E 2 Kemik Low Perc 1329 Tribe SFX 1382 GrvBD9 Bass Drum 1277 M E 2 Kenar1 Low Perc 1330 Door Creak SFX 1383 GrvBD10 Bass Drum 1278 M E 2 Kenartek Low Perc 1
8. E Routing fs Amt MAA B Pam Overdrive Hi Gain N Phaser _ m Overdrive Hi Gain pem Multitap Delay 3 Band PEQ 3Banapea Driver NN Driver ZI NAA T itu Leva Renna Se F Output Level High Damp DI kn i i o Outpuf i Diy mi BF Mode Overdrive Hi Gaim Resonance Wet Invert Jf Mode Overdrive Hi Gain Drive Phaser FX Amt ive Right X Amr Right Pa Amt LEO Tri7Sine i OD HI GAIN OD HI GAIN OlDrive Mode Overdrive Hi Switches between overdrive and d Overdrive Hi Switches between overdrive and Gain high gain distortion ET Gain high gain distortion a Sets the degree of distortion Sets the degree of distortion Drive 1100 2 Drive 1 100 O Output 0 50 Sets the overdrive output level Get ER 0 50 Sets the overdrive output level Level eve b Sre Off Tempo Selects the modulation source for Src Off Tempo Selects the modulation source for di H the overdrive output level the overdrive output level Amt 50 450 Sets the modulation amount of the Amt _50 50 Sets the modulation amount of the di overdrive output level overdrive output level OlLow Cutoff 20 1 00k Sets the center frequency for Low O Low Cutoff 20 1 00k Sets the center frequency for Low e Hzl m EQ shelving type re EQ shelving type Gain dB 18 18 Sets the gain of Low EQ Gain dB 18 118 Setsthe gain of Low EQ O Mid1 Cutoff 300 10 00k Sets the center f
9. cco CC32 PC Name cco CC32 PC Name 7 6 Gigolo Fox 25 24 Orchester Tango 8 7 Shadow Pop 26 25 Engl Tango 9 8 Walking Rock 27 26 Ital Tango 1 10 9 60er R amp Roll 2 28 27 Ital Tango 2 11 10 Twist 29 28 Ital Foxtrott 12 11 Twister 30 29 Ital Walzer 1 13 12 Liverpool 1 31 30 Mexico Walzer 14 13 Liverpool 2 32 31 Cntry Quickstep 15 14 BigBand Twist Bank Latein 16 132 phe BE Rock 1 o 7 o popchachai 17 167 aL als 2 1 PopCha Cha 2 1g 17 Shuffle 3 2 Modern Beguine 13 18 ECR Rock 1 4 3 Classic Beguine 20 19 CCR Rock 2 5 4 Jive 21 20 Rock n Roll 1 6 5 BigBand Jive 22 21 Rock n Roll 2 7 6 Pop Bossa 23 22 8Beat Standard 1 8 7 Spanish Dance 24 23 8Beat Standard 2 9 8 Pop Cha Cha 3 24 Bye Bye Beat 10 9 Classic ChaCha 26 25 Oldie 6 8 11 10 ChaCha 26 Lou Marie 6 12 11 Party Samba 3 28 By Oldie Reggae 13 12 Bossa Nova 22 28 Liverpool 3 14 13 Guitar Bossa 30 29 60er Walzer 15 14 Rhumba 1 31 30 60er Slow Rock 16 15 Rhumba 2 32 31 60er Rhumba 17 16 Paso Doble 33 32 Surf Rock 18 17 Paso Dance 34 33 Hully Gully 19 18 Sambalegre ank Standard 20 19 Samba Dance 1 0 6 0 Herb s Taxi 21 20 Latin Rock 1 2 1 Langsamer Walzer 1 22 21 Latin Rock 2 3 2 Slow Fox 1 23 22 Guajira 4 3 Slow Fox 2 24 23 Classic Bachata 5 4 Wiener Walzer 25 24 Soca Dancing 6 5 Tan
10. Factory data 229 Drum Samples Name Family Name Family Name Family 624 Tom5 Low Tom 677 HiHat Jazz op1 a HiHat 730 HH Brush cl 3 HiHat 625 Tom6 Vintage Hi p Tom 678 HiHat Jazz op1 b HiHat 731 HH Brush op 1 HiHat 626 Tom6 Vintage Hi mf Tom 679 HiHat Jazz op1 c HiHat 732 HH Brush op 2 HiHat 627 Tom Vintage Hi f Tom 680 HiHat Jazz op2 a HiHat 733 HH Brush op 3 HiHat 628 Tom6 Vintage Mid p Tom 681 HiHat Jazz op2 b HiHat 734 HH Brush op 4 HiHat 629 Tom6 Vintage Mid mf Tom 682 HiHat Jazz op3 HiHat 735 Ride Z 20 edge1 Cymbal 630 Tom6 Vintage Mid f Tom 683 HiHat Jazz opd HiHat 736 Ride Z 20 edge2 Cymbal 631 Tom6 Vintage Low p Tom 684 HiHat Jazz ped cl HiHat 737 Ride Z 20 edge3 Cymbal 632 Tom6 Vintage Low mf Tom 685 HiHat Jazz ped op HiHat 738 Ride Z 20 edge4 Cymbal 633 Tom6 Vintage Low f Tom 686 HH1 Closed pp HiHat 739 Ride Z 20 edge5 Cymbal 634 Tom Processed Tom 687 HH1 Closed p HiHat 740 Ride Z 20 edge6 Cymbal 635 Tom Jazz Hi Tom 688 HH1 Closed mf HiHat 741 Ride Z 20 cup1 Cymbal 636 Tom Jazz Floor Tom 689 HH1 Closed f HiHat 742 Ride Z 20
11. 106 Dynamics Dynamic 107 EQ and Filters EQ Filter 110 Overdrive Amp models and Mic models OD Amp Mic 118 Chorus Flanger and Phaser Cho Fln Phaser 123 Modulation and Pitch Shift Mod P Shift 131 Pelay i ocina cat pna t aci dn ierta du Lis DE date 142 Reverb and Early Reflections Reverb ER 152 Mono Mono Serial Mono Mono 154 Double Size uses AAA 171 VOCHder nase en Beinen 180 Factory data 182 Styles p EE 182 Style Elerents u nee 188 Style and Player controls 188 Single Touch Settings STS 188 Sounds Bank order 189 Sounds Program Change order 203 Dr m Kits osse ve ea oe a EE tes 216 Multisamples nu seen 218 Re e SA 225 Pads gain nes ee n ai dE 236 Effects PE PET 240 MIDI Setup u ae E ede ge eg 242 Assignable parameters 243 List of Assignable Footswitch Pedal functions 243 List of Assignable Slider functions 245 List of Assignable Switch functions 245 List of BCS functions 246 Scales ees ow ses UE Seu VIE mE DNE RUE d 248 MIDI Data enne 249 MIDI Controllers 249
12. Pad Volume Style Up Selects the next Style Joystick X Style Down Selects the previous Style Joystick X Perform Up Selects the next Performance Joystick Y Perform Down Selects the previous Performance Joystick Y Sound Up Selects the next Sound Upper VDF Cutoff Sound Down Selects the previous Sound Upper VDF Resonance Style Drum Mute Mic Lead Voice Level 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 Continuous controls assigned to the Voice Processor FX CC12 Ctl FX CC13 Ctl Style Percussion Mute Style Bass Mute Style Acc1 Mute Style Acc2 Mute Style Acc3 Mute Style Acc4 Mute Style Acc5 Mute Style Acc1 5 Mute Song Melody Mute Mute of Song track 4 usually the Melody track in a Standard MIDI File Vocal Remover On Off Removal of the Lead Vocals from a Song in MP3 format Song Drum amp Bass Mode Mute of all tracks apart for track 2 usually Bass and 10 usually Drum Solo Selected Track Bass amp Lower Backing When the Style is not playing and you are in Split mode you can play the Lower track with your left hand while the Bass still plays the chord root See Bass amp Lower Backing on page 142 of the User s Manual QuarterTone Turns Quarter Tone on off
13. 41 Pad Edit Velocity wwa 41 Pad Edit AI i ua a at 42 Pad Edit Delete un ne she ae e au poi 42 Pad Edit Delete AIll 43 Pad Edit Copy from Style 43 Pad Edit Copy from Pad 43 Pad Track Controls Sound Expression 44 Pad Chord Table scie zicea aa oi RO nt 45 Import Import Groove 45 Import Import SMF 45 Export SME 4 prea mpa e ini ua ap 46 Page men erpi e oi ea ut a d n 46 Write Pad dialog box sc e aie ae a oaia aie 47 Sound operating mode 48 The MIDI channel 2 e dtes Rd RR RR RR genes 48 How to select oscillators 48 Sounds Drum Kits Digital Drawbars 48 Mainp ge I ke ehe 48 Digital Drawbars page 50 Edit menu 2 2 4 RR HESSE ada td EE 51 Edit page structure oa a dg e p e EY o T 52 Basic Sound Basic a sa aa aaa e bey b eR RR 52 Basic OSC Basic 2208 huie hp eb RR RHET RN ER dn 53 Basic Vel Key Zone 2 aaa e Ry ER RR REESE 55 Basic Damper Mode coat one id 56 Basic Damper Trigger st ci tit i ial ada r 57 Basic EQ 44 2340 57 DrumKit Sample Setup Drum Kits 58 DrumKit EQ Drum Kits 59 DrumKit Voice Mixer Drum Kits 60 Pitch Pitch Mo
14. ccoo CC32 PC Name Sound Family ccoo CC32 PC Name Sound Family 121 8 23 Akk 16 8 4 Plus Factory Akkordeon 121 22 25 Pop West Git 2 Factory Gitarre 121 9 23 Akk amp Akk Bass Factory Akkordeon 121 23 25 Pop West Slide Legacy Gitarre 121 10 23 Tango Akkordeon Factory Akkordeon 121 24 25 Pop Western RX1 Factory Gitarre 121 0 24 Nylon Git GM GM2 XG Gitarre 121 25 25 Pop Western RX2 Factory Gitarre 121 1 24 Ukulele GM2 XG Gitarre 121 26 25 Mandolinen Ens 1 Factory Welt 121 2 24 Nylon Git KeyOFF GM2 XG Gitarre 121 27 25 Mandolinen Ens 2 Factory Welt 121 3 24 Nylon Gitarre 2 GM2 XG Gitarre 121 28 25 Real West Git ST Factory Gitarre 121 4 24 BossaNova Git Legacy Gitarre 121 29 25 Real Folk Git ST Factory Gitarre 121 5 24 Ak Git KeyOff Factory Gitarre 121 30 25 Real Folk Git ST Factory Gitarre 121 6 24 Flamenco Gitarre Legacy Gitarre 121 31 25 Real Western Git Factory Gitarre 121 7 24 Guitar Strings Legacy Gitarre 121 32 25 Real Folk Git Factory Gitarre 121 8 24 Nylon Git Pro1 Factory Gitarre 121 33 25 Real 12sait West Factory Gitarre 121 9 24 Brazil Gitarre Legacy Gitarre 121 34 25 Real FolkGit DNC Factory Gitarre 121 10 24 Nylon Vel Harm Legacy Gitarre 121 35 25 Western Git RX3 Factory Gitarre 121 11 24 Nylon Git Pro2 Factory Gitarre 121 36 25 Klass West DNC Factory Gitarre 121 12 24 Nylon Git RX1 Factory Gitarre 121 37 25 Klass 12sait Pro F
15. ccoo CC32 PC Name Sound Family ccoo CC32 PC Name Sound Family 121 0 42 Cello GM GM2 XG Streich Solo 121 2 50 Analog Streich 1 Legacy Streich amp Chor 121 1 42 Cello Factory Streich amp Chor 121 3 50 Analog Streich 2 Legacy Streich amp Chor 121 0 43 Kontrabass GM GM2 XG Streich Solo 121 4 50 OdisseyStreicher Legacy Streich amp Chor 121 1 43 Klass Kontrabass Factory Streich amp Chor 121 5 50 Analog Streich 3 Factory Streich amp Chor 121 0 44 Trem Streich GM GM2 XG Streich Solo 121 6 50 Synth Streich 1 Factory Streich amp Chor 121 1 44 TremoloStreicher Factory Streich amp Chor 121 0 51 SynthStreich2 GM GM2 XG Streich Ensemb 121 0 45 Pizzicato Str GM GM2 XG Streich Solo 121 1 51 Synth Streich 2 Legacy Streich amp Chor 121 1 45 Pizz Ensemble Factory Streich amp Chor 121 0 52 Aah Chor GM GM2 XG Streich Ensemb 121 2 45 Pizz Sektion Factory Streich amp Chor 121 1 52 Aah Chor 1 GM2 XG Streich Ensemb 121 3 45 Doppel Streicher Legacy Streich amp Chor 121 2 52 Uuh Stimmen Factory Streich amp Chor 121 0 46 Harfe GM GM2 XG Streich Solo 121 3 52 Uuh Chor langsam Factory Streich amp Chor 121 1 46 Yang Chin GM2 XG Streich Solo 121 4 52 Take Stimmen 1 Factory Streich amp Chor 121 2 46 Klassische Harfe Factory Streich amp Chor 121 5 52 Take Stimmen 2 Legacy Streich amp Chor 121 0 47 Orch Pauke GM GM2 XG Streich Solo 121 6
16. LFO Waveform Triangle Sine Selects the LFO Waveform LFO Phase Sets the LFO phase difference 2 Flanger degree Lo between the left and right Width 0 2 Sets the LFO modulation depth the Frequency 0 02 20 00 Sets the speed of the LFO Input Gain Sets the input gain Sic Off Tempo selects a modulation source for LFO Select a output mode spee Output Mode 0 1 0 Mono Aot 20 00 Sets the modulation amount of LFO 1 Stereo m 20 00 speed Dry 1 99 When this is on the LFO speed is set Wet Dry 99 1 Wet Balance between the wet and dry signal MIDI Sync Off On by BPM Base Note and Times as Table Select Auld instead of Frequency able Selects a modulation source for Source OI Tempo Wet Dry on page 107 MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this 100 100 lable Sets the modulation amount for 300 00 individual effect Wet Dry on page 107 Base Note a Selects the type of notes that specify the LFO speed Mode Times x1 x32 Sets the number of notes that B specify the LFO speed Intensity Pre Delay on enn Sets the delay time from the original Increasing the Intensity value will strengthen the modulation msec pound effect This controls the effect direct and feedback values The Depth m the un z elects the modulation source o values that are controlled will depend on the Mode setting Src Off Tempo the
17. 14 St Random Filter Stereo Random Filter This stereo band pass filter uses a step shape waveform and ran dom LFO for modulation You can create a special effect from filter oscillation Stereo In Stereo Out Left o A o FX Amt Filter E I o o Filter Right ai Bey Amt LFO Step Tri Random LFO Waveform PUE Selects the LFO Waveform a LFO Phase 180 180 Sets the LFO phase difference degree ma between the left and right ae Frequency 0 02 20 00 Sets the speed of the LFO Selects the modulation source used b Src Off Tempo for both LFO speed and step speed Amt 20 00 Sets the modulation amount of LFO 20 00 speed LFO Step Freq 0 05 50 00 Sets the LFO step speed speed that Hz Se changes in steps c Amt 50 00 Sets the modulation amount of LFO 4 50 00 step speed When this is on the LFO speed is set MIDI Sync Off On by BPM Base Note and Times ege instead of Frequency MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this d 300 00 individual effect Selects the type of notes that Base Note Eu specify the LFO speed i Sets the number of notes that Times K132 specify the LFO speed Selects the type of notes to specify Step Base Note r w the LFO step speed eu e Sets the number of notes to specify Times x1 x32 the LFO step speed Manual 0 100 Sets th
18. Voice Processor Setup Mic Tone In this page you can set parameters for the microphone input choosing the most suitable settings for the Lead voice i e the main singer Lead Level gt GBLYPS This parameter sets the Lead voice level Off Lead voice is turned off 60dB OdB Lead voice level Pan gt GBLYPS Adjusts panning for the Lead voice Left L99 panned fully left to R99 Right panned fully right EQ The EQ section is different depending on the Adaptive check box status Ada ptive gt GBLYPS This activates the automatic EQ algorithm and changes the con trol set for the EQ When the Adaptive checkbox is checked most of the adjustment is done automatically so fewer controls are required EQ with Adaptive On When Adaptive is checked it allows for simplified editing Warmth Shape gt GBLYPS Shape is the name given to the automatically adjusting EO that is activated by the Adaptive checkboz When the Adaptive fea ture is activated Shape processing offers an EO curve that adds an airy brightness or sizzle to your voice while reducing mud due to the prozimity effect from singing closely into a cardioid microphone Adjusting the control from 0 to 50 reduces mud while increasing brightness to a useful range for your voice Turning from 50 up to 100 adds more brightness Reducing Mud For singers who have a voice with less bass frequencies the
19. Gate1 Dmpr Gate2 Gate2 Dmpr Gate2 Damper This is essentially the same as for Gate 1 or Gate 1 Dmpr How ever when Gate 2 or Gate 2 Dmpr are used as a dynamic mod ulation 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 m 1 21 3 23 Wnote ra YA Damper Pedal Y EI Gate2 von Gate2 Dmpr Dynamics Dynamic 0 No Effect Select this option when you do not use any effects 1 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 Stereo In Stereo Out Left o FX Amt EQTrim LEQ HEQ X JH gt Compressor Output Level Envelope Control Envelope Select ecce seriem Envelope Control H E e g gt H lt H Compressor Output Level a EQTrim LEQ HEQ Right o I Amt ki L R Mix Determines whether the left and L R Individ right channels are linked or used ually separately 1 100 1 100 0 100 Low Selects the cutoff frequency low or Mid Low mid low of the low range equalizer Envelope Select Sensitivity Sets the sensitivity Attack EQ Trim Sets the attack l
20. X Emphasis Frequency 0 70 Sets the frequency range to be emphasized X Exciter Blend 100 100 Sets the intensity depth of the Exciter effect X Trim Sets the EQ input level X Emphasis Frequency 0 70 Sets the frequency range to be emphasized X Pre LEQ Gain dB Sets the gain of Low EQ X Trim 0 100 Sets the EQ input level Pre HEQ Gain dB TER Sets the gain of High EQ 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 L Ratio 1 0 1 50 0 1 Inf 1 Sets the signal compression ratio CHORUS FLANGER L Threshold dB 40 0 Sets the level above which the compressor is applied FILFO Frequency Hz 0 02 20 00 Sets the speed of the LFO LFO Waveform Triangle Sine Selects the LFO Waveform L Attack Release 1 100 1 100 Sets the attack time Sets the release time L Gain Adjust dB Inf 38 24 Sets the limiter output gain Routing Wet Dry Exciter Limiter Limiter Exciter Dry 1 99 99 1 Wet Switches the order ofthe exciter and limiter Balance between the wet and dry signal F Delay Time msec Depth 0 0 1350 0 0 100 Sets the delay time Sets the depth of LFO modulation Feedback 100 100 Sets the feedback amount Src Off Tempo Table
21. Amount of modulation source Effects Double Size 138 St BPM Long Dly Stereo BPM Long Delay The stereo delay enables you to match the delay time with the song tempo 179 Stereo In Stereo Out Left o High Damp Low Dam f Amt High Damp Low Damp e Delay Delay HN Z H tu Input Level D mod F Input Level D mod P R Delay ja Feedback Right o Input Level D mod mimm Low Dam Temi HN ZIP M Amt Base Note x Times Adjust MIDI 40 00 300 00 MIDI syncs to the system tempo 40 300 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 OVER Display the error message if the right channel delay time exceeds the upper limit L Delay Base Note r W Selects the type of notes to specify the left channel delay time Times x1 x32 Sets the number of notes to specify the left channel delay time Adjust 96 2 50 2 50 Fine adjust the left channel delay time R Delay Base Note Selects the type of notes to specify the right channel delay time Times Adjust 2 50 2 50 Sets the number of notes to specify the right channel delay time Fine adjust the right channel delay time L Feedback 100 100 Sets the feedback amount for the left cha
22. DRUM PERC BASS RCC1 ACCS Trans Quante are Juris cut JI After setting the various parameters touch Execute E CV Style Element Chord Variation Use these parameters to select the Style Element and Chord Variation for editing Track Use this parameter to select a track All All tracks selected After deletion the selected Chord Variation will remain empty Drum Acc5 Selected track Event Type of MIDI event to delete 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 encountered on the same tick the one with the lowest velocity is deleted After Touch After Touch events Note This kind of data is automatically removed during recording Pitch Bend Pitch Bend events Prog Change Program Change events excluding the bundled Control Change 00 Bank Select MSB and 32 Bank Select LSB Note 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 bun dles Note Some CC data are automatically removed during recording See the table on page 5 for more information on the allowed data Start End Tick Use these parameters to set the starting and endin
23. Left FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Reverb EQ Trim Pre Delay 1 H lt Reverb LEQHEI Righto Q YI input Reverb Mix i ut mod Envelope Select g e gt Envelope Control Sets the reverberation time High Damp 96 0 100 Sets the damping amount in the high range R Pre Delay msec 0 200 Sets the delay time of the reverb sound and gate control signal RJEQ Trim 0 100 Sets the EQ input level Reverb Balance 0 100 Sets the reverb effect balance Low RIPreLEQFC ur Low Selects the cutoff frequency low or mid low of the low range equalizer High Pre HEQ Fc Mid High Selects the cutoff frequency high or mid high of the high range equalizer 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 E GlEnvelope Select D mod Input Switches between modulation source control and input signal control Src Off Tempo Selects the modulation source that controls the gate when Envelope Select is set to D mod G Input Reverb Mix Sets the balance between the dry and reverb sounds of the gate control signal Threshold Sets the gate threshold level G Polarity Switches between non invert and invert of the gate on off sta
24. Speed Hz 0 10 10 0 Sets the tremolo speed G Envelope DJ Envelope Shape Depth 0 100 Select the tremolo depth Envelope Sens Spread 0 100 Sets the width of the stereo image of the effect sound S h Tove mem h f Envelope Sens 0 100 Sets the envelope s sensitivity to the Level Adjust 1 100 Sets the output level input signal a Wet Envelope p 1 99 Dry Balance between the wet and dry signal Shape 200 109 Sets the envelopes curvature Wapewe Triangle Sine Off Tempo Table Selects a modulation source for Wet LFO Waveform Vintage Selects the LFO Waveform is P Dry on page 107 b Ch h fthe LFO LFOShape 100 100 anges te curvarure ote 100 100 Table Sets the modulation amount for Wet Waveform Dry on page 107 LFO Phase _180 180 Sets the LFO phase difference degree d between the left and right e Frequency 0 02 20 00 Sets the speed of the LFO d Envelope 20 00 Sets the amount added to or subtracted from the Frequency Amount Hz 20 00 when the envelope is at maximum Depth 0 100 Sets the initial amount of tremolo Sets the amount added to or e Envelope 100 100 subtracted from the Depth when Amount A the envelope is at maximum Wet Dry py 1 99 99 1 Balance between the wet and dry et signal f Table Dynamic Modulation Sic Off Tempo sources on page 106 Amt 100 100 Amount of modulation source d LFO Frequency Hz d Envelope Amount Hz
25. Style Acc1 Mute Style Acc2 Mute Mic Filter On Off Mic HardTune On Off Style Acc3 Mute Mic uMod On Off Style Acc4 Mute Mic Delay On Off Style Acc5 Mute Mic Reverb On Off Turns all Voice Processor effects down to let you address the audience See Voice Proces sor Setup Talk on page 99 On off switch controls assigned to the Voice Processor Press to activate press a second time to deactivate FX CC12 Switch Style Acc1 5 Mute Standard FX controllers Song Melody Mute of the Standard MIDI File s track selected FX CC13 Switch as the Melody track Song Play gt Preferences Rotary Spkr On Off Vocal Remover On Off Voice removal from the MP3 file the type of Rotary Spkr Fast Slow voice to be removed can be chosen in Song Drawbar Perc On Off Play gt Preferences Song Drum amp Bass Mode Mute of all tracks apart for track 2 usually Bass and 10 usually Drum It doesn t work on MP3 files Text Page Down Solo Selected Track Damper Pedal These options let you move to the previous or next page when reading a text file loaded Soft Pedal Sostenuto Pedal Bass amp Lower Backing When the Style is not playing and you are in Split mode you can play the Lower track with your left hand while the Bass still plays the chord root See Bass amp Lower Backing on page 142 of the User s Manual Text Page Up A w
26. Style Record mode 3 The Style structure Style Record mode By entering the Style Record mode you can create your own Styles or edit an existing Style The Style structure The term Style relates with music sequences automatically played by the arranger of the Pa3X A Style consists of a pre defined number of Style Elements E Pa3X features fifteen dif ferent Style Elements Variation 1 4 Intro 1 3 Fill 1 4 Break Ending 1 3 When playing these Style Elements can be selected directly from the control panel using the corresponding buttons To explain the Style structure we can use a tree structure as shown in the following diagram Pop Ballad Variation 1 an Variation 2 amp Drum Variation 3 ji iis Variation 4 nn Intro1 Acc3 Acc4 evi Acc5 CV2 BUE Intro 2 CV3 Intro 3 C In CHA Fill 1 CV5 Fill 2 CV6 Fill 3 Fill 4 Break Ending 1 Ending 2 Ending 3 Each Style Element is made up of smaller units called Chord Variations CV but not all of them have the same number of CVs Variations 1 4 have up to 6 CVs each while the other Style Elements have only up to 2 CVs When you play on the chord recognition area Lower Upper or Full depending on the Chord Scanning section on the control panel the arranger scans the keyboard and determines which chord you are playing Then depending on the selected Style Element it determines which Chord Variation CV should be play
27. An arabic scale using quarters of tone Set the Key parameter as follow 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 scale based on the music theories of the great Greek philosopher and matematician It is most suitable for melodies Werckmeister Kirnberger Slendro Pelog Stretch User Late Baroque Classic Age scale Very suitable for XVIII Century music Harpsichord scale very common during the XVIII Century Scale of the Indonesian Gamelan The octave is divided in 5 notes C D E G A The remaining notes are tuned as in the Equal tuning Scale of the Indonesian Gamelan The octave is divided in 7 notes all white keys when Key is C The black keys are tuned as in the Equal tun ing 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 scale i e scale programmed by the user for the Style Play Backing Sequence and Song Play modes The user scale can be saved to a Perfor mance Style Settings STS or Song You cant select a User scale in Global mode MIDI Data 249 MIDI Controllers MIDI Data
28. Dynamic Modulation Sic Off Tempo sources on page 106 100 100 Amount of modulation source a Amp Type h Cabinet Type Recommended Combinations of Bass Amp Models and Cabi nets 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 amp 1x18 Advanced 122 Effects Overdrive Amp models and Mic models OD Amp Mic 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 Saturation 0 Cc Saturation 50 c Tube Bias This expresses the effect that changes in vacuum tube bias have on the distortion 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 Mic Pre Amp Bias Out Bias 100 Bias 50 Bias 0 Satulation 50 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 27 St Tube PreAmp Stereo Tube PreAmp Modeling This is a stereo vacuum tube preamp sim
29. Manual RST Control RESET Loop Time msec Auto MIDI Tempo Sync Off It should be noted that all recordings will be deleted while Reset is On 2 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 1 10 800msec the specified loop time will be used regardless of the time taken from pushing the joy stick 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 i
30. All Mute Recognized Chord Fifth Power Chord Recognized Full Down Up Chord Root S VI String E I String e Down Up 4 Strings V String A II String B IVString D Ill String G Recording RX Noises Further on the upper octaves are used to trigger RX Noises Pa3X 76 ITI I TUTTI MANN RX Noises Selecting a Capo Together with strumming types single strings and RX Noises you can choose a Capo capotasto Note that this might prevent some single strings to sound depending on the composed chord You can always see with strings are playing and which are not as described in the Diagram section below Recording a regular pattern Together with strums and arpeggios you can record regular pat terns exactly as if the track was of Acc type see Track Type on page 27 of the User s Manual This will save an Accompaniment track when all you need is just to record some short melodic passages for example the closing of a strumming pattern Advanced 12 Style Record mode Main page Guitar Mode You can record the pattern by playing it in the range shown by Vel
31. Range from Str to Str Position the diagram 34 4Strings Treble I IV 3 Pa3X 76 i Pa3X 61 35 4 Strings Treble l IV 4 TU UI 3s aan bie oa III ITT 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 II V 0 44 3 Strings MiddleBas Ul V 1 45 3 Strings MiddleBas M V 2 Recording a Chord Shape 2 46 3 Strings MiddleBas II V 3 You can finely choose Chord Shapes by using MIDI messages 47 3 Strings MiddleBas m V 4 When you play a CO note with the velocity value shown in the 48 3 Strings MiddleBas m V 5 following table a chord is played in a particular position and on j 49 3 Strings MiddleTreble ll IV 0 a certain number of strings 50 3 Strings MiddleTreble Il IV 1 P 51 3 Strings MiddleTreble ll IV 2 Vel Range from Str to Str Position 52 3 Strings MiddleTreble Il IV 3 0 6 Strings VI 0 53 3 Strings MiddleTreble Il IV 4 1 6 Strings I VI 0 54 3 Strings MiddleTreble Il IV 5 2 6 Strings I VI 1 55 3 Strings Treble I II 0 3 6 Strings l VI 2 56 3 Strings Treble I II 1 4 6 Strings I VI 3 57 3 Strings Treble I II 2 5 6 Strings I VI 4 58 3 Strings Treble I II 3 6 6 Strings I VI 5 59 3 Strings Treble I IW 4 7 5 Strings Bass ll VI 0 60 3 Strings Treble I Hl 5 8 5 Strings Bass ll Vi 1 61 2 Strings Bass V VI 0 9 5 Strings Bass Il VI 2 62 2 Strings Bass V VI 1 10 5 Strings B
32. siele siele No 3rd No 3rd no 5th 2 note 1 note IH UL constituent notes of the chord T can be used as tension Advanced 252 Recognized chords KORG Italy 2011 All rights reserved
33. 10 0 SCH the band width of Mid High EQ Gain dB 18 18 Sets the gain of Mid High EQ 2 Dry O Wet Dry 1 99 99 1 Sets the overdrive effect balance Wet Selects the Wet Dry modulation sre Off Tempo source for the overdrive Sets the Wet Dry modulation Amt 190 100 amount for the overdrive Comp OD Routing HG OD HG Comp Switches the order ofthe compressor and overdrive Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Op Tempo Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source Advanced Effects Mono Mono Serial Mono Mono 158 96 Comp P4EQ Compressor Parametric 4 Band EQ 97 Comp Cho Flng Compressor Chorus Flanger This effect combines a mono compressor and a four band para This effect combines a mono compressor and a chorus flanger metric equalizer You can change the order of the effects You can change the order of the effects FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left Left FX Amt
34. 2 Dyn Compressor When playing chords on an electric piano or similar instrument its helpful to use a compressor to keep each note smooth and well balanced In addition to a distinctive percussive accent it will also provide a long sustain This effect models a popular compressor with a clean sound thats perfect for pop and funk music Wet Mono In Mono Out Dry Stereo In Stereo Out Left gt Wet Dry t Compressor amp 7 Output Level Envelope Control Right Wet Dry 1 100 1 100 0 100 Dry 1 99 Sets the Balance between the wet and dry 99 1 Wet signal Sets the sensitivity Sets the attack level Sets the output level of the compressor Off Tempo Selects the modulation source for the compressor output level Sets the modulation amount for the 100 100 compressor output level 3 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 allowing 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 Advanced 108 Effects Dynamics Dynamic Stereo In Stereo Out L
35. 4 AMS Amp KTrk 0 max AMS Intensity positive value 2610 NENNEN ci Depth and direction of modulation max Y A AMS Amp KTrk A0 max AMS Intensity positive value zero IN Depth and direction of modulation max Y Sampling operating mode 79 Entering and exiting the Sampling mode Sampling operating mode Pa3X includes a full featured sampler with powerful tools for creating a new sounds and b rhythm patterns based on audio grooves New Sounds Sampling allows you to create new sounds by recording from an external source e g a microphone or a CD player connected to Pa3X Audio Inputs or by loading files from a storage device Pa3X can read common formats like WAV and AIFF files Korg Trinity and Triton Samples Korg Trinity and Triton Multisamples Korg Triton Programs and Akai S1000 and 3000 Samples and Programs Trpt amp Trbn 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 keyboard 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 function can be used as any ordinary Sound and assigned to any track The Load Sample function allows you to read samples Korg KSF Akai S1 or S3 AIFF and WAV from a
36. FX Amt Scratch Direct Mix Rec Control Scratch i Righto i KSC Amt i Dm D mod i Zen Envelope Control i ut i Selects the modulation source for Scratch Source Off Tempo simulation control Sets the speed of the response to Response 0 100 the Scratch Src Selects whether the start and end of recording is controlled via the modulation source or the input signal level Envelope Select D mod Input Selects the modulation source that controls recording when Envelope Select is set to D mod Src Off Tempo Sets the recording start level when Threshold 0 100 Envelope Select is set to Input Sets the speed ofthe response to Response 02109 the end ofrecording Always On Always Off Cross Fade Direct Mix Selects how a dry sound is mixed Dry 1 99 99 1 Balance between the wet and dry Wet signal Wet Dry Table Dynamic Modulation Src Off Tempo sources on page 106 100 100 Amount of modulation source a Scratch Source b Response The Scratch Source parameter enables you to select the modula tion source that controls simulation The value of the modula tion source corresponds to the playback position The Response parameter enables you to set the speed of the response to the modulation source Scratch Source Start Playback Position End Recorded Sound Scratch Source mod
37. HH Played further apart but toni is runefiarged Note To vary the groove s tempo you must first import the generated MIDI data into the Percussion track Import function of the Style and Pad Record mode and assign the new generated Sound to the Per cussion track Gaps between sliced samples when slowing down the tempo can be automatically filled by the Extend function smoothing each sample s tail Ex 3 Recombining MIDI notes and samples Edit the MIDI data y Y Note To recombine notes inside the generated MIDI sequence you must first import the MIDI data in Style or Pad Record mode by using the Import function Then use the Event Edit to change the note order Sample diagram This diagram shows the sample waveform and the slices Here is how the sample diagram appears before the Slice and the same diagram after the Slice pp pi php Metronome Information Meter Use this parameter to specify the Meter of the original sample Measures Use this parameter to specify the number of measures of the original sample Usually you will load a groove 1 or 2 measures long BPM This parameter specifies the tempo in Beats Per Minute of the original sample Pa3X automatically calculates this value based on the Start End see page 82 Meter and Measures parameters The BPM can be only adjusted to values lower than the one auto matically calculated
38. He gt gt Envelope Control 8 Envelope Control ff Envelope Control el Low Envelope Control Fa aa ata Mid 1 4 gt CEnvelope Control d Envelope Control High Limiter Gain Adjust Limiter Limiter Gain Adjust Limiter Limiter Lei Iele Right o Offset 1 0 1 50 0 1 Inf 1 Sets the signal compression ratio Effects Double Size 171 121 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 realistic sound when applied to acoustic piano sounds FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left o gt o FX Amt a Righto i gt o FX Amt er Dampen Sound Board Depth Sets the intensity of resonance of 0 100 the sound board Sets the intensity of the string resonance created when the damper pedal is pressed Damper Depth 0 100 Selects the modulation source of Threshold dB Sets the level above which the compressor is applied Attack Sets the attack time Release Sets the release time Low Offset dB Sets the low r
39. Ki lt 104 Voice Processor Voice Processor Preset uMod Voice Processor Preset uMod uMod is short for micro modulation The uu Mod effect is capable of creating many different sounds that range from subtle but lush thickening to creatively 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 uMod does a faithful job of emulating classic detune chorus flange and thickening sounds Lese en Jemen oo ine uMod On Off gt GBLYPP This button allows enabling disabling of the uMod block It is the same control found in the Easy Preset page Set gt GBLYPP Use this menu to choose a pre programmed uMod Set This cor responds to the option selected in the Easy Preset page Level gt GBL PP Sets the mix level for the uMod effect Speed gt GBLYPP This setting sets how fast the delay time modulation occurs In order for this to be audible the depth amount parameter has to be nonzero The setting range is 10 00 Hz very fast to 05 Hz very slow Detune L R gt GBLYPP Applies 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 Depth L R gt GBL P These set the amount of modulation of the delay time for the left and right delays If one delay is set to 10mS for ex
40. OlLow Cutoff Hz Gain dB O Mid1 Cutoff Hz 20 1 00k 18 18 300 10 00k Sets the center frequency for Low EQ shelving type Sets the gain of Low EQ Sets the center frequency for Mid High EQ 1 peaking type Q 0 5 10 0 Sets the band width of Mid High EQ 1 Gain dB 18 18 Sets the gain of Mid High EQ 1 O Mid2 Cutoff Hz 500 20 00k Sets the center frequency for Mid High EQ 2 peaking type Q Gain dB 0 5 10 0 18 418 Sets the band width of Mid High EQ 2 s the gain of Mid High EQ 2 O Mid2 Cutoff Hz 500 20 00k Sets the center frequency for Mid High EQ 2 peaking type Q 0 5 10 0 Sets the band width of Mid High EQ 2 Gain dB 18 18 Sets the gain of Mid High EQ 2 AMP SIM CHORUS FLANGER h_ AlAmplifier Type SS EL84 6L6 Selects the type of guitar amplifie Routing Wet Dry OD HG Amp Amp OD HG Dry 1 99 99 1 Wet Switches the order ofthe overdrive and amp Balance between the wet and dry signal FILFO Frequency Hz 0 02 20 00 Sets the speed of the LFO LFO Waveform Triangle Sine Selects the LFO Waveform Src Off Tempo Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source F Delay Time msec 0 0 1350 0 Sets the delay time Depth Feedback 0 100 100
41. Orgel 121 1 13 Xylophon Factory Mallet amp Bells 121 42 16 50er Orgel V SW Factory Orgel 121 0 14 Glocken GM GM2 XG Mallet amp Bells 121 43 16 Ital 60er Orgel Factory Orgel 121 1 14 Kirchenglocke 1 GM2 XG Mallet amp Bells 121 44 16 Kino Orgel Factory Orgel 121 2 14 Carillon GM2 XG Mallet amp Bells 121 45 16 Volle Orgel JSF Factory Orgel 121 3 14 Kirchenglocke 2 Factory Mallet amp Bells 121 46 16 Gospel Orgel JSF Factory Orgel 121 4 14 R hrenglocke Factory Mallet amp Bells 121 47 16 Warme Orgel1 JSF Factory Orgel 121 5 14 Weihn Glocke 1 Factory Mallet amp Bells 121 48 16 Warme Orgel2 JSF Factory Orgel Factory data Sounds Program Change order 205 ccoo CC32 PC Name Sound Family ccoo CC32 PC Name Sound Family 121 49 16 Medium Orgel JSF Factory Orgel 121 3 20 Orgel Positiv 3 Factory Orgel 121 50 16 Fusslag Hoch4 V Factory Orgel 121 4 20 Kirch Org Tibia1 Factory Orgel 121 51 16 Fusslag Hoch5 V Factory Orgel 121 5 20 Kirch Org Tibia2 Factory Orgel 121 52 16 OrgelRX16 V Factory Orgel 121 0 21 Akkordeon GM GM2 KG Orgel 121 53 16 Orgel RX 16 1 V Factory Orgel 121 1 21 Akkordeon 2 GM2 XG Orgel 121 0 17 Perk Orgel GM GM2 XG Orgel 121 2 2
42. While you are in Pad Record or Pad Edit mode you can listen to the selected Chord Variation To select a Chord Variation go to the Main page of the Record Edit mode When you are in the Main Event Edit Quantize Trans pose Velocity or Delete pages you can listen to the selected Chord Variation Press START STOP to check how it works Press START STOP again to stop the play back When you are in the Sounds Expression Keyboard Range Chord Table Trigger Tension Delete All Copy Style Ele ment Controls or Style Control pages you can listen to the whole Pad Press START STOP and play some chords to do your tests Note In this mode the pattern is always played back in loop even if the Pad Type parameter is set to One Shot see page 44 Note While in Pad Record mode the Fingered 3 Chord Recogni tion mode is automatically selected Main page Record 1 The Main Record page of the Pad Record mode looks like a simplified version of the Main page of the Style Record mode with just a single track to be recorded and no Style Elements to be chosen The only addition is the Pad Sync parameter PAD RECORD Analog Kit GM 6 Drum 128 008 025 ME Mode Please look at the Style Record mode chapter for more infor mation on the various parameters Only general information and differences with the Style Record mode are described here Recording parameters area Chord Var Chord Var
43. You dont need to record all Chord Variations It is often only needed to record just a Chord Variation Pattern data vs track data While the Pad Record mode is where you can create or edit music patterns for the Pad track parameters like Volume Pan FX settings have to be edited in Style Play mode After editing Pad Track parameters in Style Play mode save them to the Style Settings by selecting the Write Current Style Settings command from the page menu of the Style Play mode see Write Style Settings Dialogfenster on page 144 of the User s Manual e After editing Pad Track parameters in Style Play mode save them to the Style Performance by selecting the Write Cur rent Style Performance command from the page menu of the Style Play mode see Write Style Settings Dialogfen ster on page 144 of the User s Manual Entering the Pad Record mode To enter Pad Record mode go to the Style Play mode and press RECORD The Style Pad Record Select window appears STYLE PAD RECORD e Select Record Edit Pad to select an existing Pad to edit If it is a Factory Pad you may not be able to save it at the orig inal location depending on the status of the Factory Style and Pad Protect parameter in the Media gt Preferences page you will select a User Pad location instead e Select Record New Pad to start from a new empty Pad When finished recording you will save the new Pad into a
44. 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 0 so the tremolo doesn t have any effect As the input volume dies down the Frequency speeds up the Depth also increases making the tremolo effect increasingly audible When the input volume approaches silence the Depth is at its maximum 100 and Frequency is at 8Hz Shimmer Level Dry Envelope LFO Frequency Hz 8 0 Envelope Amount Hz 7 0Hz Depth 100 Envelope Amount 100 Louder Time Effects 137 Modulation and Pitch Shift Mod P Shift 55 Stereo Auto Pan Stereo Auto Pan LFO Phase LFO Phase 0 degrees LFO Phase 90 degrees LFO Phase 180 degrees This is a stereo in stereo out auto panner The Phase and Shape c parameters lets you create various panning effects such as mak en ing the left and right inputs seem to chase each other around the ine EE ma Z En tereo field m ca dam stereo fie e amp g ER ED D D Stereo In Stereo Out CD CD CB Left dije 7 ED ee em i ED ED ED Left Center Right Output Stereo Image Righto d LFO Tri Sin LFO
45. istic guitar sound that simulates a guitar amp speaker cabinet FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o FX Amt Volume Guitar Amp Model HI Wav FAY YA Parametric 4Band EQ Right o FX Amt Duzz ee VON AC15 VOX AC15TB VOX AC30 VOX AC30TB UK BLUES UK 70 S UK 80 S Amp Type m MODERN Selects the type of the amplifier US MODERN US HIGAIN BOUTIQUE OD BOUTIQUE CL BLACK 2x12 TWEED 1x12 TWEED 4x10 Drive Gain 0 100 Sets the input gain Volume 0 100 Sets the output level Selects the modulation source for Sre Off Tempo the output level Amt _100 100 Sets the modulation amount of the output level Bass 0 100 Sets the bass low range level Middle 0 100 Sets the middle mid range level Treble 0 100 Sets the treble high range level Presence 0 100 Sets the presence high frequency tone Selects through or on forthe Post P4EQ Thru On equalizer Band1 Cutoff 20 1 00k Sets the center frequency of Hz Band 1 Q 0 5 10 0 Sets Band 1 s bandwidth Gain dB 18 18 Sets the gain of Band 1 Band2 Cutoff Sets the center frequency of Hz 50 5 00k Band 2 Q 0 5 10 0 Sets Band 2 s bandwidth Gain dB 18 18 Sets the gain of Band 2 Band3 Cutoff 300 10 00k Sets the center frequency of Hz Band 3 Q 0 5 10 0 Sets Band 3 s bandwidth Gain
46. 100 Sets the depth of LFO modulation Sets the feedback amount FJCho Flng Wet Dry Wet 1 99 Dry 99 1 Wet Sets the effect balance of the chorus flanger Src OI Tempo Selects the Wet Dry modulation source for the chorus flanger Amt 100 100 Sets the Wet Dry modulation amount for the chorus flanger FJOutput Mode Normal Wet Invert Selects the output mode for the chorus flanger Routing Wet Dry OD HG Flanger Flanger OD HG Dry 1 99 99 1 Wet Switches the order of the overdrive and chorus flanger Balance between the wet and dry signal Src Off Tempo Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source Advanced Effects Mono Mono Serial Mono Mono 166 111 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 FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out 112 OD HG Mt Delay Overdrive Hi Gain Multitap Delay This effect combines a mono overdrive high gain distortion and a multitap delay FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out
47. 121 3 90 Sweeper Synth Legacy Synth Solo 121 4 96 Wave Seq Synth Factory Synth Flaeche 121 4 90 SuperSweep Synth Factory Synth Flaeche 121 0 97 Soundtrack GM GM2 XG Synth SFX 121 5 90 Wave Sweep Synth Factory Synth Flaeche 121 1 97 AirCloud Flaeche Factory Synth Flaeche 121 6 90 CrossSweep Synth Factory Synth Flaeche 121 2 97 ResDown Flaeche Legacy Synth Flaeche 121 7 90 PolySix Synth Factory Synth Solo 121 3 97 Tinklin Flaeche Factory Synth Flaeche 121 8 90 Noisy Stab Synth Factory Synth Solo 121 4 97 Pod Flaeche Factory Synth Flaeche 121 9 90 Mega Synth Factory Synth Solo 121 5 97 Noble Flaeche Legacy Synth Flaeche 121 10 90 Technophon Synth Legacy Synth Solo 121 6 97 Rave Flaeche Factory Synth Flaeche 121 11 90 Farluce Synth Legacy Synth Flaeche 121 7 97 Elastik Flaeche Legacy Synth Flaeche 121 12 90 Big Sweep Synth Factory Synth Flaeche 121 0 98 Kristall GM GM2 XG Synth SFX 121 13 90 Korgmatose Synth Legacy Synth Flaeche 121 1 98 Synth Mallet GM2 XG Synth SFX 121 0 91 Chor Flaeche GM GM2 XG Synth 121 2 98 BellBoy Gloeck Factory Mallet amp Bells 121 1 91 Itopia Flaeche GM2 XG Synth 121 3 98 Kristall Gloeck Legacy Mallet amp Bells 121 2 91 PopSynth 3 Factory Synth Flaeche 121 4 98 Digi Gloeckchen Legacy Mallet amp Bells 121 3 91 Heaven Flaeche Factory Streich amp Chor 121 5 98 Bewegtes Gloeck Factory Synth Flaeche 121 4
48. 27 Strat Acc 1 DNC 121 S Ee 121 47 27 Strat Acc 2 DNC 121 31 25 Real Western Git 121 43 27 ShadowGitIJSDNC 1241 32 Real FolkGit 121 A 27 Shadow Git DNC pet 28 ee scs 121 42 27 Shadow GT DNC LUN 2277 Real ESIESTZ 121 9 26 Pedalsteel 1 DNC 121 30 27 Real E Gitarre 1 121 8 26 Pedalsteel 2 DNC 121 31 27 Real E Gitarre 2 121 44 27 shadow Git2 DNC 12l EE 121 45 27 Shadow Git2T DNC 121 2 20 Ele iE T 121 46 27 Shadow Git2JSDNC 121 22 27 Cleanjazzditi 121 18 24 Konz Git1 DNC 121 23 27 Cleanjazz Git2 121 20 24 Konz Git2DNC LU Mu zov EE 121 2 24 Konzert Git Pro D we L ee ese EIUS 121 ze 25 Klass West DNC 121 2 28 sth Mute EGit 121 37 25 Klass 12sait Pro 121 8 SC erele EG 121 4 29 Lead E Git DNC 121 21 27 Solid E Gitarre 121 35 27 Ch DlyEGitDNC pup 385 pow Weit Se ial rote ec 121 14 25 wit slide Pro2 121 14 30 Dist Git 2 DNC 121 20 27 Clean E Gitarre 121 32 27 Strat EGit DNC 121 AN uisa 121 33 27 Strat EGit2 DNC T NO Le ea 121 3 29 Crunch E Git DNC 121 2 EEE 121 so 27 Gliss EGit DNC 121 E 730 ESSO RS 121 37 27 AmpEGiti DNC 120 d p Vintage EGit1 121 48 27 Amp E Git2 DNC 121 6 28 Clean Mute E Git 121 5 29 OvdrEGit 1 DNC jel 3 24 AkGit Keyoff 121 38 27 vint E GitDNC vl i doc IWEJE SILI 121 39 27 vint E GitJsDN 121 720 eee WERIERNEIES 121 34 27 Chorus Een DNC LM E sl EG 121 7 26 JazzG
49. Dynamic Modulation sources on page 106 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 Chorus Flanger and Phaser Cho Fin Phaser 29 Stereo Chorus This effect adds thickness and warmth to the sound by modulat ing 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 Stereo In Stereo Out Left o FX Amt LEQ HEQ A lt gt Chorus D EQ Trim LEQ HEQ A J gt H 7 EQ Trim Righto Chorus A SE Amt LFO Phase LFO Tri Sine Selects the LFO Waveform Sets the LFO phase difference between the left and right LFO Waveform Triangle Sine LFO Phase degree 180 180 Effects Chorus Flanger and Phaser Cho Fln Phaser 123 30 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 Wet Mono In Stereo Out Dry Stereo In Stereo Out Left gt o Wet Dry Stereo L D amp R W Ls
50. EG level With a setting of 0 no change will occur Br Break Point Level Swing This parameter specifies the direction in which AMS will change Break If Intensity is set to a positive value setting this parameter to will allow AMS to increase the EG level and setting this parameter to will allow AMS to decrease the EG level With a setting of 0 no change will occur Advanced 72 Sound operating mode LFO LFO1 Time Modulation These parameters let you use an alternate modulation source to modify the amp EG times that were specified in Time on page 71 Amp 1 EG changes Time AMS Amp KTrk Intensity a positive value When Amp Keyboard Track Low Ramp a positive value and High Ramp a positive value Note on Note on Note on Note off Note off Note off WA WA li Low pitched note played with High pitched note played with Attack Decay Slope and Attack Decay Slope and Release Time Swing at Release Time Swing at Amp 1 EG changes Time AMS Velocity Intensity a positive value Note on Note on Note on Note off Note off Note off Softly played note with Strongly played note with Strongly played note with Attack Decay Slope and Attack Decay Slope and Attack Decay Slope and Release Time Swing at Release Time Swing at Release Time Swing at AMS1 Alternate Modulation Source 1 Time This parameter specifie
51. FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left Pitch Shifter F Right LFO Tri Sqr ji a Pitch Shift cents e Depth a Pitch Shift 100 100 Sets the pitch difference from the cents input signal b LFO Waveform Triangle Selects the LFO Waveform quare pe Frequency 0 02 20 00 Sets the speed of the LFO c Src Op Tempo Selects a modulation source for LFO speed Amt 20 00 Sets the modulation amount of LFO 20 00 speed When this is on the LFO speed is set MIDI Sync Off On by BPM Base Note and Times eg instead of Frequency MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this d 300 00 individual effect Selects the type of notes that Base Note ud specify the LFO speed Sets the number of notes that Times x1 x32 specify the LFO speed Sets the LFO modulation depth for Depth 100 100 pitch shift amount Selects the modulation source of e Src Off Tempo the depth of modulation Sets the modulation amount of the Amt 100224100 depth of modulation f Pan L 1 99 99 1 Sets the panning effect sound and R dry sound separately Wet Dr Dry 1 99 99 1 Balance between the wet and dry y Wet signal 9 sc Op Tempo Table Dynamic Modulation sources on page 106 Amt 100 100 Amount of modulation source of one cent Sets the modulat
52. Fit KTrk 4 0 Filter Keyboard Track 4 0 the sign of the Ramp Low setting and by the opposite sign of the Ramp High setting 50 for a setting of 50 and 50 for a setting of 50 Amp KTrk Amp Keyboard Track 0 Ramp Low will have no AMS effect The sign of the Ramp High setting will determine the direc Amp KTrk 0 Amp Keyboard Track 0 tion of its effect Amp KTrk Amp Keyboard Track Advanced 78 Sound operating mode AMS Alternate Modulation Source list 0 The sign of the Ramp Low setting will deter JS Y amp AT 2 Joy Stick Y amp After Touch 2 2 T A oc of its effect Ramp High will The effect will be controlled by the joystick Y vertically mn nr upward and by after touch In this case the effect of after touch will be only half ofthe specified intensity Amp example of Amp Keyboard Track settings JSY amp AT 2 Joy Stick Y amp After Touch 2 The effect will be controlled by the joystick Y vertically down ward and by after touch In this case the effect of after touch will be only half ofthe specified intensity Ramp Low Ramp High 50 50 H H gt Key Low Key High Note Number A AMS Amp KTrk max AMS Intensity positive value zero Pop Depth and direction of modulation max Y AMS Amp KTrk max AMS Intensity positive value zero Depth and direction of modulation max Y
53. Harmonica 1 Harmonica 1 Fall Harmonica 2 Harmonica 3 Wah Melodica Melodica Key On Melodica Key Off Highland Bag Pipes Highland Drones Uilleann Pipes Bag Pipes Bag Pipes GM French Horn T1 French Horn Ensemble French Horns GM Tenor Horn Flugel Horn Vibrato Flugel Horn M1 Tuba f Tuba ff Tuba GM Tuba Bariton Attack Trombone 1 mf Trombone 1 f Trombone 1 ff Trombone 1 Gliss Up Trombone 1 Fall Trombone 1 Smear Trombone 1 Smear Atk Trombone 2 Vibrato Trombone 3 mf Trombone 3 f Trombone 4 Soft Trombone 4 Bright Trombone 5 Straight fff Trombone 5 Slur Up Trombone 5 Fall Trombone GM Trombone Muted 2 Trombones mf L 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 2 Trombones mf R 2 Trombones f L 2 Trombones f R Classic Trumpet p Classic Trumpet mf Pop Trumpet mf Pop Trumpet f Trumpet Expr Trumpet Slow mp Trumpet Slow f Trumpet GM Trumpet Tonguing mp Trumpet Tonguing f Trumpet Medium Trumpet Overblown Trumpet Muted Trumpet Muted GM Trumpet Wah wah Trumpet WDH Vib Trumpet WDH Shakes Trumpet WDH Shakes Atk Trumpet WDH Shakes Rel Trumpet Doit Trumpet Fall 2 Trumpets mp L 2 Trumpets mp R 2 Trumpets f L 2 Trumpets f R Brass Ensemble Stereo L Brass Ensemble Stereo R Brass Ensemble 1 Brass Ensemble 2 Brass Ensemble 2LP Brass
54. Output Mode Mono Chorus zx Right Wet Dry LFO Speed Hz 0 10 10 0 Depth Sets the speed of LFO Sets the modulation depth 0 100 Manual 1 100 Sets the sweep frequency Sets the outpu mode 0 Mono 1 ST L D amp R W Output Mode 0 1 Dry 1 99 99 1 Wet Balance between the wet and dry signal Table Selects a modulation source for Wet Dry on page 107 Off Tempo LFO Frequency Hz 0 02 20 00 Sets the speed ofthe LFO Selects a modulation source for LFO Off Tempo speed Sets the modulation amount of LFO speed When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency MIDI Sync MIDI syncs to the system tempo 40 BPM 300 sets the tempo manually for this individual effect Selects the type of notes that Base Note specify the LFO speed j Sets the number of notes that Times specify the LFO speed L Pre Delay Sets the delay time for the left msec channel R Pre Delay Sets the delay time for the right msec channel Depth Sets the depth of LFO modulation Selects the modulation source for Src Off Tempo the LFO modulation depth Sets the modulation amount of the Amt 100 100 LFO modulation depth EQ Trim 0 100 Sets the EQ input level Low Selects the cutoff frequency low or Pre LEQ Fe Mid Low mid low of the low range equalizer H
55. Parameters saved in the Pad are marked with the ren symbol through the user s manual Pad Record mode 47 Write Pad dialog box Name YPAD Name of the Pad to be saved Touch the Text Edit button next to the name to open the Text Edit window Pad Bank Target Pad bank Only User banks can be selected Pad Target Pad location in the selected bank Use TEMPO VALUE controls to select a different location Note A User Pad is usually prompted when writing a Pad How ever you can overwrite a Factory Pad when the Factory Style and Pad Protect parameter is left unchecked see page Media gt Preferences Select button Touch this button to open the Pad Select window and select a target location o 7 v E gt 9 x 48 Sound operating mode The MIDI channel Sound operating mode The Sound operating mode is where you can listen to individual Sounds and edit them To select a Sound see the Die wichtigsten Bedienelemente chapter in the User s Manual In this mode the selected Sound can always be played across the full keyboard range While in a different operating mode you can easily select the Sound to be edited when switching to the Sound mode Just select the track the Sound to be edited is assigned to then keep the SHIFT button pressed while pressing the SOUND button Hint This is useful to see the Bank Select Program Change num bers when programming a Song on an ext
56. Portamento is a delayed response to the pitch movement of your singing voice It works exactly like the Porta mento parameter of the Harmony page Humanize Style gt GBLYPP 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 Humanize Amount gt GBLYPP You can vary the amount of humanization for the harmony voices It works exactly like the Amount parameter of the Har mony page Lead Level gt GBLYPP Level of the Lead voice mixed with the effect Voice Processor Preset Filter amp Hard Tune This page contains the Filter and HardTune effects which dra matically change the sound s character reste er Penn el Filter This effect uses steep filters to emulate the sound of radios phones and devices that generally degrade the audio signal Filter On Off gt GBL P This button allows enabling disabling of the Filter block It is the same control found in the Easy Preset page Set gt GBL PP Use this menu to choose a pre programmed Filter Set The Rout ing and Gate Threshold parameters are not part of the Set This corresponds to the option selected in the Easy Preset page Level gt GBLYPP Sets the level for the overall Filter effect in the current preset Routing gt GBLYPP Selects where the Filter effect is inserte
57. Rim3 m Gate 1 Snare Drum 572 TomDLowf Tom 467 SD Syn 4 Snare Drum 520 Rim4m Gate 1 Snare Drum 573 TomDFloorp Tom 468 SDElectro Snare Drum 521 Rim1 st Gate 1 Snare Drum 574 Tom D Floor mf Tom 469 SD Orchestra Snare Drum 522 Rim2 st Gate 1 Snare Drum 575 Tom D Floor f Tom 470 SD Orch Roll Snare Drum 523 Rim3 st Gate 1 Snare Drum 576 TomP Hi Tom 471 SD JBrush Loop1 Snare Drum 524 Rim4st Gate 1 Snare Drum 577 TomP Mid Tom 472 SDJBrush loop2 Snare Drum 525 Rim1 m Gate 2 Snare Drum 578 Tom P Low Tom 473 SD JBrush mid Snare Drum 526 Rim2 m Gate 2 Snare Drum 579 Tom P Floor Tom 474 SDJBrush open p Snare Drum 527 Rim3 m Gate 2 Snare Drum 580 TomR Vintage Hi Tom 475 SD JBrush open mf Snare Drum 528 Rim4m Gate 2 Snare Drum 581 TomR Vintage Mid Tom 476 SD JBrush open f Snare Drum 529 Rim1 st Gate 2 Snare Drum 582 Tom R Vintage Floor Tom 477 SDJBrush short Snare Drum 530 Rim2 st Gate 2 Snare Drum 583 Tom Vintage Room Hi Tom 478 SD JBrush shot p Snare Drum 531 Rim3 st Gate 2 Snare Drum 584 TomVintageRoomMid Tom 479 SD BrushHit1 Snare Drum 532 Rim4 st Gate 2 Snare Drum 585 TomVintageRoomLow Tom 480 SDBrushHit2 Snare Drum 533 Rim1 m Hall Snare Drum 586 Tom Jazz Hi center Tom 481 SD JazzBrush1 Snare Drum 534 Rim2 m Hall Snare Drum 587 Tom Jazz Hi center GM Tom 482 SD JazzBrush2 Snare Drum 535 Rim3 m Hall Snare Drum 588 Tom Jazz Hi edge Tom 483 SD Brush1 swirl1 Snare Drum 536 R
58. Rotary Spkr On Off Mic Harmony Double Level Rotary Spkr Fast Slow Mic Harmony Level Drawbar Perc On Off Mic Double Level Text Page Down These options let you move to the previous or next page when reading a text file loaded Mic Filter Level Mic uMod Mic Delay Reverb Level Mic Delay Level Mic Reverb Level Mic EQ Gain Low Text Page Up with a Song or Song Book entry see Textda teien die mit Standard MIDI Files oder MP3 Datei geladen wurden on page 177 of the User s Manual SongBook Next Moves to the next SongBook entry in the selected Custom List Pad 1 Pad 2 Same functions of the control panel buttons Pad 3 3 with the same name Pad4 Pad Stop Mic EQ Gain Mid Mic EQ Gain High Continuous controls assigned to the Voice Processor FX CC12 Ctl FX CC13 Ctl Standard FX controllers Assignable parameters 245 List of Assignable Slider functions List of Assignable Slider functions List of Assignable Switch functions The following functions can be assigned to the Assignable Slid The following functions can be assigned to the Assignable ers Switches Function Meaning Function Meaning Off No function assigned Off No function assigned Master Volume Ritardando Progressively decreases the Tempo value Keyboard Expression Accelerando Progressively increases the Tempo value
59. Routii Routing Compressor v Pars compressor Y EQ Trim LEQ HEQ Output Level m Output Level gc y n Output Mode H i Feedback Wet Invert Cho Fing FX Amt Right i Right d RA s i Envelope Control i Envelope Control UFO Tri 7Sine Hem COMPRESSOR COMPRESSOR IC dios C B a Sensitivity 1 100 Sets the sensitivity sensitivity 1 100 Sets the sensitivity b C Attack 1 100 Sets the attack level b C Attack 1 100 Sets the attack level Output Level 10 100 Sets the compressor output level Output Level 0 100 Sets the compressor output level P4EQ c CIEQ Trim 0 100 Sets the EQ input level c E Trim 0 100 Sets the parametric EQ input level as 15 415 Sets the gain of Low EQ Sch Cutoff 20 1 00k Sets the center frequency of Band 1 d Pre HEQ Gain z dB 15 15 Sets the gain of High EQ Q 0 5 10 0 Sets the bandwidth of Band 1 Gain dB 18 18 Sets the gain of Band 1 CHORUS FEANGER FILFO B2 Cutoff 50 5 00k Sets the center frequency of Band 2 e Frequency Hz 0 02 20 00 Sets the speed of the LFO 05 100 Sets the bandwidth of Band 2 LFO om Triangle Sine Selects the LFO Waveform 18 18 Sets the gain of Band 2 dod Time 0 0 1350 0 Sets the delay time 300 10 00k Sets the center frequency of Band 3 f Depth 0 100 Sets the depth of LFO modulation 05 100 Sets the bandwidth of Band 3 Feedback 100 100 See the feedback amount Gain dB 18 18 Sets the gain of Band 3 FICho Flng Wet Sets the effect
60. Select Record New Style if you want to start from scratch with an empty Style After you select your preferred option the main page of the Style Record mode will appear Select the Element Style Element and Chord Var Chord Variation parameters to select the Chord Variation to be recorded edited Note For more information on the Style Elements and Chord Variations and the Style structure in general see The Style structure on page 3 Use the Rec Length Recording Length parameter to set the length in measures of the pattern to record Use the Meter parameter to set the Style Element s meter time signature Note You can edit this parameter only if you selected the Record New Style option when entering the Record mode or when editing an empty Style Element Select the Tempo parameter and set the tempo Touch the Record 2 tab to see the Sounds area Here you can assign the right Sound to each Style track You cannot select Digital Drawbars Sounds For more details see Sounds area on page 9 If needed set the Octave Transpose for each track Note The Octave Transpose will affect only the notes coming from the keyboard and not from the arranger At this point if you want to do a Realtime Recording go on reading Realtime Record procedure below Otherwise if you prefer to do a Step Record jump to Step Record pro cedure on page 15 Realtime Record procedure 1 S
61. Solo 121 4 74 Panfloete 1 DNC Factory Holzblaeser 121 4 84 Metallic Rez Syn Factory Synth Solo 121 5 74 Panfloete 2 DNC Factory Holzblaeser 121 5 84 Brian Sync Synth Legacy Synth Solo 121 0 75 Panfloete GM GM2 XG Floete 121 6 84 Arp Twins Synth Legacy Synth Solo 121 0 76 Flasche gebl GM GM2 XG Floete 121 7 84 LoFi Ethn Synth Legacy Synth Solo 121 1 76 Flasche geblasen Factory Holzblaeser 121 0 85 Voice Lead GM GM2 XG Synth 121 0 77 Shakuhachi GM GM2 XG Floete 121 1 85 Aether Stimmen Legacy Streich amp Chor 121 1 77 Alte Shakuhachi Factory Welt 121 2 85 Cyber Chor Legacy Streich amp Chor 121 2 77 Shakuhachi Legacy Welt 121 0 86 Fifths Lead GM GM2 XG Synth 121 3 77 Shakuhachi Vel 1 Factory Holzblaeser 121 1 86 Crimsonsth Synth Legacy Synth Flaeche 121 4 77 Shakuhachi Vel 2 Factory Holzblaeser 121 0 87 Bass amp Lead GM GM2 XG Synth 121 0 78 Pfeifen GM GM2 XG Floete 121 1 87 Soft Wrl Lead GM2 XG Synth 121 1 78 Pfeifen Factory Holzblaeser 121 2 87 Electro Lead Factory Synth Solo 121 2 78 Pfeifen Atmen Factory Holzblaeser 121 3 87 Rich Lead Factory Synth Solo 121 3 78 Pfeifen RX1 Factory Holzblaeser 121 4 87 Thin Analog Lead Factory Synth Solo 121 4 78 Pfeifen RX2 Factory Holzblaeser 121 5 87 Express Lead Factory Synth Solo 121 5 78 Pfeifen DNC Factory Holzblaeser 121 6 87 HipHop Lead Factory Synth Solo 121 6 78 Tinwhistle DNC Fa
62. Some of the events are ghosted and non editable since the corresponding events are not editable in a Style Note RX Noise Notes and RX Noises Control Control Change events Only the following Con trol Change numbers are allowed with Styles Control function CC Control Change Number Modulation 1 1 Modulation 2 2 Pan 10 Expression 11 CC412 12 CC 13 13 Ribbon 16 Damper 64 Filter Resonance 71 Low Pass Filter Cutoff 74 CC 80 80 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 Ele ment Tempo Meter Tempo and Meter time signature changes Mas ter Track only Pitch Bend Pitch Bend events Style Record mode 19 Event Edit Filter Style Edit Quantize The quantize function may be used to correct any timing mis take after recording or to give the pattern a groovy feeling STYLE REC Style Edit v iy um PERC BASS C2 d RCCd ACCS Le velocity cut f vete Pa se Poa After setting the various parameters touch Execute Track Use this parameter to select a track All All tracks selected Drum Acc5 Selected track E CV Style Element Chord Variation Use these parameters to select the Style Element and Chord Variation for editing Resolution This parameter sets the quantization
63. Style Tracks and MIDI Channels must be lined as in the previous table as per Korg s standard Style format definition Note Tracks MIDI Channels other than the above mentioned are ignored during the import procedure For a list of MIDI events supported during the import opera tions please see List of recorded events on page 5 If any the following events are stripped off and automatically transferred to the Style Element header during the import procedure e Time signature this event is mandatory e Control Change bundle 00 32 Bank Select MSB LSB e Program Change e 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 Marker c ASA i1cv2 i2cv1 i3cv1 tievi evi ilev2 h i2cvl cx ao Slap Bass 7 3 Del flcv2 vicvi vie Dol f2cv2 viel v2cv2 Dei Dev v3cvl v3cv2 Ho f4cv2 wie v cv2 brcvi bo elcvi elcv2 Sie e2cv2 sic e3cv2 Style Record mode 29 Import Import SMF Whenever they are not saved in the SMF Program Change Con trol Change 00 11 and 32 can be still programmed in Style Record mode by using the edit features available Warning Pa3X can only handle SMF format 0 Zero If you are in trouble importing your file maybe your sequencer or DAW is exporting using a different format Please refer to the softwares users manual The n
64. This can be useful for example when the actual sample is shorter than the entered Meter and Measures values Meas 1 In the above example 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 Time Slice See The Time Slice procedure on page 88 for more information Release Adjust the value of this parameter to change the number of rec ognized attacks by varying the speed needed to the Slice engine to start working again For example in the following example if the Release value is too high i e too long the second attack may be lost Note After changing the Release value you must select the Slice command again Threshold This parameter varies the threshold over which the attacks are recognized i e the Time Slice sensitivity If it is too low weaker attacks may be ignored Note After changing the Threshold value you are not obliged to select the Slice command again The Slices value is immediately changed Attacks This non editable parameter shows the number of attacks rec ognized More than one attack may be recognized in a single slice Adjust the Release and Threshold parameters to change the number of recognized attacks Sampling operating mode 87 Time Slice Slices This non editable parameter sh
65. 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 Stereo In Stereo Out mn Bandi Band2 Band3 Band4 EX Amt a PEQ PEQ PEQ PEQ Tum flea HEQ Ze NER LEQ i HEQ Trim of Ri d PEQ PEQ PEQ PEQ Righto i A xiu a Trim 0 100 Sets the input level Peaking Selects the type of Band 1 b Band1 Type Shelving Low Peaking c Band4 Type Shelving High Selects the type of Band 4 Band2 Selects the modulation source of the Dynamic Gain Off Tempo z Band 2 gain d Src Amt dB _18 0 18 0 Sets the modulation amount of Band 2 gain rand Cutoff 20 1 00k Sets the center frequency of Band 1 ela 0 5 10 0 Sets the bandwidth of Band 1 Gain dB 18 0 18 0 Sets the gain of Band 1 Ponde Cutoff 50 10 00k Sets the center frequency of Band 2 f Q 0 5 10 0 Sets the bandwidth of Band 2 Gain dB 18 0 18 0 Sets the gain of Band 2 Panos Cutoff 300 10 00k Sets the center frequency of Band 3 9 Jo 0 5 10 0 Sets the bandwidth of Band 3 Gain dB 18 0 18 0 Sets the gain of Band 3 a Cutoff 500 20 00k Sets the center frequency of Band 4 h Q 0 5 10 0 Sets the bandwidth of Band 4 Gain dB 18 0 18 0 Sets the gain of Band 4 Wet Dry Dry 1 99 99 1 Balance between the wet and d
66. This type of track uses Guitar Mode to create guitar strumming see Main page Guitar Mode on page 10 When this type is selected the Tension parameter can no longer be edited Trigger Mode gt STYLE This setting lets you define how Bass and Acc type tracks are retriggered when the chord is changed 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 and Bass tracks Style Record mode 27 Style Track Controls Type Trigger Tension Tension gt STYLE Tension adds notes a 9th 11th and or 13th that have actually been played to the accompaniment even if they haven t been written in the Style pattern This parameter specifies whether or not the Tension included in the recognized chord will be added to the Acc type tracks On The Tension will be added Off No Tension will be added Import Import Groove The Import Groove function allows the loading of MIDI Grooves GRV files generated by the Slice function in the Time Slice page of the Sampling modem see page 85 By importing these data to a track and assignin
67. US manufac US 2x15 tured cabinet Four 15 speakers UK manufac UK 4x15 tured cabinet One 18 speaker LA 1x18 LA sound cabinet COMBI 1x12 amp 1x18 Dry 1 99 99 1 Balance between the wet and dry Wet signal One 12 and one 18 speaker combi nation cabinet Wet Dry Table Dynamic Modulation sources on page 106 Src Off Tempo 100 100 Amount of modulation source 24 Bass Amp Model This simulates a bass amp FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left FX Amt Volume Bass Amp Model Hg Right o FX Amt KE Selects the amplifier type LA STUDIO An amp that is typical of the LA sound A combo amp favored by jazz JAZZ bassists An amp distinctive for its eye GOLD PANEL catching gold panel and clean Amp Type sound SCOOPED An amp typical of 80 s sounds VALVE2 A tube amp suitable for rock A tube amp with the ULTRA LO VALVE switch turned ON A tube amp whose basic character CLASSIC changes according to the setting of the value dial Volume 0 100 Sets the output level Selects the modulation source for Src Off Tempo the output level Amt _100 100 Sets the modulation amount of the output level Bass 0 100 Sets the bass low range level Middle 0 100 Sets the middle mid range level Mid Range 0 4 Sets the mid frequency range Treble 0 100 Sets the treb
68. UU Key See Key on page 58 Voice Assign Mode Single Trigger Use this parameter to set the sample as a single triggered one 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 Exclusive Group 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 None No Exclusive Group assigned The selected key will not be stopped by any other key 1 127 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 Enable Note On Receive Use this parameter to enable disable the reception of the Note On Key On message On The Note On message is normally received Off The Note On message is not received Therefore the corresponding key is muted Enable Note Off Receive Use this parameter to enable disable the reception of the Note Off Key Off message On The sound will stop as soon as you release the key Off The sound will continue playing up to the end of the sa
69. User Pad location Pads can be saved into Factory Pad locations only when the Factory Style and Pad Protect parameter is set to Off When you have finished recording or editing the Hit or Sequence Pad please save it see Exit by saving or deleting changes below and exit the Pad Record mode Then go to the Pad page of the Style Play or Song Play mode assign the new Hit or Sequence to a Pad button and adjust the various Pad settings Volume Pan and FX Send see Pad Switch Pad on page 138 of the User s Manual Finally save the Pad settings by selecting the Write Current Style Performance command from the page menu Note While in Record mode the footswitch and EC5 pedals are disabled On the contrary volume expression type pedals can be used 9 7 v E gt Ki x 36 Pad Record mode Exit by saving or deleting changes Exit by saving or deleting changes When finished editing you can save your Pad in memory or cancel any change To save changes select the Write Pad command from the page menu see Write Pad dialog box on page 47 e To cancel all changes select the Exit from Record command from the page menu or press the RECORD button to exit from record and return to the main page of the Style Record mode Hint Save often while recording to avoid accidentally losing your changes to the Pad Listening to the Pad while in Record Edit mode
70. amp SFX 120 0 59 Synth Kit 1 Factory Schlagz amp SFX 120 0 60 SFXKit1 Factory Schlagz amp SFX 120 0 64 Percussion Kit Factory Schlagz amp SFX 120 0 65 Latin Perc Kit 1 Factory Schlagz amp SFX 120 0 66 Trinity Perc Kit Factory Schlagz amp SFX 120 0 67 i30 Perc Kit Factory Schlagz amp SFX 120 0 68 Latin Perc Kit 2 Factory Schlagz amp SFX 120 0 69 Standard PercKit Factory Schlagz amp SFX 120 0 72 HipHop Kit RX Factory Schlagz amp SFX 120 0 73 Techno Kit RX Factory Schlagz amp SFX 120 0 74 Dance Kit 1 Factory Schlagz amp SFX 120 0 75 Electro Kit RX1 Factory Schlagz amp SFX 120 0 76 Electro Kit RX2 Factory Schlagz amp SFX 120 0 77 Groove Kit RX Factory Schlagz amp SFX 120 0 80 Room Kit Amb Factory Schlagz amp SFX 120 0 81 Real Kit 1 Amb Factory Schlagz amp SFX 120 0 82 Real Kit 2 Amb Factory Schlagz amp SFX 120 0 88 Pop Kit Amb Factory Schlagz amp SFX 120 0 89 Pop Std Kit 1 Factory Schlagz amp SFX 120 0 90 Pop Std Kit 2 Factory Schlagz amp SFX 120 0 93 Standard Kit Amb Factory Schlagz amp SFX 120 0 94 Vintage Kit Amb Factory Schlagz amp SFX 120 0 95 Studio Kit 2 Factory Schlagz amp SFX 120 0 96 Elektro Kit 1 Factory Schlagz amp SFX 120 0 97 Elektro Kit 2 Factory Schlagz amp SFX 120 0 98 Dance Kit 2 Factory Schlagz amp SFX 120 0 99 Standard El 1 Factory Schlagz amp SFX 120 0 100 Standard El 2 F
71. and the interval between taps becomes equal Selecting a rhythm pattern will automatically turn the tap outputs on and off When BPM is set to MIDI the lower limit of the BPM is 44 Advanced Effects Delay 148 74 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 per 75 Stereo BPM Delay This stereo delay enables you to set the delay time to match the song tempo formance you can achieve a delay effect that synchronizes with iai d s i A tette FX Amt the song in real time Delay time is set by notes High Damp Low Damp Delay N rt Input Level D mod FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out i g Feedback Left o FX Amit Input Level D mod i mmm Low Damp Input Level D mod a L Delay Delay F TL High Damp Low Damp C Delay Spread Dunt Pu Amt T P P Temi Input Level D mod Bew 2er Base Note x Times Adjust Pal Laf Base Note x Times Adjust Right c iB n he MIDI MIDI syncs to the system tempo 40 BPM t Base Note x Times BPM 40 00 300 sets the tempo manually for this 98 gt CBase Note x Ti
72. cannot be edited To select a different Style Element and Chord Variation press EXIT to go back to the main page of the Style Record mode see Main page Record 1 on page 6 Event list Use the Event list to see all events contained in the selected track in the selected Style Element Use the scrollbar to browse through the events You can also scroll by using the SHIFT DIAL combination Touch the event to be selected Selected events are highlighted and can be heard Style Record mode 17 Event Edit Event Edit Position Position of the event expressed in the form aaa bb ccc e aaa is the measure e bb is the beat e ccc is the tick each quarter beat 384 ticks You can edit this parameter to move the event to a different posi tion You can edit a position in either of the following ways a select the parameter and use the VALUE controls to change the value or b select the parameter then touch it again the numeric key pad will appear Enter the new position by dialing in the three parts of the number separated by a dot Zeroes at the beginning can be omitted as well as the least important parts of the number For example to enter position 002 02 193 dial 2 2 193 to enter position 002 04 000 dial 2 4 to enter position 002 01 000 simply dial 2 Type Value 1 Value 2 Type and values of the event shown in the display Depending on the selected event the v
73. delay time exceeds the upper limit L Delay Base Note LAN Selects the type of notes to specify the delay time for TapL Times Sets the number of notes to specify the delay time for TapL Leve Sets the output level of TapL C Delay Base Note elects the type of notes to specify the delay time for TapC Time Leve Sets the number of notes to specify the delay time for TapC Sets the output level of TapC R Delay Base Note Selects the type of notes to specify the delay time for TapR Time x1 x32 Sets the number of notes to specify the delay time for TapR Leve 0 50 Sets the output level of TapR Feedback C Delay 100 100 Sets the feedback amount of TapC Src Off Tempo Selects the modulation source for the TapC feedback High Damp 100 100 0 100 Sets the modulation amount of the TapC feedback Sets the damping amount in the high range Low Damp 0 100 Sets the damping amount in the low range Input Level Dmod 100 100 Sets the modulation amount of the input level Src Off Tempo Selects the modulation source for the input level 0 50 Sets the width of the stereo image of the effect sound Dry 1 99 99 1 Wet Balance between the wet and dry signal Off Tempo Table Dynamic Modulation sources on page 106 a Time Over 100 100
74. from the page menu to save the Sound based on sliced samples and the MIDI Groove containing the corresponding MIDI sequence The Sound will be saved to the selected location in the User area of the internal HD KHD SYSTEM You will be able to select it as an ordinary Sound and assign it to the Drum or Per cussion track ofa Style The Multisample will be automatically saved to the next free available location e Samples will be permanently saved to the internal HD KHD SYSTEM e The MIDI Groove will be temporarily saved to the internal HD KHD SYSTEM and will be available only when using the Import function of the Style Record mode see Import Import Groove on page 27 of the User s Manual Warning All MIDI Grooves will be delete each time the Pa3X is turned off o 7 v E gt Ki x 86 Sampling operating mode Time Slice Ex 1 Generating samples and MIDI Groove data Original rhythm sample 1208PM J J FO Original pattern Kick Snare Kick Kick Snare Execute the Time Slice command Sample Sample2 Sample3 Sample4 Sample5 A multisample a program and MIDI Groove a EM data will be created automatically Play in Style Play mode 120BPM gt Generated MIDI Groove Note Sliced samples and MIDI data are saved with a Write operation Ex 2 Varying the groove s tempo 150BPM Played closer together 90BPM but pitch is unchanged
75. source for the multitap delay Sets the Wet Dry modulation amount for the multitap delay Src Off Tempo 100 100 Comp Mt Delay Switches the order ofthe Mt Delay compressor and multitap delay Comp Routing Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Table Dynamic Modulation Off Tempo sources on page 106 100 100 Amount of modulation source Advanced 160 Effects Mono Mono Serial Mono Mono 100 Limiter P4EO 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 FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left Routing K XP 1 Limiter 427 gt FAN FA FAN Trii iGain Adjust Right i i Xe 3 i i FX Amt Envelope Control TER 1 0 1 LRatio 50 0 1 Inf 1 Sets the signal compression ratio Sets the level above which the Threshold dB 40 0 compressor is applied L Attack 1 100 Sets the attack time Release 1 100 Sets the release time Gain Adjust Inf Sets the limiter output gain B 38 24 Trim 0 100 Sets the parametric EQ input level B1 Cutoff z 20 1 00k Sets the center frequency of Band 1 0 5 10 0 Sets the bandwidth of Band 1 18 18 Sets the
76. temps depth of modulation PhsLR Trml Phaser Tremolo LR en aufn nues LR Phaser LR Tremolo ets the modulation amount of the Phaser LR Tremolo Spin Phaser LR Amt 100 100 depth of modulation Tremolo LR p Dry 1 99 99 1 Balance between the wet and dry LFO Phase Sets the phase diffi bet Wet D i E phase difference between an Wet signal degree 180 180 the tremolo and phaser LFOs Table D ic Modulati Src Off Tempo Feieren rei ioes SC V Frequency 0 02 20 00 Sets the speed of the LFO 100 100 Amount of modulation source Selects amodulation source for LFO Src OI Tempo speed a LFO Shape Amt 20 00 Sets the LFO speed modulation 20 00 amount You can change the panning curve by modifying the LFO s When this is on the LFO speed is set Sh MIDI Sync Off On by BPM Base Note and Times ape instead of Frequency MIDI MIDI syncs to the system tempo 40 b LFO Phase degree BPM 40 00 300 sets the tempo manually for this 300 00 individual effect This determines the phase difference between the left and right Gem Selects the type of notes that LFOs When you gradually change the value away from 0 the specify the LFO speed sounds from the left and right channels will seem to chase each Times on c that other around If you set the parameter to 180 or 180 the Phaser Manual 10 100 Sets the phaser frequency range sounds from each channel will cross over each other Resonance 100 100 Sets the phaser resonance amount Yo
77. 0 1350 0 Sets the delay time Depth 0 100 Sets the depth of LFO modulation Feedback 100 100 Sets the feedback amount P LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO LFO Waveform P Manual Triangle Sine 0 100 Selects the LFO Waveform Sets the frequency to which the effect is applied Depth 0 100 Sets the depth of LFO modulation Resonance 100 100 Sets the resonance amount FJEQ Trim 0 100 Sets the EQ input level F PreLEQ Gain dB 15 15 Sets the gain of Low EQ P Phaser Wet Dry Wet 1 99 Dry 99 1 Wet Sets the phaser effect balance CHORUS FLANGER PreHEQ Gain dB 15 15 Sets the gain of High EQ FJCho Flng Wet Dry MULTITAP DELAY Wet 1 99 Dry 1 99 Wet Sets the effect balance of the chorus flanger D Tap1 Time msec 0 0 1360 0 Sets the Tap1 delay time FILFO Frequency Hz 0 02 20 00 Sets the speed ofthe LFO LFO Waveform F Delay Time msec Triangle Sine 0 0 1350 0 Selects the LFO Waveform Sets the delay time Depth 0 100 Sets the depth of LFO modulation Feedback 100 100 Sets the feedback amount Tap1 Level 0 100 Sets the Tap1 output level FJEQ Trim 0 100 Sets the EQ input level D Tap2 Time msec 0 0 1360 0 Sets the Tap2 delay time Fe
78. 100 100 Amount of modulation source Advanced 178 Effects Double Size 136 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 FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left gt FX Amt X Delay UU Loop Time Auto 5400ms Righto Se Amt PM i gt Base Note x Times Loop Time msec Sets Automatic loop time setup Auto 1 10800 s mode or specifies loop time Specifies whether delay time is set in milliseconds or as a note value eye relative to tempo Loop BPM Off On Sync A MIDI MIDI syncs to the system tempo 40 40 00 300 sets the tempo manually for this 300 00 individual effect An error indication that appears if delay time exceeds the upper limit when MIDI Tempo Sync On Time Over OVER Selects the type of notes to specify the delay time Loop Base Note TW Sets the number of notes to specify Times x1 x32 the delay time REC Control Src RST Control Src Off Tempo Manual REC REC Off Control REC On Manual RST Control Off Tempo Selects control source for recording Selects control source for reset Sets the recording switch Off RESET Sets the reset switch L100 L1 C Pan R1 R
79. 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left ry Anput Level D mod High Damp Low Damp g CON AZ Input Level D mod Ef cine Right Temp FX Amt MI vo MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this 300 00 individual effect Rhythm x eee Selects a rhythm pattern Pattern Tap1 Pan L 1 99 R Sets the panning of Tap1 Tap2 Pan L 1 99 R Sets the panning of Tap2 Tap3 Pan L 1 99 R Sets the panning of Tap3 Tap4 Pan Sets the panning of Tap4 Feedback 100 100 Sets the feedback amount Selects the modulation source of Src Off Tempo feedback amount Amt 100 100 Sets the feedback amount Sets the damping amount in the High Damp 96 0 100 high range Low Damp 96 0 100 Sets the damping amount in the low range Input Level Sets the modulation amount of the Dmod 100 100 input level Src Off Tempo Selects the modulation source for the input level Wet Dry Dry 1 99 99 1 Balance between the wet and dry et signal Table Dynamic Modulation Src Off Tempo sources on page 106 100 100 Amount of modulation source 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
80. 121 0 78 Pfeifen GM GM2 XG Perkussion 121 0 79 Okarina GM 121 0 112 Gloeckchen GM GM2 XG Synth 121 0 113 Agogo GM 121 0 80 Lead Square GM 121 0 114 Steel Drums GM 121 1 80 LeadSquare Synth 121 0 Vio Woodblack GM 121 2 80 Lead Sine Synth 121 2 115 Kastagnetten 2 121 0 81 Lead Saw GM 121 0 116 Taiko Drum GM 121 1 81 Lead Saw Synth 121 1 116 Konzert BassDrum 121 2 81 Saw amp Pulse Synth 121 0 117 Melodisch Tom GM 121 3 81 Lead Saw Synth 121 1 117 Melodisches Tom 121 4 81 Lead Seq Synth 121 0 118 Synth Drum GM Advanced 202 Factory data Sounds Bank order ccoo CC32 PC Sound Name ccoo CC32 PC Sound Name 121 1 118 Rhythmus Box Tom GM2 XG Schlagz 121 2 118 Elektrisch Drum 120 0 0 Standard Kit GM 121 0 119 Becken rueckw GM 120 0 8 Room Kit GM GM2 XG SFX 120 0 16 Power Kit GM 121 0 120 Gtr FretNoise GM 120 0 24 Electro Kit GM 121 1 120 Gitarren CutNois 120 0 25 Analog Kit GM 121 2 120 Ak Bass Saite 120 0 32 Jazz Kit GM 121 0 121 Atemgeraeusch GM 120 0 40 Brush Kit GM 121 1 121 Floete Klappen 120 0 48 Orchester Kit GM 121 0 122 Meeresrausch GM 120 0 56 SFX Kit GM 121 1 122 Regen 127 0 0 Standard Kiti KG 121 2 122 Donner 127 0 9 Standard Kit2 KG 121 3 1
81. 121 17 33 VintageBass Flat 121 10 34 Picked Bass RX 121 9 33 Brill Finger B 121 5 36 Slap PickBass RX 121 7 33 Finger Bass 5 121 3 36 Funk SlapBass RX 121 10 33 Finger Bass 6 Factory Schlagz amp SFX 19 E Pinger Bass 7 120 o 93 Standard Kit Amb 121 15 34 Knock Bass RX 120 0 80 Room Kit Amb ia 38 Digital Bass 1 120 o 81 Real Kit 1 Amb 121 10 38 Digital Bass 2 120 0 82 Real Kit 2 Amb es A M 25 Digital Bass s 120 o 103 Entertn Kit 1 121 3 32 pais 120 o 104 Entertn kit2 121 4 32 Ak Bass Pro2 120 0 74 Dance Kit 1 121 9 32 Ak Bass Jazz 120 0 98 Dance Kit 2 LUN BER 22 Akustik Bass 120 0 20 Power Kit 1 Amb E e 33 dere Bass RX 120 0 21 Power Kit 2 Amb 18 Fe 99 Mintage Bass 120 o 99 Standard El 1 121 12 34 Picked Vint Bass 120 0 100 Standard El 2 121 13 34 Picked Jazz Bass 120 0 101 Standard EL 3 121 8 35 Fretless Bass RK 120 0 105 Std GM Kit RX 121 3 33 Studio Fretless 120 o 106 AlpenRock Kit RX 123 7 36 Warm Bs amp Slp DNC 120 o 107 BigBand Kit RX1 121 1 34 Picked E Bass 1 120 0 108 2nd Line Kit 121 2 34 Picked E Bass 2 120 0 109 Studio Kit 1 121 11 34 Picked E Bass 3 120 0 89 Pop Std Kit 1 121 8 34 Picked E Bass 4 120 0 90 Pop Std Kit 2 121 7 34 Picked E Bass 5 120 0 110 Pop Std Kit 3 121 1 35 Fretless Bass 1 120 0 4 Pop Std Kit RX n 2 33 HASHES Bassa 120 o 126 Combo rushkit RX 2 l 36 Super SlapBass1 120 o 127 BandBrush Kit RX 121 2 36 Super S
82. 126 Amp Tweed 102 Limiter Phaser 127 Amp Modded OD 103 Limiter Mt Delay x 128 BassTubeAmp Cab E 104 Exciter Comp x 129 St Mic PreAmp 2 5 105 Exciter Limiter 5 2 130 Multitap Cho Delay 3 106 Exciter Cho Fing e 5 5 amp 131 st Pitch Shifter 107 Exciter Phaser 3 S 8 132 St PitchShift BPM S c 108 Exciter Mt Delay E o 133 Rotary SpeakerOD 109 OD HG Amp Sim A SS 134 L C R Long Delay 110 OD HG Cho Flng x 135 St Cross Long Dly 111 OD HG Phaser 136 Hold Delay 112 OD HG Mt Delay 137 LCRBPM Long Dly 113 Wah Amp Sim 138 St BPM Long Dly 114 Decimator Amp 139 Early Reflections 115 Decimator Comp 140 Vocoder 116 AmpSim Tremolo 117 Cho Fing Mt Dly 118 Phaser Cho Fing 119 Reverb Gate Advanced 242 Factory data MIDI Setup MIDI Setup Default Master Kbd Player1 Player 2 Accordion 1 Accordion 2 Accordion 3 Ext Seq 1 P1 Tr 1 Global P1 Tr 1 P2 Tr 1 Global Upp1 Upp1 P1 Tr 1 2 P1 Tr2 Control P1 Tr2 P2 Tr2 Lower Lower Lower P1 Tr2 3 P1 Tr3 P1 Tr3 P2 Tr3 Bass Bass P1 Tr3 4 P1 Tr4 P1 Tr4 P2 Tr4 Upp2 Upp2 P1 Tr4 5 P1 Tr5 P1 Tr5 P2 Tr5 Upp3 Upp3 P1 Tr5 6 P1 Tr6 P1 Tr6 P2 Tr6 P1 Tr6 7 P1 Tr7 P1 Tri P2 Tr7 P1 Tr7 MIDI IN 8 P1 Tr8 P1 Tr8 P2 Tr8 E P1_Tr8 C
83. 24 Ukulele 121 4 63 Synth Blaeser 5 121 1 110 Fiedel 121 6 97 Rave Flaeche 121 4 105 Banjo RX 121 5 98 Bewegtes Gloeck 121 26 25 Mandolinen Ens 1 121 10 89 Analog Flaeche3 121 27 25 Mandolinen Ens 2 121 12 90 Big Sweep Synth 121 40 25 Mandoline DNC 121 4 91 PopSyn Flaeche1 121 23 24 Cavaquinho 1 121 12 91 PopSyn Flaeche2 121 24 24 Cavaquinho 2 121 2 93 80er Pop Synth 121 8 104 Sitar 1 121 3 96 Zyklus Synth DNC 121 11 25 Mandolinen Trem Factory Synth Solo 121 1 105 Banjo Key Off 121 13 81 Ana SawLeadSynth 121 2 104 Sitar Tambou 121 12 87 BassPhat SawLead 121 5 107 eno 121 3 80 Old Porta Synth tal 2 p 207 Kanoun 2 121 5 81 Power Saw Synth 121 6 107 Kanoun Trem 1 121 6 81 Octo Lead Synth 121 3 107 Kanoun Trem 2 121 2 87 Electro Lead m a 107 Kanoun Mle im 3 87 Rich Lead MT MS Oua 121 4 87 Thin Analog Lead Wo 105 a 121 4 80 Dance Lead Synth 2 gt 104 Bouzouki 121 5 80 Wave Lead Synth losen en Nay 121 5 80 Sine Wave Synth 121 2 71 Ethn Klarinette1 121 5 87 Express Lead 121 11 71 Ethn Klarinette2 121 6 87 HipHop Lead 121 12 71 Ethn Klarinette3 121 7 80 AnalogLead Synth 121 1 77 Alte Shakuhachi 121 8 81 FatSaw LeadSynth ad 3 7 Kawala 12 9 81 Glide Lead Synth ar a Ben 121 9 80 GlideSquare Synt 121 3 109 Hochl Dudelsack 121 3 89 Power Synth 121 2 109 Irisch Dudelsack 121 10 80 Sine Switch Synt i 3 as 121 1 93 Cosmic Flaeche lal 3 DH Buta 121 10 81 Fire Wave Synth 121 1 11
84. 27 27 Tele E GitBridge Legacy Gitarre 121 1 30 Feedback DistGit GM2 XG Gitarre 121 28 27 Real E Git STI Factory Gitarre 121 2 30 Dist Rhythm Git GM2 XG Gitarre 121 29 27 Real E Git ST2 Factory Gitarre 121 3 30 Joystick Git Y Legacy Gitarre 121 30 27 Real E Gitarre 1 Factory Gitarre 121 4 30 E Git Akkorde Factory Gitarre 121 31 27 Real E Gitarre 2 Factory Gitarre 121 5 30 Mute Monster Git Factory Gitarre 121 32 27 Strat E Git1 DNC Factory Gitarre 121 6 30 Voll Dist E Git Legacy Gitarre 121 33 27 Strat E Git2 DNC Factory Gitarre 121 7 30 Solo Dist E Git Legacy Gitarre 121 34 27 Chorus E Git DNC Factory Gitarre 121 8 30 StereoDist E Git Factory Gitarre 121 35 27 Ch DIyE Git DNC Factory Gitarre 121 9 30 Dist Gitarre RX Factory Gitarre 121 36 27 Funky E Git RX Factory Gitarre 121 10 30 Dist Gitarre RX Factory Gitarre 121 37 27 Amp E Git1 DNC Factory Gitarre 121 11 30 Dist Clean Git Factory Gitarre 121 38 27 Vint E Git DNC Factory Gitarre 121 12 30 Dist Steel Git Legacy Gitarre 121 39 27 Vint E Git JSDN Factory Gitarre 121 13 30 Dist Git 1 DNC Factory Gitarre 121 40 27 StratSoloGit DNC Factory Gitarre 121 14 30 Dist Git 2 DNC Factory Gitarre 121 41 27 Shadow Git DNC Factory Gitarre 121 15 30 E Git Akkorde RX Factory Gitarre 121 42 27 ShadowGitITDNC Factory Gitarre 121 0 31 E Git HarmonicGM GM2 XG Gitarre 121 43 27 Shadow GitIJSDNC Factory Gitarre 121 1 31 E Gi
85. 37 Slap Bass 4 Factory Bass 121 12 33 Finger Slap Bass Factory Bass 121 6 37 Slap Bass 2 Legacy Bass 121 13 33 Finger Bass RX Factory Bass 121 7 37 Slap Bass 3 Legacy Bass 121 14 33 FingerBass amp Git Factory Bass 121 0 38 Synth Bass 1 GM GM2 XG Bass 121 15 33 Finger Bass 7 Factory Bass 121 1 38 Synth Bass Warm GM2 XG Bass 121 16 33 Finger Bass DNC Factory Bass 121 2 38 Synth Bass Reso GM2 XG Bass 121 17 33 VintageBass Flat Factory Bass 121 3 38 Clavi Bass GM2 XG Bass 121 18 33 VintageBass Rnd Factory Bass 121 4 38 Hammer Bass GM2 XG Bass 121 19 33 5sait Bass RX Factory Bass 121 5 38 30303 Bass Factory Bass 121 20 33 E Bass warm 1 Factory Bass 121 6 38 30303 SquareBass Legacy Bass 121 21 33 Jazz Bass RX Factory Bass 121 7 38 Sguare Bass Legacy Bass 121 22 33 DarkE Bass DNC Factory Bass 121 8 38 Synth Bass Res Factory Bass 121 23 33 Vintage Bass Factory Bass 121 9 38 Digital Bass 1 Factory Bass 121 24 33 E Bass warm 2 Factory Bass 121 10 38 Digital Bass 2 Factory Bass 121 0 34 Picked E Bass GM GM2 XG Bass 121 11 38 Digital Bass 3 Factory Bass 121 1 34 Picked E Bass 1 Factory Bass 121 12 38 Synth Bass 3 Legacy Bass 121 2 34 Picked E Bass 2 Factory Bass 121 13 38 Jungle Bass Factory Bass 121 3 34 Picked SteinBass Factory Bass 121 14 38 Auto Pilot Bass Legacy Synth Solo 121 4 34 PickBass amp Git Factory Bass 121 15 38 Hybrid Bass Factory Bass 121
86. 4 2 2000er Piano Legacy Piano 121 5 2 Chorus Piano Legacy Piano 121 6 2 Piano amp Flaeche Factory Piano 121 7 2 Fluegel amp Flaeche1 Factory Piano 121 8 2 Fluegel amp E Piano Factory Piano 121 9 2 Fluegel amp Flaeche2 Factory Piano 121 10 2 E Fluegel Phaser Factory Piano 121 0 3 Honky Tonk GM GM2 XG Piano 121 1 3 Honky Tonk breit GM2 XG Piano 121 2 3 Honky Tonk RX Factory Piano 121 3 3 Ragtime Piano Factory Piano 121 0 4 E Piano 1 GM GM2 XG Piano 121 1 4 Verst E Piano 1 GM2 XG Piano 121 2 4 E Piano Vel Mix GM2 XG Piano ccoo CC32 PC Name Sound Family 121 3 4 1960er E Piano GM2 XG Piano 121 4 4 Klass E Piano 1 Legacy E Piano 121 5 4 Buehnen E Piano Factory E Piano 121 6 4 Buehnen E Piano Factory E Piano 121 7 4 Studio E Piano Factory E Piano 121 8 4 R amp B E Piano Factory E Piano 121 9 4 Zartes E Piano Factory E Piano 121 10 4 Glock E Piano 1 Factory E Piano 121 11 4 Club E Piano Factory E Piano 121 12 4 Klass Wurly 2 Factory E Piano 121 13 4 Weiches Wurly Legacy E Piano 121 14 4 Hartes Wurly Legacy E Piano 121 15 4 Velocity Wurly Legacy E Piano 121 16 4 Tremolo Wurly Factory E Piano 121 17 4 Klass Wurly 1 Factory E Piano 121 18 4 Live E Piano RX Factory E Piano 121 19 4 Live E Piano Factory E Piano 121 20 4 Suitcase88 E P 3 Factory E Piano 121 21 4 Suitcase88 E P 4 Factory E Piano 121 22 4 Glock E Piano 2 Fa
87. 5 34 PickBass Mute Factory Bass 121 16 38 Octave Bass Legacy Bass 121 6 34 Bass amp E Gitarre Factory Bass 121 17 38 Drive Bass Legacy Bass 121 7 34 Picked E Bass 5 Factory Bass 121 18 38 Synth Bass 1 Factory Bass 121 8 34 Picked E Bass 4 Factory Bass 121 0 39 Synth Bass 2 GM GM2 XG Bass 121 9 34 Ticktacing Bass Legacy Bass 121 1 39 SynthBass Attack GM2 XG Bass 121 10 34 Picked Bass RX Factory Bass 121 2 39 SynthBass Rubber GM2 XG Bass 121 11 34 Picked E Bass 3 Factory Bass 121 3 39 Euro Bass Legacy Bass 121 12 34 Picked Vint Bass Factory Bass 121 4 39 Attack Pulse GM2 XG Bass 121 13 34 Picked Jazz Bass Factory Bass 121 5 39 Jungle Rez Factory Bass 121 14 34 Kaempfert BassRX Factory Bass 121 6 39 Nasty Bass Legacy Bass 121 15 34 Knock Bass RX Factory Bass 121 7 39 Phat Bass Legacy Bass 121 0 35 Fretless Bass GM GM2 XG Bass 121 8 39 Poinker Bass Legacy Bass 121 1 35 Fretless Bass 1 Factory Bass 121 9 39 80er Synth Bass Legacy Bass 121 2 35 Fretless Bass 2 Factory Bass 121 10 39 Autofilter Bass Legacy Bass 121 3 35 Studio Fretless Factory Bass 121 11 39 Monofilter Bass Legacy Bass 121 4 35 R amp B Bass warm Legacy Bass 121 12 39 Resonance Bass Legacy Bass 121 5 35 R amp B Bass warm2 Legacy Bass 121 13 39 Auto Pilot Bass Legacy Bass 121 6 35 Tiefton Bass 2 Legacy Bass 121 14 39 Synth Funk Bass Legacy Bass 121 7 35 Fretless Bass 3 Legacy Bass 121 15
88. 51 99 Voice pattern control Control T op Src Op Tempo Selects the modulation source that controls the voice pattern Selects a vowel sound at the top Voice Top A 1 U E O end of control Voice Center A I U E O Selects a vowel sound in the center of control Voice Bottom A I U E O Selects a vowel sound at the bottom end of control Sets the frequency to which the Formant Shift 100 100 effect is applied Resonance 0 100 Sets the Level of resonance of the voice pattern ri Frequency 0 02 20 00 Sets the speed of the LFO Selects a modulation source for LFO Src Off Tempo speed Amt 20 00 Sets the modulation amount of LFO 20 00 speed When this is on the LFO speed is set MIDI Sync Off On by BPM Base Note and Times ege instead of Frequency MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this 300 00 individual effect Selects the type of notes that Base Note Ed specify the LFO speed Times x1 x32 Sets the number of notes that specify the LFO speed Wet Dry Dy 1 99 99 1 Balance between the wet and dry et signal Table Dynamic Modulation Sic Off Tempo Sources on page 106 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 If Sweep Mode ie set to D mod and Ribbo
89. 7 Boogie 2 29 28 BeBop 9 8 Orgelmatic 79 30 29 Django 10 9 Orgel Rhumba 31 30 Serenade Band 11 10 Orgel Evergreens 32 31 Jazz Club 12 11 Orgel Ballade 33 32 Jazz Besen 13 12 Orgel Foxtrott 34 33 Jazz Blues 14 13 Orgel Swing 35 34 Swing Quintett 15 14 Jazz Trio 36 35 Moon Swing 16 15 Harlem Entertainer 37 36 Charleston 17 16 Orgel Blues 38 37 Vocal Swing 18 17 Orgel Bossa 39 38 Vocal Jazz 19 18 Zugriegel Swing Bank Orgel Piano 20 19 Modern Gospel 1 1 14 0 Orgel Samba 21 20 Modern Gospel 2 2 1 Memphis Orgel 22 al Gospel 3 2 Orgel Fox 1 23 22 Gospel Shuffle 4 3 Orgel Fox 2 24 23 Gospel Swing 5 4 Standard Rock Piano 25 24 Orgel Jazz 6 5 Boogie Rock 26 25 Jazz Ballade 7 6 Boogie 1 27 26 70er Cat Groove Advanced 188 Factory data Style Elements Style Elements Note You can remotely select the various Style Elements on the Pa3X by sending it Program Change messages on the Control channel see MIDI MIDI In Channels on page 221 of the User s Manual PC Style Element 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 Note The above Program Change numbers are given according to the 0 127 numbering
90. 79 Tape Echo BPM a Tap1 Dmod Src b Tap1 Delay Note This is a tape echo that lets you synchronize the delay time to the b Times tempo of the song c Tap1 Dmod Note c Times FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out 2 fs Amt If Tapl Dmod Src is Off or the selected modulation is at 0 the huh Aa ai delay time will be the length specified by Tap1 Delay Note and eis Amt s Level Pan ud AH leon HZ If Tapl Dmod Src is other than Off the delay time will change ur ee so that it will be as specified by Tapl Dmod Note and Times Right when the maximum modulation is reached o FX Amt 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 dis MIDI MIDI syncs to the system tempo 40 l Set the del n t that thi ill t BPM Delay 40 00 300 sets the tempo manually for this play set the delay time parameters so that this message will no 300 00 individual effect appear Time Over is only a display parameter Selects the modulation source of the delay time Tap1 Dmod Src Off Tempo Tap1 Delay Note Selects the type of notes to specify fw the delay time tap1 Sets the number of notes to specify mes x1 x32 the delay time tap1 Displays an error message when the
91. 9 49 Real Streicher 1 Pe 2 ap owe Keiner chor 121 10 49 Real Streicher 2 121 5 Er Synth summen 121 7 49 Movie Str 1 DNC 121 9 91 FullVox Flaeche 121 8 49 Movie Str 2 DNC 121 2 54 SphaerenStimmen1 121 6 40 Konz violine DNC al qiu al _ Bresth Fiseche 121 8 40 Violine Expr 1 121 3 54 SphaerenStimmen2 121 2 40 Violine Expr 2 121 3 91 Heaven Flaeche 121 21 52 Zyklus Scat 1 121 3 53 Airways Stimmen 121 22 52 Zyklus Scat 2 Factory Blech Solo 121 20 52 Scat Stmmen DNC 121 24 56 Jazz TrompeteDNC 121 23 52 Kinderstimme 121 15 56 Trompete Expr 1 121 5 49 Movie Streich 1 121 4 56 Trompete Expr 2 121 6 49 Movie Streich 2 121 17 56 Alpen Trompete 121 22 48 Streich Ens RX 121 20 57 Gliss Posaune Factory data Sounds Bank order 193 ccoo CC32 PC Sound Name ccoo CC32 PC Sound Name 121 19 57 Gls Posaune Mono 121 39 61 Trompeten Ens 1 121 11 58 Tuba Musikant 1 121 10 60 Tromp amp Hoerner 121 12 58 Tuba Musikant 2 121 37 61 Volle Bigband 121 8 58 Tuba amp Bs kurz 1 121 38 61 Trompet amp Blaeser 121 14 58 Tuba amp Bs lang 1 121 32 61 BigBand Blaeser 121 9 58 Tuba amp Bs kurz 2 121 61 BigBand Blaeser 121 15 58 Tuba amp Bs lang 2 121 60 Hoerner warm 1 121 13 58 Tuba amp Bs kurz 3 121 7 60 Hoerner warm 2 121 29 56
92. 997 Tabla2 Tun a Low Perc 1050 Agogo Bell Hi Perc 945 Bongo2Hi Opena Low Perc 998 Tabla2 Tun b Low Perc 1051 Chacha Bell Hi Perc 946 Bongo2 Hi Openb Low Perc 999 Tabla2 Tele a Low Perc 1052 Mambo Bell Hi Perc 947 Bongo2 Hi Muffled Low Perc 1000 Tabla2 Tele b Low Perc 1053 Recoreco short Hi Perc 948 Bongo2 Hi Slap Low Perc 1001 Tabla2 Tele c Low Perc 1054 Recoreco short2 Hi Perc 949 Bongo2 Lo Heel Low Perc 1002 Tabla2 Tia Low Perc 1055 Recoreco short3 Hi Perc 950 Bongo2 Lo Muffled Low Perc 1003 Tabla2 Tib Low Perc 1056 Recoreco long Hi Perc 951 Bongo3 Lo Open Low Perc 1004 Tabla2 Tic Low Perc 1057 Triangle Open Hi Perc 952 Bongo3 Lo Slap Low Perc 1005 Tabla2 Tera Low Perc 1058 Triangle Mute Hi Perc 953 Bongo3 Lo Stick Low Perc 1006 Tsuzumi Low Perc 1059 Triangle2 Open Lp Hi Perc 954 Bongo3 Hi Open Low Perc 1007 Taiko Open Low Perc 1060 Triangle2 Closed c Hi Perc 955 Bongo3 Hi Slap Low Perc 1008 Taiko Rim Low Perc 1061 Sleigh Bell Hi Perc 956 Bongo3 Hi Stick1 Low Perc 1009 Timbales1 Lo Open mp Low Perc 1062 Rap Sleigh Bell Hi Perc 957 Bongo3 Hi Stick2 Low Perc 1010 Timbales1 Lo Open mf Low Perc 1063 Jingle Bell Hi Perc 958 OkonkoloBocaOpenmp Low Perc 1011 Timbales1 LoOpen mfGM Low Perc 1064 Bells Open Hi Perc 959 OkonkoloBocaOpenmf Low Perc 1012 Timbales1 Lo Edge mf Low Perc 1065 Finger Cymbal Hi Perc 960 Okonkol
93. Ai amp Kp DH B 1 e Dai ES m generated made this lo fi unit a favorite with many pro musicians Delay Tap1 0 2700 Sets the delay time tap1 Wet Mono In Mono Out Dry Stereo In Stereo Out msec H Lette A wet Dry Selects the modulation source of the x REDE delay time NE Tone Low Damp Amt 2700 Sets the modulation amount of A N trai Delay es 2700 delay time HA Sets the position of Tap 2 relative to Feedback P Position 0 100 the Tap 1 delay time the depth of 2 pitch variation Right Wet Dry us Sets the position of Tap 3 relative to uh Position 0 100 the Tap 1 delay time the depth of R pitch variation EET Tap1 Level 0 100 Sets the Tap1 output level Time ms 22 sets th gelay me Feedback 0 100 Sets the amount of feedback Pan L 1 99 R Sets the stereo image of tap1 Tone 1 100 Sets the tone of the delay sound FB Amt 100 100 Sets the Tap1 feedback amount Tap2 Level 0 100 Sets the Tap2 output level Sets the damping amount in the low Low Damp 0 100 range page 142 Pan L 1 99 R Sets the stereo image of tap2 FB Amt 100 100 Sets the Tap2 feedback amount Tap3 Level 0 100 Sets the Tap3 output level Sets the modulation amount of the pze ze inputlevel page 139 Input Lvl Dmod 100 100 Off Tempo Selects the modulation source for Source the input levelpage 139 Pan L 1 99 R Sets the stereo image of tap3 FB Amt 100 100 Sets the Ta
94. Bass 121 10 28 Clean FunkGit RX Factory Gitarre 121 0 33 Finger Bass GM GM2 XG Bass 121 11 28 Clean FunkGit RX Factory Gitarre 121 1 33 Finger Slap Bass GM2 XG Bass 121 12 28 Funky E Git RX1 Factory Gitarre 121 2 33 Finger Bass 1 Factory Bass 121 13 28 Funky E Git RX2 Factory Gitarre 121 3 33 Finger Bass 2 Factory Bass 121 14 28 Clean E Git RX1 Factory Gitarre 121 4 33 Finger Bass 3 Factory Bass E 121 15 28 Clean E Git RX2 Factory Gitarre 121 5 33 Stick Bass Legacy Bass A 121 16 28 Clean E Git RX3 Factory Gitarre 121 6 33 Finger Bass 4 Factory Bass 3 121 17 28 Clean E Git RX4 Factory Gitarre 121 7 33 Finger Bass 5 Factory Bass E 121 18 28 Clean E Git RX5 Factory Gitarre 121 8 33 Chorus Fing Bass Factory Bass 208 Factory data Sounds Program Change order ccoo CC32 PC Name Sound Family ccoo CC32 PC Name Sound Family 121 9 33 Brill Finger B Factory Bass 121 3 37 Dyna Slap Bass Legacy Bass 121 10 33 Finger Bass 6 Factory Bass 121 4 37 Chorus Slap Bass Legacy Bass 121 11 33 E Bass mittig Legacy Bass 121 5
95. CMaj G is transposed to the missing notes As recorded with NTT Root or 5th When you play a CM When you play a CM7 Key Chord CMaj with NTT Root with NTT 5th TULIT 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 automatically selected As recorded with NTT i Series When you play a CMaj When you play a C7 Key Chord CM7 with NTT i Series with NTT i Series N EEE UT Parallel No Transpose The chord is not modified and is moved to the new key unchanged The pattern plays exactly the recorded notes and is moved to the new key as is This is the standard setting of Intro 1 and Ending 1 in Korg s original Styles where a chord progres sion is usually recorded and should remain unchanged in any key 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 pro grammed 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 trans posed when chords are changed Delete Note button Use this command to delete a single note or a single percussive instrum
96. Chor 121 1 54 Analog Stimmen GM2 XG Streich Ensemb 121 3 49 Streich Ens 2 Legacy Streich amp Chor 121 2 54 SphaerenStimmen1 Factory Streich amp Chor 121 4 49 Spicc Streicher Factory Streich amp Chor 121 3 54 SphaerenStimmen2 Factory Streich amp Chor 121 5 49 Movie Streich 1 Factory Streich amp Chor 121 4 54 Klassischer Vox Legacy Streich amp Chor 121 6 49 Movie Streich 2 Factory Streich amp Chor 121 5 54 Traumstimmen Legacy Streich amp Chor 121 7 49 Movie Str 1 DNC Factory Streich amp Chor 121 6 54 Synth Stimmen Factory Streich amp Chor 121 8 49 Movie Str 2 DNC Factory Streich amp Chor 121 0 55 Orchester Hit GM GM2 XG Streich Ensemb 121 9 49 Real Streicher 1 Factory Streich amp Chor 121 1 55 Bass Hit Plus GM2 XG Streich Ensemb 121 10 49 Real Streicher 2 Factory Streich amp Chor 121 2 55 6th Hit GM2 XG Streich Ensemb 121 11 49 Konz Streicher Factory Streich amp Chor 121 3 55 Euro Hit GM2 XG Streich Ensemb 121 12 49 Konz Streicher2 Factory Streich amp Chor 121 4 55 Blaeser Hit Factory Blech Ensemb 121 0 50 SynthStreich1 GM GM2 XG Streich Ensemb 121 5 55 Indischer Hit Legacy Welt 121 1 50 Synth Streich 3 GM2 XG Streich Ensemb 121 6 55 Synth Hit 1 Legacy Synth Solo Advanced 210 Factory data Sounds Program Change order
97. Depth 0 100 Sets the depth of LFO modulation Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal e lore Off Tempo Table Dynamic Modulation sources on page 106 Amt 100 100 Amount of modulation source Effects Mono Mono Serial Mono Mono 169 117 Cho Flng Mt Dly Chorus Flanger Multitap Delay 118 Phaser Cho Flng Phaser Chorus Flanger This effect combines a mono chorus flanger and a multitap This effect combines a mono phaser and a chorus flanger delay FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Chorus Flanger Fu Amt Multitap Delay LFO Tri Sine o FX Amt CHORUS FLANGER Left Phaser Fu Amt Chorus Flanger Phaser Chorus Flanger H A EG LEGHE Normal LFO Tri Sine i Trim Output Mode Chorus anger R fr anhaser F edback MD eA EQ LEQ HEQ 3 Cho Fing 1 esonance Ey amt eedbacl Trim FX Amt High Damp Cho Fing i FX Amt Age EX Amt LFO Tri Sine i PHASER FILFO Frequency Hz 0 02 20 00 Sets the speed of the LFO LFO Waveform Triangle Sine Selects the LFO Waveform F Delay Time msec 0
98. Disco 1 0 2 0 70er Disco Remix 2 1 70er Disco 1 3 2 Disco 79 4 3 Money B 5 4 Discofox 1 6 5 Discofox 2 7 6 NY Rio Pop 8 7 80s Dance 9 8 Retro Beat 10 9 70er Disco 2 11 10 Funky Disco 1 12 11 Funky Disco 2 13 12 Discofox 3 14 13 Discofox 4 15 14 Cool Disco Factory data Styles 183 cco CC32 PC Name cco CC32 PC Name 16 15 Talking 80s 35 34 Latin Club 17 16 Karibik Disco 36 35 Elektrik Funk 18 17 70er Disco 3 37 36 AlSwing 19 18 Disco Oldie 38 37 Groove Funk 20 19 Real good Beat 39 38 Analog Beat 2 21 20 80er Disco Bank Volksmusik 22 21 Barry Dance 1 0 4 0 Raketenpolka 22 vintage pop 2 1 Tiroler Polka 24 23 Vintage Pop 2 3 2 Stampfer 25 24 Miami Disco 4 3 Boarischer 26 Setup James 5 4 Oberkr Walzer 27 26 Dance Motown 6 5 Rheinlander 28 27 Disco Gully 7 6 Kolsch Walzer 29 28 Disco Latin 8 7 Wanderlieder 30 29 Celtic Dream 9 8 Steir Polka 1 31 30 Motown Shuffle 1 10 9 Steir Polka 2 2 Motown Shuffle 2 11 10 B hmischer Walzer gt 32 Philly Disco 12 11 B hmische Polka Bank Modern 13 12 bayr Walzer 1 0 3 0 Dance Chart 1 14 13 Oberkr Polka 2 1 Electro Dance 15 14 Shanty Walzer 3 2 90er Dance 16 15 Shant
99. Dyno SoftLP E Piano Stage Hard E Piano Stage HardLP E Piano Vintage pp E Piano Vintage p E Piano Vintage mf E Piano Vintage f E Piano Vintage ff E Piano Vintage fff E Piano Vintage Koff E Piano Wurly Soft E Piano Wurly Hard E Piano Pad 1 E Piano Pad 1LP E Piano Pad 2 Clavi 1 Clavi 2 Clavi 3 Clavi 4 Clavinet GM Harpsichord Harpsichord Key off Gospel Organ Slow L Gospel Organ Slow R Gospel Organ Fast L Gospel Organ Fast R 16 8 LFL 16 8 LFR 16 8 LSL 16 8 LSR 16 8 51 3 LF L 16 8 51 3 LFR 16 8 51 3 LSL 16 8 51 3 LSR 4 22 3 2 LFL 111 112 113 4 22 3 2 LFR 4 22 3 2 LS L 4 22 3 2 LSR 11 3 13 5 T LPL 11 3 13 5 1 LFR 11 3 13 5 1 LSL 11 3 13 5 1 LS R 16 8 51 3 Perc LF L 16 8 51 3 Perc LFR 16 8 51 3 Perc LS L 16 8 51 3 Perc LS R Theater Organ 1 Theater Organ 2 50s E Organ Bright 50s E Organ Dark E Organ CX 3 E Organ Perc OTW E Organ Fast Click E Organ Perc 1 E Organ Perc 2 E Organ Perc 3 E Organ Perc 4 Organ 1 M1 Organ 2 M1 Organ 1 Organ 2 Organ 2LP Organ3 Jazz BX3 amp Perc 3rd E Organ Vox E Organ Soft E Organ Full E Organ Dist Rotary Organ 1 Rotary Organ 1LP Rotary Organ 2 Super BX3 Super BX3LP 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 Rotor Noise LF L Rotor Noise LF R Rotor Noise
100. Element Chord Variation Use these parameters to select the source and target Style Ele ments or Chord Variations Note You cant copy from a Variation to a different Style Element or vice versa because of their different structure All All Style Elements i e the whole Style You cant change the target that is automatically set to All Varl End2 Single Style Element V1 CV1 E2 CV2 Single Chord Variation From To Track Use this parameter to select the source and target track to copy You can double a track to strengthen a pattern 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 Execute Touch this button to execute the operation set in this page Track status icon Status of tracks Touch this icon to change the status Play Play status The track can be heard Mute Mute status The track cannot be heard Track names Under the buttons a label for each track is shown Copying to a Chord Variation of a different length You can copy a Chord Variation to a different one of a different length Just keep in mind the following e Ifthe source length is a divider of the target length the source Chord Variation will be multiplied to fit the target Chord Variation For example if the source is 4 measures long and the target 8 measures the source will be copied two times DEED a ee A 1 2 3 411 2
101. Ensemble GM Soprano Voice Soprano Voice AD Soprano Voice 5thDW Soprano Voice 4thUP Voice Female Wuh Voice Female Woh Voice Female Wah Voice Female Dah Voice Male Wuh Voice Male Woh Voice Male Wah 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 Voice Male Dah Voice Scat Buh Voice Scat Duh Voice Scat Bah Voice Scat Dah Voice Choir Voice Hoo Voice Pop Ooh Voice Pop Ah Voice Doo Voice DooLP Violin1 Classic Violin1 Gliss Up Violin1 Gliss Dw Violin1 Strings free Violin1 Trill Up Violin2 Solo Vibrato Violin2 Straight Violin GM Fiddle GM Viola Expressive mf Viola Expressive f Viola GM Cello amp Contrabass Cello GM Violin amp Cello Strings Quartet Vibratol Strings Quartet Vibrato2 Pizzicato Strings Ensemble St L Strings Ensemble St R Strings Ensemble GM L Strings Ensemble GM R Strings Ensemble Mono Strings Ensemble Tremolo Pizzicato Ensemble Harp Stereo L Harp Stereo R Harp Atk L Harp AtkR Harp Mono Ac Gtr muted p L Ac Gtr muted p R Ac Gtr muted f L Ac Gtr muted f R 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 Ac Gtr Dwnl L Ac Gtr Dwn
102. FX are no longer available Effects Master 3 In this page you can edit the effect assigned to the Master FX 3 effect processor See Effects on page 106 for more information Note When turning Master 3 on the Insert FX is no longer avail able Page menu Touch the page menu icon to open the menu Touch a command to select it Touch anywhere in the display to close the menu without selecting a command Write Sound Select this command to open the Write Sound dialog box and save all editing parameters to a Sound See Write Sound dialog box on page 75 for more information Solo Oscillator Select this command to solo the selected oscillator and mute the other oscillators Select it again to unmute the other oscillators When this function is activated the Solo OSC n indicator n oscillator number blinks on the page header While in this sit uation you can select a different oscillator to be soloed Swap LFO Select this command to replace LFO1 with LFO2 and vice versa Copy Oscillator Select this command to copy all settings between oscillators See Copy Oscillator dialog box on page 76 for more information Copy Paste FX You can copy a single effect or all effects You can copy them between different Sounds The copy operation can only be car ried on while remaining in Sound mode you cannot copy the effects for example to a Song Note This operation does not copy th
103. Fifths Lead 7 Yeah 2 7 BlkFunk2C 7 Dist Slide 1 7 GunShot 8 Calliope 8 8 BlkFunk2D 8 Dist Slide 2 8 Helicopter 9 Caribbean 9 9 Blk Organ A 9 Dog 9 Jet Plane 10 Rezbo 10 10 Blk Organ B 10 Door Creak 10 Laser Gun 11 Digital Polisix 11 11 BlkOrgan C 11 Door Slam 11 Machine Gun 12 Motion Raver 12 12 Blk Organ D 12 Foosteps 1 12 Phone Ring 13 Moving Bell 13 13 Blk Choir A 13 Foosteps 2 13 Punch 14 Elastick Pad 14 14 Blk Choir B 14 Heart Beat 14 River 15 Rave 15 15 Blk Choir C 15 Horse Gallop 15 Seashore 16 Dance Remix 16 16 Blk Choir D 16 Lion 16 Siren 17 Vintage Sweep 17 17 17 Scratch1 17 Starship 18 You Decide 18 18 18 Scratch 2 18 Thunder 19 19 19 19 Scratch 3 19 Train 20 20 20 20 Scratch 4 20 Wind 21 21 21 21 Scratch 5 21 22 22 22 22 Scratch 6 22 23 23 23 23 Stadium 23 24 24 24 24 24 25 25 25 25 25 26 26 26 26 26 27 27 27 27 27 28 28 28 28 28 29 29 29 29 29 30 30 30 30 30 31 31 31 31 31 32 32 32 32 32 SEQ Drum SEQ Percussion SEQ Groove SEQ Bass SEQ Piano 1 Drum DrumBasSolo 1 Perc FingerSnap 1 Grv Drum 1 1 Bass Pick Easy 1 Piano Accomp 1 2 Drum Snare Solo 2 Perc Triang HH 2 GrvDrum2 2 Bass Pick Med 2 Piano Accomp 2 3 Drum 8 Bt Easy 3 PercLatin 1 3 Grv Brush 3 Bass Pick Busy 3 Piano Accomp 3 4 Drum 8 Bt Medium 4 Perc Latin 2 4 Grv Jazzy 4 Bass Finger Easy 4 Piano Ac
104. Flaeche 2 Factory Synth Flaeche 121 4 102 PanRes Flaeche Legacy Synth Solo 121 5 92 Moving Flaeche Factory Synth Flaeche 121 5 102 Cycle Flaeche Factory Synth Flaeche 121 6 92 MidiStack Synth Factory Synth Flaeche 121 0 103 Star Theme GM GM2 XG Synth SFX 121 7 92 PopSynth 1 Factory Synth Flaeche 121 0 104 SitarGM GM2 XG Welt 121 8 92 PopSynth 2 Factory Synth Flaeche 121 1 104 Sitar 2 GM2 XG Welt 121 0 93 Metall FlaecheGM GM2 XG Synth 121 2 104 Sitar Tambou Factory Welt Advanced 4 Factory data Sounds Program Change order ccoo CC32 PC Name Sound Family ccoo CC32 PC Name Sound Family 121 3 104 Sitar 5 Legacy Welt 121 1 118 Rhythmus Box Tom GM2 XG Perkussion 121 4 104 Sitar 4 Factory Welt 121 2 118 Elektrisch Drum GM2 XG Perkussion 121 5 104 Bouzouki Factory Welt 121 3 118 Snare rueckw Legacy Schlagz amp SFX 121 6 104 Tambra Legacy Welt 121 0 119 Becken rueckw GM GM2 XG Perkussion 121 7 104 Sitar 3 Legacy Welt 121 1 119 Dragon Gong Legacy Schlagz amp SFX 121 8 104 Sit
105. GM GM2 XG Perkussion 121 6 126 Stadion Legacy Schlagz amp SFX 121 1 115 Kastagnetten 1 Legacy Schlagz amp SFX 121 7 126 Vuvuzela Legacy Schlagz amp SFX 121 2 115 Kastagnetten 2 GM2 XG Perkussion 121 0 127 PistolenschussGM GM2 KG SFK 121 0 116 Taiko Drum GM GM2 XG Perkussion 121 1 127 Maschinengewehr GM2 XG SFX 121 1 116 Konzert BassDrum GM2 XG Perkussion 121 2 127 Laserpistole GM2 XG SFX 121 0 117 Melodisch Tom GM GM2 XG Perkussion 121 3 127 Explosion GM2 XG SFX 121 1 117 Melodisches Tom GM2 XG Perkussion 121 4 127 Deep Noise Factory Synth Flaeche 121 2 117 Tom rueckw Legacy Schlagz amp SFX 121 127 16 Digit Zugriegel Factory Orgel 121 0 118 Synth Drum GM GM2 XG Perkussion ccoo CC32 PC Name Sound Family User Sound and Drum Kit Banks 121 64 0 127 User 01 121 65 0 127 User 02 121 66 0 127 User 03 121 67 0 127 User 04 120 64 0 127 User DK Factory data Sounds Program Change order 215 o 0 y E gt Kl x 216 Factory data Drum Kits Drum Kits The following table lists all Pa3X Factory Drum Kits in order of Bank Select Program Change number Legend The table also includes MIDI data used to remotely select the Drum Kits CC00 Control Change 0 or Bank Select MSB CC32 Control Change 32 or Bank Select LSB PC Program Change
106. Hi Hi Perc 1595 Click SFX Kl U u S gt Kl lt x 236 Factory data Pads Pads You can assign the following Hits or Sequences to the four Pads Older sounds might be still assigned to the Pads when loading musical resources generated with an older operating system see the following section HIT Drum HIT Percussion HIT World 1 Hit World 2 HIT Orchestral 1 88 Cowbell 1 Agogo 1 1 Baja 1 Kup1 1 Brass Fall 2 88 Crash 2 Agogo2 2 Baja2 2 Kup2 2 Orch Cymbal 1 3 China 3 Castanet 1 3 China Gong 3 Kup3 3 Orch Cymbal 2 4 Crash 1 4 Castanet 2 4 Darbuka 1 4 Kup4 4 Orch Hit 5 Crash2 5 Conga Hi 5 Darbuka 2 5 Ramazan 1 5 Orch Snare 6 Rev Cymbal 6 CongaLow 6 Darbuka 3 6 Ramazan 2 6 Orch Sn Roll 7 Ride 1 7 Conga Mute 7 Darbuka 4 7 Ramazan 3 7 Timpani 1 8 Ride2 8 Conga Slap 8 Darbuka5 8 Rek Dom Ak 8 Timpani 2 9 Ride Bell 9 Cowbell 9 Darbuka 6 9 Rik1 9 Timpani 3 10 Splash 10 Cuica 1 10 Darbuka 7 10 Rik2 10 Timpani4 11 Sticks 11 Cuica2 11 Darbuka 8 11 Rik3 11 Orchestra Tutti 12 Rim Shot 12 Jingle Bell 12 Davul 12 Sagat 1 12 13 Hi Tom Flam 13 Long Guiro 13 Douf Rim Ak 13 Sagat2 13 14 Mid Tom Flam 14 Short Guiro 14 Dragon Gong 14 Tef 1 14 15 Low Tom Flam 15 Open Bells 15 Hollo 1 15 Tef
107. HiHat 727 HH Syn Open HiHat 780 Claps Natural 1c Low Perc 675 HiHat Jazz cl b HiHat 728 HHBrushcl1 HiHat 781 Claps Natural 1d Low Perc 676 HiHatJazzclc HiHat 729 HHBrushcl2 HiHat 782 Claps Natural 2a Low Perc Advanced 230 Factory data Drum Samples Name Family Name Family Name Family 783 Claps Natural 2b Low Perc 836 DJ Vinyl Sliced 13 SFX 889 Conga1 Hi Open mf Low Perc 784 Claps Natural 2c Low Perc 837 DJ Vinyl Sliced 14 SFX 890 Congal Hi Open Slap Low Perc 785 Claps Natural 2d Low Perc 838 DJ Vinyl Sliced 15 SFX 891 Congal Hi Muffled Low Perc 786 Claps Natural 2e Low Perc 839 DJVinyl Sliced 16 SFX 892 Congal Hi Closed Low Perc 787 Claps Natural 3a Low Perc 840 DJVinyl Sliced 17 SFX 893 Conga Hi Closed Slap Low Perc 788 Claps Natural 3b Low Perc 841 DJ Vinyl Sliced 18 SFX 894 Conga Hi Heel Low Perc 789 Claps Natural 3c Low Perc 842 DJ Vinyl Sliced 19 SFX 895 Conga Hi Toe Low Perc 790 Claps Natural 3d Low Perc 843 DJ Vinyl Sliced 20 SFX 896 Conga2 Lo Open Low Perc 791 Claps Natural Ze Low Perc 844 DJVinyl Sliced 21 SFX 897 Conga2 Lo Mt Slap Low Perc 792 Claps Natural 3f Low Perc 845 DJVinyl Sliced 22 SFX 898 Conga2 Lo Slap Low Perc 793 Claps N
108. JS X i i i D Ribbon ns Max Zero Max i Scratch i JS Y i i zi JS Y Zero Max etc 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 51 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 FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left FX Amt Grain Shifter Sample Cycle Right o FX Amt LFO i Duration 0 100 Sets the duration of the grain Selects the source that will Src Off Tem
109. Level on page 54 Attack This parameter is an offset to the selected samples EG Attack Decay This parameter is an offset to the selected sample s EG Decay Cutoff This parameter sets the cutoff frequency for the filter applied to the selected sample Resonance This parameter sets the resonance for the filter applied to the selected sample Transpose This parameter transposes the selected sample Use it to change the pitch of the selected key 0 No transposition applied 64 63 Transpose value in semitones Tune Use this parameter to fine tune the assigned sample 0 Original tuning 99 99 Fine tuning value in cents 1 100 of a semitone Amb Level Time These parameters are only available if the selected Drum sample is of the Ambient type When these parameters are available Level control the volume of the direct dry sounds while Amb Level and Time control the volume and length of the ambience respectively Sound operating mode 59 DrumkKit EQ Drum Kits DrumKit EQ Drum Kits This page appears when you edit a Drum Kit In this page you can set the semi parametric three band equalizer for the selected key layer and Drum sample SOUND DrumKit MT 8 Kr Oo MILLE LLL AIKA ILO YAA DIA LIKO AAGA JO H e a 14 i Low Gain dB Mid Gain dB Freq Hz Hi Gain dB e Setup Ji Key See Key on page 58 Layer Selecto
110. Low f flam Tom 500 SDFX Large Hall2 Snare Drum 553 Rim Synth Click Snare Drum 606 Tom1 Open Floor p Tom 501 Rim1 m Studio Snare Drum 554 Rim Synth Tamb Snare Drum 607 Tomi OpenFloorpflam Tom 502 Rim2 m Studio Snare Drum 555 Rim FX Large Hall1 Snare Drum 608 Tom1 Open Floor f Tom 503 Rim3 m Studio Snare Drum 556 Rim FX Large Hall2 Snare Drum 609 Tom1 Open Floorfflam Tom 504 Rim4 m Studio Snare Drum 557 Sidestick mf Snare Drum 610 Tom2Hip Tom 505 Rim1 st Studio Snare Drum 558 Sidestick f Snare Drum 611 Tom2Hif Tom 506 Rim2 st Studio Snare Drum 559 Sidestick Dance Snare Drum 612 Tom2Midp Tom 507 Rim3 st Studio Snare Drum 560 SideStick Dry Snare Drum 613 Tom2 Mid f Tom 508 Rim4 st Studio Snare Drum 561 SideStick Amb Snare Drum 614 Tom2Lowp Tom 509 Bim m rev 80 s Snare Drum 562 Drumstick Hit Snare Drum 615 Tom2 Lowf Tom 510 Rim2 m rev 80 s Snare Drum 563 DrumStick Hit GM Snare Drum 616 Tom2Floorp Tom 511 Rim3 m rev 80 s Snare Drum 564 TomDHip Tom 617 Tom2Floorf Tom 512 Rim4 m rev 80 s Snare Drum 565 Tom DHi mf Tom 618 Tom3Hi Tom 513 Bim st rev 80 s Snare Drum 566 TomDHif Tom 619 Tom3 Floor Tom 514 Rim2 st rev 80 s Snare Drum 567 TomDMidp Tom 620 Tom4Hi Tom 515 Rim3 st rev 80 s Snare Drum 568 Tom D Mid mf Tom 621 Tom4Low Tom 516 Rim4 st rev 80 s Snare Drum 569 TomD Midf Tom 622 Tom4 Floor Tom 517 Rim1 m Gate 1 Snare Drum 570 Tom D Low p Tom 623 Tom5 Hi Tom
111. Mastering Limiter Stereo In Stereo Out This is a stereo limiter that is optimized for mastering songs Left o i V FX Amt Out Ceiling kn Envelope Control X gt Limiter A d Out Ceiling I Amt gt Limiter H 4 Righto i Sets the level above which the Threshold dB 30 0 0 0 compressor is applied Out Ceiling dB Release msec 0 50 1000 0 Dry 1 99 99 1 Balance between the wet and dry Wet signal 30 0 0 0 Sets the output gain Sets the release time Wet Dry Table Dynamic Modulation sources on page 106 Off Tempo 100 100 Amount of modulation source 6 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 Side PEQ Gain Adjust 7 FX Amt Delay 4 Gate mere EC Ne y Envelope Select E Delay Gate o Daz Gain Adjust L f FX Control BUS 1 Ze FX Control BUS 2 Stereo In Stereo Out Left o i Envelope Source Righto o FX Amt Selects the source to control the Envelope gate D mod control or use the Source D mod Input Release Sets the release time Low Offset dB Gain of the low range trigger signal Mid Offset dB G
112. Movie 15 14 Hawaii 2 29 28 Artie s Theme 16 15 Finger Picking 30 29 Operette 17 16 Country Fox 31 30 Theater Swing 18 17 Slow Country 32 31 Theater Marsch 19 18 Country Welt 1 Bank Jazz Big Band 20 19 Country Welt 2 1 0 13 0 Fast BigBand 1 21 20 Modern Country 2 1 Fast BigBand 2 22 21 Country Schlager 3 2 Swing 66 23 22 Reggae 1 4 3 Swing Band 24 23 Reggae2 5 4 Capital Soul 25 24 Reggae3 6 5 Soul Power 26 25 Pop Ska 7 6 Level Funk 27 26 Irischer Fox 8 7 Blues 28 27 Schottisch 9 8 Modern BigBand 29 28 Slide Blues 10 9 Latin Jazz Band 30 29 Akust Country 11 10 Dixieland 31 30 Country Beat 12 11 Blues Ballade 32 31 Blues Shuffle 13 12 Jazz Quartett 33 32 Country 3 4 14 13 Modern Jazz 34 33 Bar Country 15 14 Blusette Walzer 35 34 Bluegrass 16 15 5 4 Swing 36 35 Line Dance 17 16 BigBand Evergr 1 37 36 Oriental Dance 18 17 BigBand Evergr 2 Bank Film Spezial 19 18 BigBand Evergr 3 1 0 12 0 Filmorchester 1 20 19 BigBand Evergr 4 2 1 Filmorchester 2 21 20 BigBand Jump 3 2 Driving Xmas 22 21 40er BigBand 4 3 Polka d r Dom 23 22 Bigger Band 5 4 chillout 24 23 BigBand Shuffle 6 5 Film Thema 25 24 Medium BigBand 1 7 6 Orchester Pop 26 25 Medium BigBand 2 27 26 Med Jazz Walzer Factory data Styles 187 28 27 Fast Jazz Walzer 8
113. Open f Snare Drum 166 SDCrvRoll Gate1 p Snare Drum 219 SDLdwBB2 Std2 Snare Drum 272 SD Spr Open ff Snare Drum 167 SDCrv Roll Gate1 mf Snare Drum 220 SD LdwBB2 Std3 Snare Drum 273 SD Spr OpRim p Snare Drum 168 SD Crv Roll Gate1 f Snare Drum 221 SD LdwBB2 Roll1 Snare Drum 274 SD Spr OpRim mf Snare Drum 169 SD Crv Gate2 p Snare Drum 222 SD LdwBB2 Roll2 Snare Drum 275 SD Spr OpRim f Snare Drum 170 SD Crv Gate2 mf Snare Drum 223 SD LdwBB2 Roll3 Snare Drum 276 SD Spr OpRim ff Snare Drum 171 SD Crv Gate2 f Snare Drum 224 SD LdwBB2 Roll4 Snare Drum 277 SD Spr Roll p Snare Drum 172 SD Crv Rim Gate2 p Snare Drum 225 SDLdwSup Std p Snare Drum 278 SD Spr Roll mf Snare Drum 173 SD Crv Rim Gate2 mf Snare Drum 226 SDLdwSup Std mf Snare Drum 279 SD PE Std p Snare Drum 174 SD Crv Rim Gate2 f Snare Drum 227 SDLdwSup Std f Snare Drum 280 SDPE Stdmf Snare Drum 175 SDCrv Roll Gate2 p Snare Drum 228 SD LdwSup Std Rim p Snare Drum 281 SD PE Std f Snare Drum 176 SD Crv Roll Gate2 mf Snare Drum 229 SDLdwSupStd Rimmf Snare Drum 282 SDPE Std Rimp Snare Drum 177 SD Crv Roll Gate2 f Snare Drum 230 SD LdwSup Std Rim f Snare Drum 283 SD PE Std Rim mf Snare Drum 178 SD Crv Rim Plate p Snare Drum 231 SD LdwSup Std Gate p Snare Drum 284 SD PE Std Rim f Snare Drum 179 SD Crv Rim Plate mf Snare Drum 232 SDLdwSup Std Gate mf Snare Drum 285 SDPE Openp Snare Drum 180 SDCrv Rim Plate f Snare Drum 233 SDLdwSup St
114. Pads or edit an existing Pad The Pad structure A Pad is basically a single track Style Most of what applies to Style recording also applies to Pad recording There are two different categories of Pads e Hit Pads While they are mostly used as non transpos Pad ing events they can also be transposing notes or chords CV1 Basically they are single note Pad Track or single chord Sequences see below Cv2 e Sequence Pads i e complex CV3 single track patterns that can be transposed by playing dif CVA4 ferent chords on the keyboard exactly as a Style track They CV5 are roughly equivalent to sin CV6 gle element single track multi chord variation Styles see illustration 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 rec ognition 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 Varia tion Table As with the Styles the Note Transposition Tables NTT applies to the Pads The same differences between the different types of tracks applies see Track Type on page 44 What to record Recording a Pad is a matter of recording a single track inside a series of Chord Variations inside the Pad itself
115. Pos2 upl Stra Pos2 up2 Stra Pos2 up3 Stra Pos2 up4 Stra Pos2 up5 Stra Pos2 SlideHT p Stra Pos2 SlideHT f Stra Pos2 Harm 12 Stra Pos2 Harm 7 Stra Pos2 Harm 5 Stra Pop2 Ghost UP Stra Pop2 Ghost DW Stra Pop2 Fret Nuances Stra Pop2 Key Off Stra RX1 Old Compatib Stra RX2 El Guitar Stra 54 p El Guitar Stra 54 mf El Guitar Stra 54 f El Guitar Stra 54 Slide 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 Factory data 221 Multisamples El Guitar Tel Mid p El Guitar Tel Mid mf El Guitar Tel Mid f El Guitar Tel Bridge p El Guitar Tel Bridge mf El Guitar Tel Bridge f El Guitar Tel Mt 5th pp El Guitar Tel Mt 5th p El Guitar Tel Mt 5th mf El Guitar Tel Mt 5th f El Guitar Tel Mt 5th ff El Guitar Tel Mt 5th Ko El Guitar Clean Str p El Guitar Clean Str f El Guitar Clean Mute El Guitar Clean Dead El Guitar Clean Slap El Guitar Clean Slide El Guitar Clean GM El Guitar Fret Noise GM El Guitar Cut Noise GM El Guitar Le Neck El Guitar Le Bridge El Guitar Le Mute p El Guitar Le Mute mf El Guitar Le Ghost1 El Guitar Le Ghost2 El Guitar Harmonics El Guitar Gliss Down El Guitar Gliss Up El Guitar Noise El Guitar Short Noise El Guitar Fret Noise El Guitar Les P Jazz Guitarl Jazz Guitar2 Jazz Gi
116. Separate sliced samples C3 Full pattern at the original speed Key Assigned sample pattern Speed C2 Full pattern cycling at half the speed 5096 C 2 53 D2 56 D 2 60 E2 63 F2 67 F 2 Full pattern cycling at various speeds 71 G2 75 G 2 80 A2 84 A 2 89 B2 94 C3 Full pattern cycling at the original speed 10096 palus Separate sliced samples 3 A MIDI Groove with the original pattern will also be generated The screen will change to show slices sepa rated by vertical lines m pp ph EI eg aga 3 T Test the generated sliced drum kit on the keyboard 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 the original pat tern will be sounded Hint If too many samples have been generated and the key board cant fit them all use the OCTAVE buttons to trans pose the keyboard and listen to samples exceeding the upper limit If the Slice didnt produce satisfactory results adjust the Release parameter If this does not produces good results try adjusting the Threshold parameter too After adjusting the Release parameter you must execute the Time Slice again Since a tempo value rounding happens when making a Time Slice operation and the loop may not be ac
117. Slap Low Perc 933 Bongo Hi Hightone Low Perc 828 DJVinyl Sliced 05 SFX 881 Congal Lo Glissando Low Perc 934 Bongo1 Hi OpenFlam Low Perc 829 DJ Vinyl Sliced 06 SFX 882 Conga1 Lo Muffled Low Perc 935 Bongo1 Hi Fingernail Low Perc 830 DJVinyl Sliced 07 SFX 883 Congal Lo Closed Low Perc 936 Bongo Hi Stick Low Perc 831 DJ Vinyl Sliced 08 SFX 884 Congal Lo Closed Slap Low Perc 937 Bongo HiStickEdge mf Low Perc 832 DJVinyl Sliced 09 SFX 885 Congal Lo Heel Low Perc 938 Bongo Hi StickEdge f Low Perc 833 DJVinyl Sliced 10 SFX 886 Congal Lo Toe Low Perc 939 BongolHiStickBounce Low Perc 834 DJVinyl Sliced 11 SFX 887 Congal HiBasstonemf Low Perc 940 Bongo Hi Cuptone Low Perc 835 DJVinyl Sliced 12 SFX 888 Congal Hi Basstone f Low Perc 941 Bongo Hi Slap Low Perc Factory data 231 Drum Samples Name Family Name Family Name Family 942 Bongo2 Lo Opena Low Perc 995 Tabla2 Nab Low Perc 1048 Cowbell7 Open Hi Perc 943 Bongo2 Lo Open b Low Perc 996 Tabla2 Nac Low Perc 1049 Cowbell7 Mute Hi Perc 944 Bongo2 Lo Mute Low Perc
118. Snare Drum 204 SDLdwBB1A OpRim4 Snare Drum 257 SDLdwVintroomS Rp Snare Drum 152 SDCrvOpRimStagepp Snare Drum 205 SDLdwBB1A Roll1 Snare Drum 258 SDLdwVintroomS Rmf Snare Drum 153 SD Crv OpRim Stage p Snare Drum 206 SDLdwBB1A Roll2 Snare Drum 259 SDLdwVintroomS Rf Snare Drum 154 SDCrvOpRim Stage mf Snare Drum 207 SDLdwBB1A Roll3 Snare Drum 260 SD Ldw Roll room p Snare Drum 155 SD Crv OpRim Stage f Snare Drum 208 SDLdwBB1B Op1 Snare Drum 261 SD Ldw Roll room mf Snare Drum 156 SDCrvGatel p Snare Drum 209 SDLdwBB1B Op2 Snare Drum 262 SD Ldw Roll room f Snare Drum 157 SD Crv Gate1 mf Snare Drum 210 SDLdwBB1B Op3 Snare Drum 263 SD Spr Std p Snare Drum 158 SD Crv Gate1 f Snare Drum 211 SD LdwBB1B Op4 Snare Drum 264 SD Spr Std mf Snare Drum 159 SDCrv Rim Gate p Snare Drum 212 SDLdwBB1B OpRim1 Snare Drum 265 SDSprStdf Snare Drum 160 SD Crv Rim Gate1 mf Snare Drum 213 SD LdwBB1B OpRim2 Snare Drum 266 SD Spr StdRim p Snare Drum 161 SD Crv Rim Gate f Snare Drum 214 SDLdwBB1B OpRim3 Snare Drum 267 SD Spr StdRim mf Snare Drum 162 SDCrvOpRimGatel pp Snare Drum 215 SDLdwBB1B OpRim4 Snare Drum 268 SD Spr StdRim f Snare Drum 163 SD Crv OpRim Gate p Snare Drum 216 SD LdwBB2 OpRim1 Snare Drum 269 SDSprOpenp Snare Drum 164 SDCrvOpRim Gate1 mf Snare Drum 217 SD LdwBB2 OpRim2 Snare Drum 270 SD Spr Open mf Snare Drum 165 SD Crv OpRim Gate f Snare Drum 218 SDLdwBB2 Std1 Snare Drum 271 SD Spr
119. Studio Tromp DNC 121 8 60 Hoerner warm 3 121 27 56 Studio Tromp Exp 121 27 61 Harte Blaeser 1 121 26 56 Trompete Exp DNC 121 29 61 Harte Blaeser 2 121 30 56 Tromp Up DwnDNC 121 2 61 Harte Blaeser 3 121 7 58 Oberkr Tuba 1 121 12 61 Harte Blaeser 4 121 9 60 Tenorhorn Expr 121 5 60 Tromp amp Hoerner 121 18 57 Posaune amp Tromp 121 34 61 Trompet amp Posaune 121 16 57 Posaune zart DNC 121 28 61 Harte BlaeserPro 121 17 57 Posaune Expr DNC 121 9 61 Trompeten Ens 2 121 10 58 Bariton kurz DNC 121 36 61 Trompeten Ens2 Y 121 6 58 Alpen Tuba 121 10 61 Posaunen Ens 121 2 58 Tuba Gold 121 11 61 Posaunen 121 13 57 Posaune DNC 121 9 55 Orch Hit Stereo1 121 15 57 JazzPosaune1 DNC 121 10 55 Orch Hit Stereo2 121 14 57 JazzPosaune2 DNC 121 14 61 Dyna Blaeser 1 121 25 56 Jazz Kornett DNC 121 7 61 Trompet amp Blaeser 121 21 56 Kornett Expr 121 13 61 Fette Blaeser 121 2 59 Wah Trompete 121 30 61 Fette Blaeser 121 5 59 Muted Trompete 1 121 3 61 Glenn M Blaeser1 121 12 56 Fluegelhorn 2 121 6 61 Glenn M Blaeser2 121 6 57 Posaune Expr 1 121 5 61 Sax amp Blaeser 121 7 57 Posaune Expr 2 121 16 61 Blaeser amp Sax 121 28 56 Studio Tromp Pro 121 3 59 Muted Ensemble 1 121 10 56 Trompete Pro 1 121 4 59 Muted Ensemble 2 121 11 56 Trompete Pro 2 121 23 61 Sforzato Blaeser 121 16 56 Trompete Pro 3 121 20 61 Movie Blaeser 121 2 56 Trompete ueberbl 121 6 73 Flute Muted 121 22 56 Kornett Pro 1 121 2 60 FrenchHorn Sekt 121 23 56 Kornett Pro 2 121 4 60 Horns amp Ens
120. Style is deleted and all parameters are set to the default status Var1 CountIn Single Style Element V1 CV1 CI CV2 Single Chord Variation Execute Touch this button to execute the operation set in this page Track status icon Status of tracks Touch this icon to change the status Play Play status The track can be heard Mute Mute status The track cannot be heard Track names Under the buttons a label for each track is shown Style Edit Copy from Style Here you can copy a track Chord Variation or Style Element inside the same Style or from a different one Furthermore you can copy a whole Style Warning The Copy operation deletes all data at the target loca tion overwrite STYLE REC Style Edit DRUM PERC BASS ACC1 RCC2 ACCS ACC one ze Jucu pose All A After setting the various parameters touch Execute Note If you copy too many events on the same tick the Too many events message appears and the copy operation is aborted Note When you copy over an existing Chord Variation Program Change data is not copied to leave the original Sounds unchanged for that Chord Variation From Style Choose this option to select the source Style to copy the track Chord Variation or Style Element from Touch the Select button to open the Style Select window and select the source Style Style Record mode 23 Style Edit Copy from Style From To E CV Style
121. Style or a Song SAMPLING Sampling operating mode 85 Time Slice How timeslice works Analyzing and processing This function detects the attacks e g kick and snare inside a rhythm audio groove a sample that loops a drum pattern and automatically divides the audio groove into individual percussive samples The divided percussive samples will be automatically assigned to different keys in a multisample and the multisample to a Sound Within the generated multisample a separate sample is assigned to a different note on the keyboard starting from C 3 By play ing 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 triggering the sliced percussive samples in the same order as in the original audio groove i e it plays an ascending chro matic scale starting from C 3 When you will import this MIDI Groove to the percussive track of a Style see Import Import Groove on page 27 of the User s Manual 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 lets you do the following e change the order in which notes are played e change the timing e edit the pattern notes to freely recreate a new rhythm loop Saving After the slicing you can select the Write command
122. Tak A Akk Bass DI E eS 121 5 23 Akkordeon Bass 121 15 16 Fusslag Tief V 121 6 23 Akk Klappen 121 16 16 Fusslag Mitte V Factory Orgel 121 34 16 Fusslag Hoch2 V 121 35 16 Fusslag Hoch3 V 121 127 16 Digit Zugriegel Di 30 16 Theater Orgel 5 121 37 16 Entert Orgel 1 e 35 TE Theater Orgel 1 121 38 16 Entert Orgel 2 gt SS i Theater Orgel 2 Factory data 191 Sounds Bank order ccoo CC32 PC Sound Name ccoo CC32 PC Sound Name 121 6 19 Kirch Org Tutti1 121 47 25 12sait Folk2 DNC 121 8 19 Kirch Org Tutti2 121 27 24 KonzGit12saitDNC 121 9 19 Kirch Org Tutti3 121 29 25 Real Folk Git ST 121 10 19 Kirch Org Tutti4 121 30 25 Real Folk Git ST 121 4 19 Kirchenorgel 121 35 25 Western Git RX3 121 5 19 Volles Werk 121 14 27 SingleCoilGitPro 121 3 19 Kirch Org Mixtur 121 19 24 Nylon Git DNC 121 4 20 Kirch Org Tibial 121 34 25 Real FolkGit DNC 121 5 20 Kirch Org Tibia2 121 33 25 Real 12sait West 121 3 20 Orgel Positiv 3 121 8 24 Nylon Git Prot 121 2 20 Orgel Positiv 2 121 n 24 Nylon Git Pro2 121 7 19 Orgel Positiv 1 121 14 24 Nylon Slide Pro Factory Gitarre 121 19 25 Western Git 2 121 40 27 StratSoloGit DNC D oHBevp m ee 121 49
123. Time Over OVER delay time exceeds the upper limit Selects the note value used to specify the delay time when the modulation is at maximum Tap1 Dmod Note Specifies the number of notes used Times to specify the delay time when the modulation is at maximum Tap2 Position Sets the position of Tap 2 relative to v i the Tap 1 delay time the depth of ii pitch variation Sets the position of Tap 3 relative to 0 100 the Tap 1 delay time the depth of pitch variation Tap3 Position Tap1 Level 0 100 Sets the Tap1 output level Pan L 1 99 R Sets the stereo image of tap1 FB Amt 100 100 Sets the Tap1 feedback amount Tap2 Level 0 100 Sets the Tap2 output level Pan L 1 99 R Sets the stereo image of tap2 FB Amt 100 100 Sets the Tap2 feedback amount Tap3 Level 0 100 Sets the Tap3 output level Pan L 1 99 R Sets the stereo image of tap3 FB Amt 100 100 Sets the Tap3 feedback amount Sets the amount of feedback for Feedback 0 100 Taps 1 2 and 3 Selects the modulation source of feedback amount Sets the depth by which feedback amount will be modulated Src Off Tempo Amt 100 100 Sets the damping amount in the High Damp 0 100 high range Sets the damping amount in the low Low Damp 0 100 range Saturation 0 100 Sets the distortion amount Input Trim 0 100 Sets the input gain Pre Tone 0 100 Sets the tone
124. Times x1 332 specify the LFO speed Sets the frequency to which the 0 100 effect is applied Manual Selects the modulation source for the LFO modulation Sets the modulation amount of the LFO modulation 0 100 Sets the depth of LFO modulation Src Off Tempo 100 100 Depth Selects the modulation source for the LFO modulation depth Sets the modulation amount of the LFO modulation depth Src Off Tempo Amt 100 100 Sets the resonance amount Resonance 100 100 Sets the resonance damping High Damp 96 0 100 amount in the high range Wet 1 99 Dry 99 1 Wet Balance between the wet and dry Wet Dry signal Table Dynamic Modulation Sources on page 106 Src Off Tempo 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 harmon ics Effects rus Flanger and Phaser Cho Fln Phaser 129 42 Orange Phaser This models a standard model of analog phaser that achi
125. Touch this button to open the Sound Select window and select a target location Copy Oscillator dialog box Open this window by selecting the Copy Oscillator item from the page menu Here you can copy all settings between oscilla tors Copy Oscillator From Sound Touch this button to open the Sound Select window and select the source Sound From Oscillator Select the source oscillator to copy from To Oscillator Target oscillator where to copy the source settings to Copy Drum Kit dialog box Open this window by selecting the Copy Drum Kit item from the page menu Here you can copy settings from a range of keys of a Drum Kit Copy Drum Kit Standard Kit Amb From Drum Kit Touch this button to open the Sound Select window and select the source Drum Kit From Key Select the source range of keys to copy from To Key Target key Settings are copied starting from this key and upwards Sound operating mode 77 AMS Alternate Modulation Source list AMS Alternate Modulation Source list Joystick Y vertical upward direction CC 01 Fit KTrk Filter Keyboard Track Amp KTrk 0 Amp Keyboard Track 0 Fit KTrk Filter Keyboard Track The direction of the effect will be determined by the sign positive or negative of the Ramp Low Fit KTrk 0 Filter Keyboard Track 0 or Ramp High setting The direction of the effect will be determined by
126. Tuba amp Bs kurz 2 Factory Blech Solo 121 9 56 BeBop Kornett Legacy Blech Solo 121 10 58 Bariton kurz DNC Factory Blech Solo 121 10 56 Trompete Pro 1 Factory Blech Solo 121 11 58 Tuba Musikant 1 Factory Blech Solo 121 11 56 Trompete Pro 2 Factory Blech Solo 121 12 58 Tuba Musikant 2 Factory Blech Solo 121 12 56 Fluegelhorn 2 Factory Blech Solo 121 13 58 Tuba amp Bs kurz3 Factory Blech Solo 121 13 56 Fluegelhorn Pro Factory Blech Solo 121 14 58 Tuba amp Bslang 1 Factory Blech Solo 121 14 56 Trompete Factory Blech Solo 121 15 58 Tuba amp Bs lang 2 Factory Blech Solo 121 15 56 Trompete Expr 1 Factory Blech Solo 121 0 59 Mute Trompete GM GM2 XG Blaeser 121 16 56 Trompete Pro 3 Factory Blech Solo 121 1 59 Muted Trompete 2 GM2 XG Blaeser 121 17 56 Alpen Trompete Factory Blech Solo 121 2 59 Wah Trompete Factory Blech Solo 121 18 56 Trompete Shake Y Factory Blech Solo 121 3 59 Muted Ensemble 1 Factory Blech Ensemb 121 19 56 Konz Trompete Factory Blech Solo 121 4 59 Muted Ensemble 2 Factory Blech Ensemb 121 20 56 Konz Trompete Pr Factory Blech Solo 121 5 59 Muted Trompete 1 Factory Blech Solo 121 21 56 Kornett Expr Factory Blech Solo 121 0 60 French Horn GM GM2 XG Blaeser 121 22 56 Kornett Pro 1 Factory Blech Solo 121 1 60 FrenchHorn Warm GM2 XG Blaeser 121 23 56 KornettPro2 Factory Blech Solo 121 2 60 FrenchHorn Sekt Fa
127. Use this parameter to turn percussion on or off Foot Use this parameter to select a percussion register 4 Percussion added to the 4 foot x5 Percussion added to the 2 3 foot Mode Percussion Mode This parameters lets you decide if the percussion sound has to be triggered on the first note of a group of held notes or to all notes All The percussive attack is played on all notes of a chord 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 Percussion Volume Level of the percussive sound 0 99 Level Length Percussion Length Decay speed of the percussive sound 0 99 Decay time Rotor On Brake Touch this button to start or stop the rotating speaker Speed Slow Fast Touch this button to switch the rotating speakers speed from slow to fast or vice versa Note The Rotor On Brake and Speed Slow Fast parameters are only available when a Rotary effect has been assigned to one of the FX slots effects 63 or 133 Get Sliders Touch this button to get the current position of the physical slid ers and assign their value to the virtual slider Sound operating mode 51 Edit menu Tone Noise tab EI Edit menu Tone is the timbre of the sound Noises are mechanical noises from the keyboard and the tonewheels From any page press the MENU button to open the Sound edit me
128. Weh Bottom 75 Wah t E d gt yA Envelope 2 Wo Woo 4 Bottom 25 Top 25 Envelope Time Envelope Time 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 fre quently 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 input signal is too low to sweep Reduce the value if the input signal is so high that the filter is stopped temporarily c Envelope Shape This parameter determines the sweep curve for auto wah Envelope Shape Level x Envelope value 0 100 gt value 0 100 gt Time d LFO Frequency Hz e MIDI Sync When MIDI Tempo Sync Off the LFO speed uses the LFO Frequency parameter setting When MIDI Tempo Sync On the LFO speed follows the BPM Base Note and Times set tings e BPM e Base Note e Times One cycle of LFO sweep is obtained by multiplying the length of a note r w selected for Base Note in relation to the tempo specified in BPM or the MIDI Clock tempo if BPM is set to MIDI
129. XG Drum 120 0 127 BandBrush Kit RX Factory Schlagz amp SFX 127 0 48 Jazz Kit 2 XG GM2 XG Drum 127 0 40 Brush Kit XG GM2 XG Drum 127 0 17 Classic Kit XG GM2 XG Drum 120 64 0 127 User DK Kl U u S gt Kl lt x 218 Factory data Multisamples Multisamples The following table lists all Pa3X Factory Multisamples OrigTune Original Tune i e samples use the natural tuning of the original instrument instead of the equal tuning Beating may occur at the extreme pitch when the sound is used in conjunction with other sounds Grand Piano L Grand Piano R Grand Piano OT L Grand Piano OT R Piano Resonance L Piano Resonance R Piano Resonance OT L Piano Resonance OT R Piano FX Pedal On L Piano FX Pedal On R 10 Piano FX Pedal Off L 11 Piano FX Pedal Off R 12 Piano FX Key Off L 13 Piano FX Key Off R VD 00 N ON Uu A WwW N 14 AcousticPiano L 15 AcousticPiano R 16 Piano M1 17 E GrandPiano 18 E Piano FM 1 19 E Piano FM 1LP 20 E Piano FM 2 21 E Piano PO mp 22 E Piano PO mf 23 E Piano POf 24 E Piano PO f 25 E Piano PO ff 26 E Piano PO ff 27 E Piano PO fff 28 E Piano PO Kof p 29 E Piano PO Koff 30 E Piano Rx KON L 31 E Piano Rx KON R 32 E Piano Rx KOF L 33 E Piano Rx KOFR 34 E Piano Suit Bright mp 35 E Piano Suit Bright mf 36 E Piano Suit Bright f 37 E Piano Dyno mf E Piano Dyno f E Piano Dyno ff E Piano Dyno Soft E Piano
130. amount for Wet Dry on page 107 Advanced 128 Effects Chorus Flanger and Phaser Cho Fln Phaser 39 St Random Flanger Stereo Random Flanger The stereo effect uses a step shape waveform and random LFO for modulation creating a unique flanging effect Stereo In Stereo Out Left o o He Amt gt Flanger T F g Feedback H High Damp Flanger r Right o LFO Step Tri Random gt o FX Amt Delay Time Sets the delay time from the original a msec 0 0 50 0 sound LFO Waveform ae Selects the LFO Waveform b LFO Phase _180 180 Sets the LFO phase difference degree gt between the left and right ne Frequency 0 02 20 00 Sets the speed of the LFO liste Off Tempo Selects the modulation source used Amt 20 00 20 00 for both LFO speed and step speed Sets the modulation amount of LFO speed LFO Step Freq Hz 0 05 50 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 MIDI Sync Off On When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency BPM Base Note MIDI 40 00 300 00 MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect Selects the type of notes that specify the LF
131. automatically set to On to allow playing on the keyboard When finished recording press START STOP to stop the arranger Select a different track and go on recording the full Chord Variation Note You can select a different track only when the arranger is not running When finished recording the Chord Variation select a dif ferent Chord Variation or Style Element to go on recording the full Style When finished recording the new Style select the Write Style command from the page menu to open the Write Style dialog box see Write Style dialog box on page 31 and save it to memory To exit the Style Record mode without saving any change select the Exit from Record command from the page menu or press the RECORD button Step Record procedure 1 While in the main page of the Style Record mode select the Overdub Step Recording command from the page menu to enter the Overdub Step Record mode The Pos parameter shows the current position If you do not want to insert a note or chord at the current position insert a rest instead as shown in step 4 To jump to the next measure filling the remaining beats with rests touch the Next M button in the display To change the step value use the Step Time values area in the display Insert a note rest or chord at the current position To insert a single note just play it on the keyboard The inserted note length will match the step
132. balance of the BA Cutoff 500 20 00k Sets the center frequency of Band 4 Wet Dry ee chorus flanger 0 5 10 0 Sets the bandwidth of Band 4 9 sre Off Tempo disse d Pe moduron Gain dB 18 18 Sets the gain of Band 4 t gt T nn E ets the Wet Dry modulation Routing Comp P4EQ Switches the order of the P AME ab amount for the chorus flanger P4EQ Comp compressor and parametric EQ Mo i h den utput ormal elects the output mode for the rie 1 99 99 1 nd between the wet and dry h Mode Wet Invert chorus flanger 7 Comp Table Dynamic Modulation Switches the order of the Off Tempo sources on page 106 i Routing GE Comp compressor and chorus flanger 2100 100 Amount of modulation source Wet Dr Dry 1 99 99 1 Balance between the wet and dry y Wet signal j Src Off Tempo Table Dynamic Modulation sources on page 106 Amt 100 100 Amount of modulation source h FJOutput Mode i Routing When Wet Invert is selected the right channel phase of the cho rus 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 eliminat ing the chorus flanger effects When Routing is set to Flangerg Comp F Output Mode will be set to Normal Effects Mono Mono Serial Mono Mono 98 Comp Phaser Compressor This effect combines a mono compressor
133. by the number specified in the Times parameter Effects 113 EQ and Filters EQ Filter 12 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 Stereo In Stereo Out Left o gt o Le Amt gt Wah AR Envelope Sens Sweep Mode gt o gt Shape Invert 4 de o Preset Setting Custom Parameters Wah Righte 204 Kam Selects either preset or custom settings Shape 100 100 Sets the curve ofthe sweep Mode Preset Custom Invert Off On Inverts the polarity ofthe sweep Sets the lower limit ofthe wah center frequency when Mode Custom Frequency Bottom Sets the upper limit ofthe wah Frequency Top 0 100 center frequency when Mode Custom Resonance 0 100 Sets the lower limit of resonance Bottom n amount when Mode Custom Sets the upper limit of resonance Resonance Top 0 100 amount when Mode Custom Auto Sweep Mode D mod Selects the control from auto wah LEO modulation source and LFO Selects the modulation source for Src Off Tempo the wah when Sweep Mode D mod Sets the center frequency when Manual 0 100 Sweep Mode D mod and Source Off Envelope Sens 0 100 Sets the auto wah sensitivity Sets the speed of response when Response 0 100 Sweep
134. dB 18 18 Sets the gain of Band 3 Band4 Cutoff 500 20 00k Sets the center frequency of Hz Band 4 Q 0 5 10 0 Sets Band 4 s bandwidth Gain dB 18 18 Sets the gain of Band 4 Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Src Off Tempo Table Dynamic Modulation Sources on page 106 Amt 100 100 Amount of modulation source a Amp Type d Presence If the Amp Type is VOX AC15 VOX AC30TB this sets the attenuation of the high frequency range For other types this sets the boost of the high frequency 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 neces sary you can turn it On and adjust the tone Recommended Combinations of Guitar Amp Models and Cab inet Simulators Effects Double Size 173 125 Amp California This American combo amp with four 10 speakers was produced during the years 1963 1968 and was known for its big clean sound and its warm and husky sound when driven heavily 126 Amp Tweed This 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 pr
135. default will add more vibrato once the part of the wheel movement reaches the corre sponding amount of vibrato and then returns to the original amount at rest position The Manual setting allows full range control of vibrato once the wheel is moved Voices Pitch Bend Range gt GBL s Sets the range in semitones that Pitch Bend information will alter voice pitch shifts Pitch Correction Pitch Correction On Off gt GBLYPS Checking this checkbox activates auto chromatic pitch correc tion 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 PA or monitors with it engaged Auto Chromatic Amount gt GBLYPS 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 tran sition 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 as U u gt lt 96 Voice Processor Voice Processor Setup Mic Tone
136. degrees delay time a Amp Type Depth 0 30 Sets the Tap2 chorus depth i Cabinet Type Always On Selects on off or modulation source S Always Off tatus On Of Dm for the control of Tap2 output Recommended Combinations of Bass Amp Models and Cabi Off On Dm nets Tap3 060 0 2000 Sets the Tap3 LFO phase 60 msec P degrees delay time Depth 0 30 Sets the Tap3 chorus depth Amp Type Cabinet Type AWE en Selects on off or modulation source STUDIO COMBO STUDIO 1x15 Status On Off Dm for the control of Tap3 output Off On Dm AC100 VOX AC100 2x15 Tap4 240 0 2000 Sets the Tap4 LFO phase 240 UK MAJOR UK 4x15 UK 4x12 msec 7 degrees delay time Depth 0 30 Sets the Tap4 chorus depth ur oe Selects on off or modulation source Status On OR Dm for the control of Tap4 output Off On Dm Tap5 120 0 2000 Sets the Tap5 LFO phase 120 msec S degrees delay time Depth 0 30 Sets the Tap5 chorus depth Wee ae Selects on off or modulation source Status On OR Dm for the control of Tap5 output Off On Dm Effects 175 Double Size nea a espe 131 St Pitch Shifter Stereo Pitch Shifter Depth Sets the Tap6 chorus depth Selects on off or modulation source This is a stereo pitch shifter The pitch shift amount for the left for the control of Tap6 output A and right channels can be reversed from each other Always On Always Off On Off
137. example a Normal Oscillator will always play while a Legato Oscillator will only play when a note is played Legato Mode This is the trigger that allows the selected Oscillator to play Normal The Oscillator always plays when a key is pressed unless the OSC Off when Sound Controllers are On parameter is checked Legato The Oscillator only plays when the note is played legato The delay and pitch interval from the pre vious note are also to be considered as set in the Sound gt Basic page see Legato as OSC Trigger above Staccato The Oscillator only plays when the note is NOT played legato it is the opposite of the above choice Sound Controller 1 The Oscillator only plays after a switch foot switch or EC5 pedal programmed as the Sound Controller 1 has been pressed Press and release it 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 Assign able Switch 1 is automatically 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 a switch footswitch or EC5 pedal programmed as the Sound Controller 2 Note In Sequencer and Sound mode the Assign able Switch 2 is automatically assigned to Sound
138. 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 13 VOX Wah This models the legendary VOX V847 and V848 Clyde McCoy wah pedals Its distinctive tone sounding as though it were wrung from the throat made this pedal a favorite of many pro musicians Wet Mono In Mono Out Dry Stereo In Stereo Out Left gt rn gt Wah Auto Sensitivity Auto 7 Vf Envelope Attack Polarity zu Mode Drez 3 Righto Wet Dry V847 V848 Selects the type of wah Sets the lower limit of the wah center frequency page 113 1 100 Sets the upper limit of the wah center 1 100 frequency page 113 Pedal Dmod Switches between pedal wah and auto Mode Auto wah Specifies the modulation source that will Pedal Source 0 100 use the pedal wah Sets the center frequency for the pedal Pedal Manual 0 100 wah when the modulation source is not moved Auto Sensitivity 0 100 Sets the auto wah sensitivity Auto Polarity en Specifies whether the auto wah sweep is LFO normal or inverted Auto Attack Sets the auto wah s attack speed Wet Dry Balance between the wet and dry signal Table Selects a modulation source for Wet Dry on page 107 Table Sets the modulation amount for Wet Dry on page 107
139. forget to readjust the Key Chord parameter in the main page of the Style Record mode see page 7 STYLE REC Style Edit ACC Pad After setting the various parameters touch Ezecute E CV Style Element Chord Variation Use these parameters to select the Style Element and Chord Variation for editing Track Use this parameter to select a track All All tracks selected apart for tracks set in Drum mode like the Drum and Percussion tracks The whole selected Chord Variation will be trans posed Drum Acc5 Single selected track Value Transpose value 127 semitones Start End Tick Use these parameters to set the starting and ending points of the range 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 Bottom Top Note Use these parameters to set the bottom and top of the keyboard range to be transposed If you select the same note as the Bottom and Top parameters you can select a single percussive instru ment in a Drum or Percussion track Since in a Drum Kit each instrument is assigned to a different note of the scale transpos ing a percussive instrument means assigning the part to a differ ent instrument Execute Touch this button to execute the operation set in this page Track status icon Status of tracks Touch this icon to change the status Play J Mute Mute
140. format very common on Win dows PCs AIFF Apples Audio Interchange File Format standard on the Macintosh Export Multisample page Open this page by selecting the Export command from the page menu while you are in any page of the Multisample section First of all select the target location where to export the multi sample SAMPLING Export Multi Sample 17 12 10 22 55 19 01 11 04 43 Then touch the Save button to see the Export MultiSample dia log box Export Multi Sample By using this function you can export from the internal HD KHD_SYSTEM the multisample in edit in the Multisample section and all linked samples The Export operation generates a KMP file Korg s proprietary file format for multisamples and a folder containing a series of KSF files Korg s proprietary file format for samples inside the same directory Note When exporting a stereo multisample be careful to assign a different name to the Left and Right channel files to avoid over writing A L and R suffix is usually added after the name of this kind of files How to merge PCM samples from various sources When you load a SET folder all PCM samples in memory are deleted To merge samples from several sources do the follow ing 1 Load a SET folder containing samples you want to merge with other samples 2 Load single Sounds from other SET folders 3 Load or import Samples fro
141. i a Feedback High Damp GR LN Right Ag i High Damp FX Amt gt Delay i f Pitch Fine cents a Bey Amt Ef FO Phase LFO Tri Sine LFO Shape AutoFadef gt LFO Frequency gt FXAm 9 Manual LFO Switches the controls of resonance Control Mode D mod intensity LFO D mod Off On Reverses the Voice 1 and 2 control AUTOFADE Src Off Tempo es source that Invert i when LFO D mod is selected LFO Frequency Fade In Delay Sets the fade in delay time Hz 0 02 20 00 Sets the speed of the LFO 00 2000 msec Selects the modulation source that controls resonance intensity When this is on the LFO speed is set MIDI Sync Off On by BPM Base Note and Times eg instead of Frequency D mod Src Off Tempo Rate 1 100 Sets the rate of fade in Switches between D mod and LFO Frequency D mod AUTOFADE for the LFO frequency Mod AUTOFADE modulation MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this Switches between D mod and 300 00 individual effect D mod AUTOFADE for the effect balance Wet Dry Mod AUTOFADE modulation Selects the type of notes that specify the LFO speed Times x1 x32 Sets the number of notes that specify the LFO speed Base Note LN LFO Waveform Triangle Sine Selects t
142. is not modified and is moved to the new key unchanged The pattern plays exactly the recorded notes and is moved to the new key as is This is the standard setting of Intro 1 and Ending 1 in Korg s original Styles where a chord progres sion is usually recorded and should remain unchanged in any key 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 pro grammed 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 trans posed when chords are changed Delete Note button Use this command 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 Touch the Delete Note button and keep it pressed 2 Press START STOP to start the Pad 3 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 4 When finished release the Delete button and the note to be deleted and press START STOP again to stop the Pad Note If the note is at the beginning of the pattern press the note bef
143. mode m ngeuii While in Sound mode press the RECORD button to enter in Sampling mode While in Sampling mode press the RECORD button to exit the Sampling mode and return to the Sound mode The Record Sampling procedure Here is a short overview of a typical sampling procedure Preparing to record First of all you will set the recording levels for sampling 1 With the MASTER VOLUME slider set to zero connect the source to be sampled e g a microphone or a CD player to the relevant Audio Input s on the rear of the Pa3X When the source has been connected raise the MASTER VOL UME slider to a position other than zero N Go to the Audio Setup Audio Input page of the Global mode to set the signal routing for the input source and turn the phantom power on in case a condenser micro phone has been connected Press the SOUND button to access the Sound mode then press RECORD to access the Record page 2 Le Choose the input source by using the Record Mode parameter m Adjust the sources volume If you are recording with a microphone use the MIC GAIN knob of the Pa3X next to the MIC connector 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 Watch at the meters in the display
144. 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 become lost in the other instruments that occupy those frequen cies resulting in sonic clutter Reducing bass has the natural effect of emphasizing mid and upper frequencies which allow the voice to cut through dense instrumentation Lastly the term proximity effect and cardioid need to be clar ified 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 con tinually to your voice through your mic and adjusts to make your voice sound like it is professionally produced and balanced Adding Highs The other facet of the Shape feature is that it adds high frequen cies also known as air or presence without making your voice sound tinny The vocal sou
145. name you will need it in Sound Edit mode when assigning the multisample to a new Sound Hint While in this window you can use the Search function allowing for searching a Sample file in the various media See Suchen von Dateien und Musik Ressourcen on page 113 of the Users Manual for more information Export Depending on wheter you are in the Sample Edit Sample Record or Multisample section this command allows you to export a sample in one of two popular computer audio file for mats WAVE and AIFF or a multisample in a Korg KMP file See Export Sample page on page 93 or Export Multisample page on page 94 for more information 5 U u 6 gt Kl lt 92 Sampling operating mode Write Sample dialog box Compress all samples When there is no more space in the Sample memory for your samples you can compress the samples With the optional EXB M256 Sample RAM expansion this will allow to load up to 512MB of samples Note Compressing the whole content of the Sample memory can last up to four hours Warning wo AA yes Compressed samples will have an asterisk next to their name Exit from Record Choose this command to exit from the Sampling mode Write Sample dialog box Open this dialog box by selecting the Write command from the page menu while in the Sample Edit Sample Record section In this dialog box you can save the sample to
146. noises are reduced For troublesome audio environments or for those who are familiar with setting 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 Lead Atten uation gt GBLYPS This controls how much your lead voice level is reduced attenu ated when your voice falls below the Gate threshold and the Gate closes This setting applies whether the Gate is set to Adap tive or Manual The factory default setting of 3 dB a reduction of 3 dB is gentle 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 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 Harm ony Atten uation GBL This sets the amount of attenuation for the Harmony and Dou bling voices when the Gate closes They have a separate attenua tion setting to reduce chatter caused by instrument sounds entering 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 fur ther reduce the level if you still hear harmonized instrumental chattering when you stop singing Threshold GBLYPS Only with Manual Gate This par
147. operating mode Filter Filter Type At Attack Level Swing This parameter specifies the direction of change in Attack Level caused by AMS1 2 If Intensity is a positive value a setting of will raise the EG level and a setting of will decrease it With a setting of 0 there will be no change Time Modulation Pitch EG changes Time AMS Velocity Intensity positive value Note on Note on Note on Note off Note off Note off Anote played softly with Anote played strongly with Anote played strongly with Attack Time Swing set to Attack Time Swing setto and Attack Time Swing setto and and Decay Time Swing setto Decay Time Swing set to Decay Time Swing set to AMS Alternate Modulation Source This parameter selects the source that will control the Time parameters of the pitch EG see AMS Alternate Modulation Source list on page 77 Intensity AMS Intensity This parameter specifies 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 set tings 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 param
148. 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 depending on the pitch If you have changed tuning using the Master Tuning Global gt General Controls gt Basic adjust this parameter value Advanced 172 Effects Double Size 122 OD HyperGain Wah Overdrive Hyper Gain Wah This distortion effect has two modes overdrive and hyper gain that produces a strong distortion A higher high gain setting is required for this effect relative to a normal size effect FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left A o FX Amt g Mode Overdrive Hyper Gain Drive Pre Low cut i 3 Band EQ Wah Driver Lo TN CO Amp Simulation 1 Output Level Direct Mix Right FX Amt Off On Switches Wah on off Selects the modulation source that Sre Off Tempo switches the Wah on and off Selects the switching mode for the modulation source that switchesthe Wah on and off Toggle Sw Moment Wah Sweep Range 10 10 Sets the range of Wah Selects the modulation source that Wah Sweep Src Off Tempo controls the Wah Overdrive Switches between overdrive and hi Drive Mode Hyper Gain gain distortion Drive 1 120 Sets the degree of distortion Sets the low ran
149. output mode for the i Table Dynamic Modulation Mode Wet Invert chorus flanger Sre Off Tempo sources on page 106 Limiter 100 100 Amount of modulation source Flanger Switches the order of the limiter and Flanger chorus flanger Limiter Sets the effect balance of the Selects the phaser output mode chorus flanger F Cho Flng Wet Dry Switches the order of the limiter and Src Off Tempo phaser Amt 100 100 Routing Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Table Dynamic Modulation Sic Off Tempo sources on page 106 100 100 Amount of modulation source Advanced 162 Effects Mono Mono Serial Mono Mono 103 Limiter Mt Delay This effect combines a mono limiter and a multitap delay You Limiter Multitap Delay can change the order of the effects 104 Exciter Comp Exciter Compressor This effect combines a mono exciter and a compressor You can change the order of the effects FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Let Routing FX Amt Lett z Fa Amt Limiter Kx Multitap Delay Exciter X comnpieasor r
150. r w 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 Effects EQ and Filters EQ Filter 15 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 modu lation to vary the cutoff frequency or resonance 115 Stereo In Stereo Out Left o A o FX Amt DIL Multimode Filter gt Driver A Output Fil Iter Type i Multimode Filter gt Driver Trim TA Righto Li e Ay FX Amt LFO Phase CFO Tri Sine LEO Shape LPF HPF BPF F Selects the type of filter 0 100 Cutoff 0 100 Sets the input level Sets the cutoff frequency center frequency Src Off Tempo Selects the modulation source of the cutoff Amt 100 100 Sets the modulation amount of the cutoff Resonance 0 100 Sets the resonance amount Src Off Tempo Selects the source that will modulate the amount of resonance Amt 100 100 Sets the amount by which the resonance will be modulated LFO Wave
151. reverb systems that are built into some amps FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left o o FX Amt D 87 Early Reflections EQ Trim 5 d 5 re Delay Thru E EE Steng U This effect is only the early reflection part of a reverberation sound and adds presence to the sound You can select one of the Ea Trim LE four decay curves Righto m mi FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Fette FX Amt E E Sets the reverberation time EQ Trim i i LEQ HEQ High Damp BEE ci i ui H lt Zpfere delay Early Reflections Pre Delay Sets the delay time from the dry msec sound EQ Trim Pre Delay Thru 100 Sets the mix ratio of non delay Right CAI 96 sound ER Level 100 Sets the level of early reflections Sharp Loose Type Modulated Reverse Sets the reverberation level Selects the decay curve for the early Reverb Level 100 5 reflection EQ Trim 0 100 Sets the EQ input level Low Selects the cutoff frequency low or Pre LEQ Fe Mid Low mid low of the low range equalizer Sets the time length of early ER Time msec 10 800 reflection Sets the time taken from the original sound to the first early reflection Pre Delay msec 0 200 High Selects the cutoff freguency high or Pre HEO Fc Mia Hi h mid
152. selected physical controller this latter becomes the corre sponding Sound Controller Sound Controller 1 or Sound Controller 2 You can then use this Sound Controller to control any of the DNC parameters Master Volume Accompaniment Volume Keyboard Expression Audio In Mute Microphone Talk Turns all Voice Processor effects down to let you address the audience See Voice Proces sor Setup Talk on page 99 Mic Lead On Off Mic Harmony On Off Mic Double On Off Mic Filter On Off Mic HardTune On Off Mic uMod On Off Mic Delay On Off Mic Reverb On Off On off switch controls assigned to the Voice Processor Press to activate press a second time to deactivate FX CC12 Switch FX CC13 Switch Standard FX controllers Pad Volume With this function assigned you can control the proportional volume of all four Pads at the same time Please note that the status of the Pad s volume after having been modified with a pedal or slider is made current and will be saved in a Performance or STS by using the relevant Write procedure Joystick X Joystick right Joystick X Joystick left Joystick Y Joystick forward Joystick Y Joystick backward 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 Level Mic Lead Voice Level
153. slow down the groove very much assign higher values to this parameter otherwise you may assign lower values ag Select the Extend Mode Long is more suitable for cym bals Select the Extend command gt Ww After the Extend operation is complete test the full pattern at different speed by playing notes from C2 half speed to C3 original speed See table on page 88 n If the Extend didn t produce satisfactory results change the settings Any previously made change will be deleted 9 When the Extend is completed you can save the sliced and extended samples and the resulting MIDI Groove to the internal HD KHD_SYSTEM Select the Write command from the page menu The Write Slice dialog box will appear see Write Slice dialog box on page 92 Assign a name to the new Sound and save it to an User Sound location A MIDI Groove with the same name will also be saved to a reserved area of the internal HD KHD_SYSTEM Be warned that this area will be deleted when turning the instrument off Convert it to an internal Style pattern by using the Import function of the Style Record mode before turning the instrument off 2 After saving you may press RECORD to exit the Sampling mode e After exiting the Sampling mode you may load the gener ated MIDI Groove by using the Import function of the Style or Pad Record mode see Import Import Groove on page 27 of the User s Manual for more informa
154. style you like This corresponds to the option selected in the Easy Preset page Level gt GBLYPP Sets the mix level for the Reverb effect Decay gt GBL PP Sets the length of the reverb tail from 10mS 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 Pre Delay gt GBL Pre Delay introduces a short up to 100 ms delay between the dry audio signal and the onset of reverb to help simulate larger spaces and to provide audio separation between the dry signal and the reverb effect Hi Color Lo Color gt GBL These are preset frequency filters inserted into the Reverb feed back 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 Duck Amount gt GBLYPP 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 Lead Level gt GBLYPP Level of the Lead voice mixed with the effect mo 7 v E gt Ki x 106 Effects Dynamic Modulation sources Pa3X is equipped with four power
155. system Style and Player controls Note You can remotely send various commands to the Style and Player of the Pa3X by sending it Program Change messages on the Control channel see MIDI MIDI In Channels on page 221 of the User s Manual PC Style Element PC Style Element PC Style Element PC Style Element PC Style Element 95 Fade In Out 96 STS Mode 97 Auto Fill 98 Memory 99 Bass Inversion 100 Manual Bass 101 Tempo Lock 102 Style Change 103 Start Stop Style 104 Play Stop Ply 1 105 Play Stop Ply 2 Note The above Program Change numbers are given according to the 0 127 numbering system Single Touch Settings STS Note You can remotely select Single Touch Settings STS on the Pa3X by sending it Bank Select MSB CC 0 Bank Select LSB CC 32 and Program Change messages on the Control channel see MIDI MIDI In Channels on page 221 of the User s Manual If a Style is already selected just send the Program Change message cc 0 CC 32 PC STS PC STS PC STS PC STS The same as the Style to which the STS belongs 64 STS 1 65 STS2 66 STS3 67 STS 4 Note The above Control Change and Program Change numbers are given according to the 0 127 numbering system Factory data 189 Sounds Bank order
156. th dulati f the del for TapR elects the modulation source o E E Sre Off Tempo feedback amount Level 0 50 Sets the output level of TapR gt Sets the modulation amount of the Feedback AmtL 100 100 leftch feedback C Delay 100 100 Sets the feedback amount of TapC ert channel Teedbac Sets the feedback amount for the Selects the modulation source for R Feedback 100 100 right channel Sic Off Tempo the TapC feedback El AmtR 100 100 Sets the modulation amount of the n Sets the modulation amount of the xd right channel feedback Amt 100 100 TapC feedback ae ant i i High Damp 96 0 100 ets tne damping amount in the High Damp 96 0 100 re amount in the ze high range hed nei Low Damp 96 0 100 Sets the damping amount in the low Low Damp 0 100 pala e damping amount in the low range Input Level 100 1100 Sets the modulation amount of the DET 100 100 Sets the modulation amount of the Dmod pi input level mo input leve P S Off Selects the modulation source for Selects the modulation source for Ic Tempo the input level p Src Off Tempo the input level Wet D Dry 1 99 99 1 Balance between the wet and dry Sets the width ofthe stereo image of et Dry Wet signal 0 50 the effect sound S sr Of Tempo S Praa Modulation Dry 1 99 99 1 Balance between the wet and dry Wet signal Amt 100 100 Amount of modulation source Off Tempo Table Dynamic Modulation ge gt sources on page 106
157. the harmonies sound more natural When the Notes Harmony Type is selected high values of smoothing will sound out of tune Pan gt GBLYPP Each voice may have a unique pan position There are 100 possi ble 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 Gender gt GBLYPP Each voice has its own timbre adjustment in the form of the Gender control Values below 0 lend each voice a more mascu line and deeper effect and values above 0 lend a more feminine or thinner effect Other Harmony settings Humanize Style gt GBL PP 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 e 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 e Pitch modulation A random wave generator wobbles the pitch in non
158. the type of notes that specify the LFO speed Base Note Sets the number of notes that Times specify the LFO speed L LFO Phase deg Depth 0 200 Sets the phase obtained when the left LFO is reset Sets the depth of the left LFO modulation R LFO Phase Sets the phase obtained when the deg ee right LFO is reset Sets the depth ofthe right LFO modulation 180 180 Depth 0 200 MIDI MIDI syncs to the system tempo 40 BPM Delay 40 00 300 sets the tempo manually for this 300 00 individual effect Display the error message if the left Time Over L OVER channel delay time exceeds the upper limit Display the error message if the OVER right channel delay time exceeds the upper limit L Delay Base Note Selects the type of notes to specify ud the left channel delay time Sets the number of notes to specify the left channel delay time Sets the feedback amount of left delay Times x1 x32 Feedback 100 100 Selects the type of notes to specify the right channel delay time R Delay Base Note r W Sets the number of notes to specify Times x1 332 the right channel delay time Sets the feedback amount of right Feedback 100 100 delay Advanced 150 Delay Wet Dry Effects Wet 1 99 Dry 99 1 Wet Balance between the wet and dry signal Src Off Tempo Table Dynamic Mod
159. the upper limit of the wah time d Jp Ses center frequency Sweep Mode auto Selects the control from auto wah Sires ine taie Ont H ro modulation source and LFO Lefts Low AR FX Amt b Selects the modulation source for wa F Src Off Tempo the wah when Sweep Mode D mod CS i Sets the response speed when iii i npe Respon 0 100 Sweep Mode Auto or D mod Isol Se ater A Low Envelope Sens 0 100 Sets the sensitivity of auto wah i c a a n me Envelope 100 100 Sets the sweep curve of auto wah Trim J High ape Rights Ey Amt D Frequency 0 02 20 00 Sets the speed of the LFO Dae Dz d sre Op Tempo Selects a modulation source for LFO Diez speed Amt 20 00 Sets the modulation amount of LFO CETT z TE 20 00 speed las tst t Tn e nn eve FIERE When this is on the LFO speed is set ets the frequency at which the low MIDI Sync Off On by BPM Base Note and Times eu Low Mid Hz 100 500 and mid bands are divided instead of Frequency ey tp Sets the frequency at which the mid MIDI MIDI s to th temt 40 Mid High Hz 2000 6000 e Md A De ace Tie Sat id High Hz and high bands are divided BPM 40 00 300 sets the tempo manually for this e 300 00 individual effect Low Gain dB Sets the low frequency gain Base Note EW Selects the type of notes that ec Selects the source that will specify the LFO speed modulate low frequency gain Times x1 X32 Sets the number of notes that Sets the amount by which the low
160. this dialog box by selecting the Delete command from the page menu while you are in any page of the Sample Edit Sample Record section Delete Sample e Select Selected and select a sample number to delete just one of the samples from the internal HD KHD SYSTEM e Select Not assigned to any Multisample Drumkit to delete only samples not yet assigned to a multisample or drumkit see paragraphs on the Multisample section starting from page 198 Note Use this option with care since you may delete samples you would like to preserve that have not yet been assigned to a multisample or drumkit Use it only when you are sure all desired samples have been assigned to a multisample or drumkit e Select All Samples Multisamples Drum Samples to delete all samples multisamples and drum samples from the internal HD KHD_SYSTEM This operation completely resets the RAM and may be used to clean up any trouble Sampling operating mode 93 Delete Sample dialog box Delete Multisample dialog box Open this dialog box by selecting the Delete command from the page menu while you are in any page of the Multisample sec tion Delete Multi Sample e Select Selected then a multisample number to delete just one of the multisamples from memory Check the Delete Unassigned Samples option to also delete all samples not assigned to a different multisample By checking this o
161. time has elapsed 0 99 Level value Sustain This parameter specifies the volume level that will be maintained from after the slope time has elapsed until note off occurs 0 99 Level value Time These parameters specify the time over which the volume change will occur Attack This parameter specifies the 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 0 99 Time value Decay This parameter specifies the time over which the volume will change from when it reaches the attack level until it reaches the break point level 0 99 Time value Sound operating mode 71 Amp Amp EG Slope This parameter specifies the time over which the volume will change from when it reaches the break point level until it reaches the sustain level 0 99 Time value Release This parameter specifies the time over which the volume will change after note off until it reaches 0 0 99 Time value Level Modulation Note on Note on Amp 1 EG changes Level AMS Velocity Intensity a positive value Note on Note off I VA A Softly played note when Start Level Strongy played note when Start Level Strongly played note when Start Level Swing 0 and Attack Level Swing Swing OandAttadk Level Swingand Swing 0 and Attack Level Swing and and Break Level Swingare setto Break Level Swingare satto Break Level Swin
162. to check the input level Red means distortion signal clipping so ideally the LED bar should never go to red Also check the microphone level with the AUDIO IN LED in the MIC SETTINGS section on the control panel They should never go to red and stay to orange green means too low an input signal 9 Use the Record Mode parameter to select the audio input to be sampled Advanced 80 Sampling operating mode The Record Sampling procedure Recording Next you ll record the sound or audio groove 1 If you can start first the source to be recorded then touch the Record button in the display to start recording As an alternative touch the Record button in the display and immediately start the source to be recorded Touch the Record button in the display again to stop recording When the memory is full the sampling auto matically stops A maximum of 21 8 seconds is allowed for each sample Note Stereo and Mono samples have the same sampling time This apply only to the editor memory needed for saving depends on the actual size of the sampled data Select a page tab different from Record and play the key board to listen to the sampled sound If you are not satisfied with the recorded sound return to the Record page and touch the Record button in the display again to repeat recording Touch Record again to stop recording A new sample will be automatically created When finished sampling
163. to choose a Set for the Harmony block Sets con figure useful settings to pre programmed values to allow you to make changes quickly This corresponds to the option selected in the Easy Preset page Level gt GBLYPP Sets the level for the overall Harmony effect in the current pre set Porta mento gt GBLYPP 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 Voice select buttons V1 V4 Use these buttons to select the individual voice to be pro grammed Single Voice parameters box Voicing gt GBLYPP Only available when the Chord or MP3 Audio Harmony Types are selected Here you set the pitch shift intervals of voices 1 through 4 relative to your input pitch The names of the intervals change depending on the selected Harmony Type In the Notes mode the Voicing parameters disappear entirely The options start at the lowest harmony interval and go the highest The Voicing parameter specifies 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 Upl
164. tortion will create a sharp distortion d Drive e Output Level The degree of distortion is determined by the level of input sig nal 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 param eter uses the signal level input to the 3 Band EQ If clipping occurs at the 3 Band EQ adjust the Output Level parameter Effects Overdrive Amp models and Mic models OD Amp Mic 21 St Guitar Cabinet Stereo Guitar Cabinet This simulates the acoustical character of a guitar amp s speaker 119 cabinet Stereo In Stereo Out Left o f FX Amt TEF Cabinet Simulator Trim Trim Cabinet Simulator Right o D S FX Amt Sets the input level 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 type of the cabinet Open back cabinet with one 12 speaker typically used for blues Open back cabinet with four 10 speakers Open back cabinet with two 10 speakers American open back cabinet with two12 speakers Vox AC15 open back cabinet with one 12 Blue speaker Vox AC30 open back cabinet with two 12 Blue speakers VOX AD412 closed back cabinet with four 12 speakers Closed back classic c
165. will be updated This setting is effective for wind instrument sounds and analog synth type sounds Off Legato is off Notes will always be retriggered when note on occurs When legato is off multiple note ons will retrigger the voice at each note on The oscillator sound envelope and LFO will be reset and retriggered according to the settings of the Sound Hold Use this parameter to keep the notes sustained even after releas ing the keys Note Please remember the Hold must be On before playing the note to be held FX Area In Sound mode three Master effect processors MFX1 MFX2 and MFX3 are available As an alternative an Insert effect can replace the MFX3 effect On Off Use this button to turn on or off the corresponding effect Advanced 50 Sound operating mode Digital Drawbars page Selected Effect Non editable This shows the effect assigned to the correspond ing FX processor To select a different effect see Effects B FX Config on page 74 Send Use this knob to adjust the level of the dry sound sent to the cor responding effect Amount Volume of the effect that is added to the dry uneffected signal Digital Drawbars page DIGITAL DRAWBARS are different from ordinary Sounds Their parameters are not saved as a new Sound but can be saved to a Performance Therefore when entering the Digital Draw bars page the MENU button is disabled Note In Style Play a
166. will not be created and no effect sound will be output Advanced 134 Effects Modulation and Pitch Shift Mod P Shift 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 values the sound moves from right to left Doppler Pitch Pan Depth Pitch dE guine i 5 Pan Depth Pan Depth value value Original Pitch N Pitch Depth x Ei o zi E Pi i Left Center Right i aaa du EE Pan Depth lt lt lt lt lt lt lt lt lt lt lt gt gt gt gt gt gt gt gt gt gt gt Louder Volume Louder 50 Scratch This effect is applied by recording the input signal and moving the modulation source It simulates the sound of scratches you can make using a turntable FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Lefto
167. will not be recorded and will only be used for testing the pattern at various speeds while editing or recording Hint You can always change the Tempo when other parameters are selected by keeping the SHIFT button pressed and rotating the DIAL Meter YPAD This is the meter time signature of the sequence You can edit this parameter only when the sequence is empty i e before you begin recording anything Pad Record mode 37 Main page Record 1 Pad Track info area This line lets you see the Sound assigned to the selected track Pad Track Analog Kit GM G Drum 128 808 025 Sound bank Sound name Program Change Sound name PAD Sound assigned to the Pad track The triangle means you can touch the name to open the Sound Select window and select a different Sound Sound bank gt PAD Bank the selected Sound belongs to Program Change YPAD Program Change number sequence Bank Select MSB Bank Select LSB Program Change Tracks volume status area Octave Transpose This non editable indicator shows the current octave 1 transposition To change this value use the OCTAVE TRANSPOSE buttons on the control panel While this value is not memorized with the Pad the transposi tion is used during recording For example if you play a C4 and a 1 octave transposition is selected a C5 is recorded Virtual slider The virtual slider in the display shows the track s volume To change the volume touch t
168. 0 10 Music Box GM GM2 XG Mallet amp Bells 121 26 16 Tibia Register Legacy Orgel 121 1 10 Orgel Factory Mallet amp Bells 121 27 16 Tibia 16 8 4 Legacy Orgel 121 2 10 Music Box Factory Mallet amp Bells 121 28 16 Tibia amp Vox Legacy Orgel 121 0 11 Vibraphone GM GM2 XG Mallet amp Bells 121 29 16 PostHorn Tremolo Legacy Orgel 121 1 11 Vibraphon breit GM2 XG Mallet amp Bells 121 30 16 Theater Orgel 5 Factory Orgel 121 2 11 Vibraphon 1 Factory Mallet amp Bells 121 31 16 Tibia amp Kinura Legacy Orgel 121 3 11 Vibraphon 2 Legacy Mallet amp Bells 121 32 16 Tibia Vox Glocke Legacy Orgel 121 0 12 Marimba GM GM2 XG Mallet amp Bells 121 33 16 Fusslag Tief 1 Factory Orgel 121 1 12 Marimba breit GM2 XG Mallet amp Bells 121 34 16 Fusslag Hoch2 V Factory Orgel 121 2 12 Marimba Key Off Factory Mallet amp Bells 121 35 16 Fusslag Hoch3 V Factory Orgel 121 3 12 Monkey Skuls Legacy Mallet amp Bells 121 36 16 Orgel 16 51 3 Factory Orgel 121 4 12 Log Drum Legacy Schlagz amp SFX 121 37 16 Entert Orgel 1 Factory Orgel 121 5 12 Mallet Clock Factory Mallet amp Bells 121 38 16 Entert Orgel 2 Factory Orgel 121 6 12 Balaphon Factory Mallet amp Bells 121 39 16 Entert Orgel 3 Factory Orgel 121 7 12 Marimba Factory Mallet amp Bells 121 40 16 50er Orgel warm Factory Orgel 121 0 13 Xylophon GM GM2 XG Mallet amp Bells 121 41 16 50er Orgel brill Factory
169. 0 22 55 19 01 11 04 43 With this command you can import the following formats e PCG is Korgs native Program format used by the Trinity and Triton series of workstations The file name must have the PCG extension Note that Drum Kits cannot be imported e KMP is Korgs native multisample format used by the Trinity and Triton series of workstations The file name must have the KMP extension e Pp is Akai S1000 and S3000 native Program format including the sample key assignation or multisample Imported Sounds and Multisamples are automatically stored in the internal HD KHD SYSTEM so that they will not be lost when turning the instrument off Note While Pa3X and Triton share most of their internal multi samples some of them may differ While reading a PCG file Pa3X tries to use exactly the same multisamples as in Triton If this is not possible it looks for a similar multisample If this too is not possi ble an lt empty gt multisample will be selected Enter the Sound Edit mode and select a multisample suitable for the imported Pro gram Note Not all Tritons PCG data are imported Insert FX EQ Arpeggio Combi Global and Drum Kit data are not loaded Note You cannot import Drum Kits Note Multisample may contain many different samples They are assigned to the same keys as in the original file Hint When importing a KMP file take note of the selected multi sample
170. 0 high range C Delay Time msec Sets the delay time of TapC Level W Sets the output level of TapC R Delay Time msec Level 50 Feedback C Delay Sets the delay time of TapR Sets the output level of TapR 100 100 Sets the feedback amount of TapC Selects the modulation source for the TapC feedback Sets the modulation amount ofthe TapC feedback Sets the damping amount in the high range Src Off Tempo Amt 100 100 High Damp 96 0 100 Setsthe damping amount in the low Low Damp 96 0 100 range Input Level Sets the modulation amount ofthe Dmod 100 100 input level Selects the modulation source for the input level Src Off Tempo Sets the width of the stereo image 0 50 of the effect sound Dry 1 99 99 1 Balance between the wet and dry Wet signal Table Dynamic Modulation Off Tempo sources on page 106 100 100 Amount of modulation source Sets the damping amount in the low Low Damp 96 0 100 range Sets the modulation amount ofthe input level Input Level Dmod 100 100 Selects the modulation source for Sic Off Tempo the input level Sets the width of the stereo image of Spread 50 50 the effect sound Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Table Dynamic Modulation Src Off Tempo sources on page 106
171. 00 L NS ALISS IN S Ec Table of Contents 1 Table of Contents Style Record mode 3 The Stylestructure sn es pese pr aa De grai pc a ra go ga s 3 Style Pad Import Export 4 Entering the Style Record mode 4 Exit by saving or deleting changes 5 Listening to the Style while in Edit mode 5 List of recorded events 5 Main page Record 1 6 Main page Record 2 Cue 9 Main page Guitar Mode 10 Style Record procedure 14 Edit meni a as gee er UNDE SOLERE NRI EE 16 Edit page structure 16 Event Edit Event Edit 17 Event Edity sa an sa EE 19 Style Edit Quantize 19 Style Edit Transpose 20 Style Edit Velocity 20 Style Edit Cut wann 21 Style Edit Delete 3 ences ata sn ee as 22 Style Edit Delete Alls i ve pa eee ae a i t ia poe oeda 22 Style Edit Copy from Style 23 Style Edit Copy from Pad 24 Style Element Track Controls Sound Expression 25 Style Element Track Controls Keyboa
172. 00 Sets the speed of the LFO epu win De modulate A Dry 1 99 99 1 Balance between the wet and dry Op Tempo leg a modulation source for LFO Wet Dry Wet signal i b Table Dynamic Modulation 100 100 is modulation amountot LEO Src Off Tempo sources on page 106 0 100 Sets the depth of LFO modulation Amt 100 100 Amount of modulation source Selects the modulation source of Off Tempo the LFO modulation depth Sets the modulation amount of the LFO modulation depth Sets the amount of shimmering of the LFO waveform Src Amt 100 100 Shimmer 0 100 Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Table Dynamic Modulation Src Off Tempo sources on page 106 100 100 Amount of modulation source c Shimmer This parameter sets the amount of shimmering of the LFO wave form Increasing this value adds more shimmering making the chorus effect more complex and richer Ensemble LFO 4 Shimmer 37 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 Stereo In Stereo Out Left o a f Amt Effects rus Flanger and Phaser Cho Fln Phas
173. 04 Factory data Sounds Program Change order ccoo CC32 PC Name Sound Family ccoo CC32 PC Name Sound Family 121 7 5 Kult EP 1 Legacy E Piano 121 6 14 Weihn Glocke 2 Factory Mallet amp Bells 121 8 5 E Piano Hybrid Legacy E Piano 121 7 14 Synth Gloeckchen Factory Mallet amp Bells 121 9 5 Klass Dig EP 1 Factory E Piano 121 0 15 Dulzimer GM GM2 XG Mallet amp Bells 121 10 5 Kult EP 2 Legacy E Piano 121 1 15 Santur Factory Mallet amp Bells 121 11 5 DW8000 E Piano Factory E Piano 121 0 16 Zugrieg Orgel GM GM2 XG Orgel 121 12 5 Synth E Piano 2 Legacy E Piano 121 1 16 Verst Zugr Orgel GM2 XG Orgel 121 13 5 Synth E Piano 1 Factory E Piano 121 2 16 Ital 60er Orgel GM2 XG Orgel 121 14 5 Klass Dig EP 2 Factory E Piano 121 3 16 Zugriegel Orgel GM2 XG Orgel 121 15 5 FM E Piano 1 Factory E Piano 121 4 16 Fusslag Tief 1 V Factory Orgel 121 16 5 FM E Piano 2 Legacy E Piano 121 5 16 Warme Orgel 2 Legacy Orgel 121 17 5 VPM E Piano Factory E Piano 121 6 16 BX3 Voll V Factory Orgel 121 0 6 Cembalo GM GM2 XG Piano 121 7 16 Warme Orgel 1 Legacy
174. 1 0 29 Overdr Git GM 121 0 7 Clavinet GM 121 1 29 Pinch E Git 121 1 7 Clavinet 2 121 0 30 Distort Git GM GM2 XG Mallet amp Bells 121 1 30 Feedback DistGit 121 0 8 Celesta GM 121 2 30 Dist Rhythm Git 121 0 9 Glockenspiel GM 121 0 31 E Git HarmonicGM 121 0 10 Music Box GM 121 1 31 E Git Feedback 121 0 11 Vibraphone GM GM2 XG Bass 121 1 11 Vibraphon breit 121 0 32 Akustik Bass GM 121 0 12 Marimba GM 121 0 33 Finger Bass GM 121 1 12 Marimba breit 121 1 33 Finger Slap Bass 121 0 13 Xylophon GM 121 0 34 Picked E Bass GM 121 0 14 Glocken GM 121 0 35 Fretless Bass GM 121 1 14 Kirchenglocke 1 121 0 36 Slap Bass 1 GM 121 2 14 Carillon 121 0 37 Slap Bass 2 GM 121 0 15 Dulzimer GM 121 0 38 Synth Bass 1 GM GM2 XG Orgel 121 1 38 Synth Bass Warm 121 0 16 Zugrieg Orgel GM 121 2 38 Synth Bass Reso 121 1 16 Verst Zugr Orgel 121 3 en 121 2 16 Ital 60er Orgel 121 A SE Hammer Bass 121 3 16 Zugriegel Orgel 121 0 39 Synth Bass 2 GM 121 0 17 Perk Orgel GM 121 1 39 SynthBass Attack 121 1 17 Verst Perk Orgel 121 2 2 SynthBass Rubber 121 2 17 Perk Orgel 2 121 4 39 Attack Pulse 121 0 18 Rock Orgel GM GM2 XG Streich Solo 121 0 19 Kirchenorgel GM 121 0 40 Violine GM 121 1 19 Kirchenorgel Okt 121 1 40 Langs Violine 1 121 2 19 Verst Kirch Org 121 0 41 Viola GM 121 0 20 Zungenst Org GM 121 0 42 Cello GM 121 1 20 Harmonium 121 0 43 Kontrabass GM 121 0 21 Akkordeon GM 121 0 44 Trem Streich GM 121 1 21 Akkordeon 2 121 0 45 Pizzicato Str GM 121 0 22 Har
175. 1 99 Dry 99 1 Wet Sets the phaser effect balance Src Off Tempo Selects the Wet Dry modulation source for the phaser Amt 100 100 Sets the Wet Dry modulation amount for the phaser FlOutput Mode Wet Dry Normal Wet Invert Dry 1 99 99 1 Wet Selects the output mode for the chorus flanger Balance between the wet and dry signal Src Off Tempo Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source P Output Mode Wet Dry Normal Wet Invert Dry 1 99 99 1 Wet Selects the phaser output mode Balance between the wet and dry signal Off Tempo Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source i Output Mode When Wet Invert is selected the right channel phase of the cho rus 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 eliminat ing the chorus flanger effects Advanced Effects Mono Mono Serial Mono Mono 156 92 P4EQ Mt Delay Parametric 4 Band EQ 93 Comp Wah Compressor Wah Auto Wah Multitap Delay This effect combines a m
176. 1 Akkordeon 1 Legacy Akkordeon 121 1 17 Verst Perk Orgel GM2 XG Orgel 121 3 21 Musette Akk 1 Factory Akkordeon 121 2 17 Perk Orgel 2 GM2 XG Orgel 121 4 21 Musette Akk 2 Factory Akkordeon 121 3 17 Tonrad Orgel Legacy Orgel 121 5 21 Solo Musette 2 Factory Akkordeon 121 4 17 Fusslag Tief Pk Factory Orgel 121 6 21 Fisa 16 8 Factory Akkordeon 121 5 17 M1 Orgel Legacy Orgel 121 7 21 Fisa 16 4 Factory Akkordeon 121 6 17 Techno Org Bass Legacy Orgel 121 8 21 Master Fisa Factory Akkordeon 121 7 17 BX3 Perk kurz Legacy Orgel 121 9 21 Cassotto Factory Akkordeon 121 8 17 Rotor Orgel Legacy Orgel 121 10 21 Arab Akkordeon Legacy Akkordeon 121 9 17 Perk Orgel 2 V Factory Orgel 121 11 21 Zartes Musette Factory Akkordeon 121 10 17 Perk Orgel 1 V Factory Orgel 121 12 21 Cassotto 16 Factory Akkordeon 121 11 17 Perk Orgel 3 V Factory Orgel 121 13 21 Cassotto OT Factory Akkordeon 121 12 17 Klass Perk Orgel Factory Orgel 121 14 21 Cassotto NT Legacy Akkordeon 121 13 17 50er Orgel Perk Factory Orgel 121 15 21 Verst Akkordeon Legacy Akkordeon 121 14 17 BX3 Perk Orgel1 Factory Orgel 121 16 21 2 Stimm Musette Factory Akkordeon 121 15 17 BX3 Perk Orgel2 Factory Orgel 121 17 21 3 Stimm Musette Factory Akkordeon 121 16 17 Orgel Perkussion Factory Orgel 121 18 21 Franzoes Musette Factory Akkordeon 121 0 18 Rock Orgel GM GM2 XG Orgel 121 19 21 Akk Klarinette Factory Akkordeon 1
177. 1 Ee 121 7 90 Polysix Synth 1 1 112 Gamelan 121 11 37 Nice Lead 121 3 112 Metallfass 121 8 90 Noisy Stab Synth 121 3 105 Maultrommel 121 9 90 Mega Synth 121 7 107 Ac Baglama 1 121 3 95 Dark Flaeche 121 8 107 Ac Baglama 2 121 4 84 Metallic Rez Syn 121 9 107 Ac Baglama Grp 121 12 81 Pianoid Synth Factory Bass 121 2 88 Angeles Flaeche 121 20 33 E Bass warm 1 121 8 87 Big amp Raw Lead 121 24 33 E Bass warm 2 121 2 96 Karbik Synth 121 19 33 5sait Bass RX 121 10 87 OB Lead 121 14 34 Kaempfert BassRX 121 12 80 Port Whine Synth 121 14 32 BigBandBass1 RX 121 13 80 2VCO Lead Synth 121 15 32 BigBandBass2 RX 121 3 101 VCF Mod Synth 121 12 32 Real Ak Bass RX Factory Welt 121 13 32 Real Ak Bass 121 41 25 Mandolinen Orch1 Li 2 gt Finger Bass T 121 3 33 Finger Bass 2 Advanced 196 Factory data Sounds Bank order ccoo CC32 PC Sound Name ccoo CC32 PC Sound Name 121 4 33 Finger Bass 3 121 10 32 Orgel Pedalbs 1 121 6 33 Finger Bass 4 121 11 32 Orgel Pedalbs 2 121 22 33 Dark E Bass DNC 121 7 32 Akustik Bass RX 121 9 35 Tiefton Bass 1 121 13 33 Finger Bass RX 121 18 33 VintageBass Rnd 121 4 36 Slap FingBass RX
178. 100 Sets the stereo image of the effect Selects the modulation source of Src Off Tempo stereo image of the effect Sets the modulation amount of Amt 100 100 stereo image of the effect Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Table Dynamic Modulation sources on page 106 Src Off Tempo 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 dis play 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 Rec Src JS Y 01 Reset Src JS Y 02 Manual REC Control REC Off
179. 121 12 39 Resonance Bass Legacy Synth Solo 121 10 39 Autofilter Bass 121 1 101 MotionRace Synth 12l ua 38 Drive Bass 121 2 84 SynchroCitySynth 121 5 39 J Nasty Bass 121 6 55 Synth Hit 1 121 3 39 Euro Bass 121 7 81 Seq Lead Synth 121 6 38 30303 SquareBass 121 8 80 Old Analog Synth 2 7 38 PHBAIE Bass 121 7 55 Synth Hit2 121 7 39 Phat Bass 121 1 90 Reso Sweep Synth IZI 12 BB Synth Bass 3 121 3 90 Sweeper Synth 121 8 39 Poinker Bass 121 3 84 Sync Kron Synth Legacy Schlagz amp SFX 121 10 90 Technophon Synth 121 7 126 Vuvuzela 121 3 102 BandPass Flaeche 120 0 7 Standard Kit 121 9 87 Cat Lead 120 0 50 BDrum amp SDrum Kit 121 4 102 PanRes Flaeche 120 0 12 Room Kit 2 121 11 80 Sguare Rez Synth 120 0 121 Power Kit 1 121 11 81 Rezbo Synth 120 0 17 Power Kit 2 121 14 38 Auto Pilot Bass 120 0 13 HipHop Kit 2 121 7 87 Sguare Bass 120 0 14 Techno Kit 2 121 5 84 Brian Sync Synth 120 0 15 Techno Kit 3 121 6 84 Arp Twins Synth 120 0 26 House Kit 1 121 7 84 LoFi Ethn Synth 120 0 27 House Kit 2 Legacy Welt 120 0 28 House Kit 3 121 2 77 Shakuhachi 1205 0 e Bree 121 10 25 Mandolinekeyoff 129 BER SE 121 1 109 Dudelsack 120 0 49 Orchester Kit 121 7 104 sitar3 I 4 eae 121 5 55 Indischer Hit 121 2 117 Tom rueckw 121 6 104 Tambra 121 3 118 Snare rueckw 121 3 104 Sitar 5 121 2 119 Becken rueckw 121 2 112 BaliGamelan l E EE 121 6 126 Stadion 121 1 115 Kastagnetten 1 121 1 32 Ak Bass Buzz 121 6 36 Sl
180. 1545 88 Tom2 Tom 1440 Grv Fx5 SFX 1493 78HHCI1 HiHat 1546 88 Cymbal Cymbal 1441 GrvFx6 SFX 1494 78HHCI2 HiHat 1547 88 Cymbal Acc1 Cymbal 1442 Grv Fx7 SFX 1495 78 HH Open HiHat 1548 88 Cymbal Acc2 Cymbal 1443 GrvFx8 SFX 1496 78 Tom Tom 1549 88Crash Cymbal 1444 Grv Fx9 SFX 1497 78 Cymbal Cymbal 1550 88Crash GM Cymbal 1445 Grv Fx10 SFX 1498 78 Bongos Low Perc 1551 88 Bongos Low Perc 1446 Grv Fx11 SFX 1499 78 Congas Low Perc 1552 88Congas1 Low Perc 1447 Grv Fx12 SFX 1500 78 Claves Low Perc 1553 88 Congas2 Low Perc 1448 Grv Fx13 SFX 1501 55 BD Bass Drum 1554 88Claps1 Low Perc 1449 Grv Fx14 SFX 1502 55 Claps Low Perc 1555 88 Claps2 Low Perc 1450 Grv Fx15 SFX 1503 55 CongaHi Low Perc 1556 88 Claves Low Perc 1451 Grv Fx16 SFX 1504 55 CongaLow Low Perc 1557 88 Cowbell Hi Perc 1452 Grv Fx17 SFX 1505 55 Cowbell Hi Hi Perc 1558 88 Maracas Hi Perc 1453 Grv Fx18 SFX 1506 55 Cowbell Low Hi Perc 1559 99 BD1 Bass Drum 1454 Grv Fx19 SFX 1507 55Crash Cymbal 1560 99BD2 Bass Drum 1455 Grv Fx20 SFX 1508 55 HH Close HiHat 1561 99BD3 Bass Drum 1456 Grv Fx21 SFX 1509 55 HH Open HiHat 1562 99SD1 Snare Drum 1457 Grv Fx22 SFX 1510 55 Ride Cymbal 1563 99SD2 Snare Drum 1458 Grv Fx23 SFX 1511 55 Rim Snare Drum 1564 99SD3 Snare Drum 1459 Grv Fx24 SFX 1512 55SD Snare Drum 1565 99 RIM Shot Snare Drum 1460 Grv Fx25 SFX 1513 55 Timbales Hi Low Perc 1
181. 2 BD Electribe06 Bass Drum 3 BD 22 Inch Std4 Bass Drum 53 BD Jazz open f Bass Drum 103 BDElectribe07 Bass Drum 4 BD 22 Inch Std5 Bass Drum 54 BD Jazz wire open p Bass Drum 104 BDElectribe08 Bass Drum 5 BD 22 Inch Std6 Bass Drum 55 BD Jazz wire open f Bass Drum 105 BD Electribe09 Bass Drum 6 BD 24x14 p Bass Drum 56 BD Jazz Bass Drum 106 BD Electribe10 Bass Drum 7 BD 24x14 mf Bass Drum 57 BD Jazz GM Bass Drum 107 BD Electribe11 Bass Drum 8 BD 24x14 f Bass Drum 58 BD Pillow Bass Drum 108 BDElectribe12 Bass Drum 9 BD 24x14 f GM Bass Drum 59 BD Woofer Bass Drum 109 BDElectribe13 Bass Drum 10 BD 24 inch Open p Bass Drum 60 BD MondoKill Bass Drum 110 BDElectribe14 Bass Drum 11 BD 24 inch Open mf Bass Drum 61 BD Terminator Bass Drum 111 BD Electribe15 Bass Drum 12 BD 24 inch Open f Bass Drum 62 BD Tubby Bass Drum 112 BDElectribe16 Bass Drum 13 BD 26 inch Open p Bass Drum 63 BD Gated Bass Drum 113 BDElectribe17 Bass Drum 14 BD 26 inch Open mf Bass Drum y S 64 BD Tight Bass Drum 114 Syn BD1 Bass Drum 15 BD 26 inch Open f Bass Drum 65 BD Squash Bass Drum 115 Syn BD2 Bass Drum 16 BD 26 inch Open ff Bass Drum 66 BD Soul1 Bass Drum 116 Syn BD3 Bass Drum 17 BD 26 inch Open ff GM Bass Drum 67 BD Soul2 Bass Drum 117 Syn BD4 Bass Drum 18 BD 26 inch Std p Bass Drum SS Tr 68 BD Soul3 dist Bass Drum 118 Syn BD Buzz Bass Drum 19 BD 26 inch Std mf Bass Drum 69 BD Soul4 noise Bass Drum 119 BD Orchestra
182. 2 121 15 4 Velocity Wurly 120 0 42 Brush Kit RX1 121 12 5 Synth E Piano 2 120 0 43 Brush Kit RX2 121 7 5 Kult EP 1 120 0 44 Brush Kit RX3 121 5 5 Synth E Piano 3 120 0 72 HipHop Kit RX Legacy Mallet amp Bells 120 0 33 Jazz Kit RX1 121 3 1 Vibraphon 2 120 0 34 Jazz Kit RX2 121 3 12 Monkey Skuls T BR 33 sae KILA 121 4 98 Digi Gloeckchen Ho m EE 12 3 98 Kristall Gloeck 120 0 30 House Kit RX1 Legacy Akkordeon 120 0 31 House Kit RX2 121 1 22 Chrom Harmonika 120 0 18 Power Kit RKT 121 2 21 Akkordeon 1 Taur 13 Power kera 121 14 21 CassottoNT 120 0 qeu Analogikit 1231 20 21 AkkKarinette NT Zn 9 10 Jungle Kit 121 22 21 Akk Piccolo NT Te Je ee 121 15 21 verst Akkordeon 1201 97 Me Roomy 121 10 21 Arab Akkordeon 120 0 9 HipHop Kit 1 Legacy Orgel 120 0 11 Techno Kit 1 121 4 18 BX3 Klassisch 120 0 96 Elektro Kit 1 7 121 18 CX3 Perk kurz 120 0 97 Elektro Kit 2 121 11 18 Rock Orgel 2 120 0 51 Arabisches Kit 1 121 3 18 BX3 Schmutzig 120 0 69 Standard PercKit 121 2 18 BX3 Fett 120 0 117 Arabisches Kit 2 S 121 7 17 BX3 Perk kurz 120 0 118 Tuerkisches Kit 121 6 18 Super BX Perk 120 0 119 Oriental PercKit 5 5 121 9 16 Gospel Orgel 120 0 64 Percussion Kit A 121 3 17 Tonrad Orgel 120 0 65 Latin Perc Kit 1 z 121 7 16 Warme Orgel 1 120 0 68 Latin Perc Kit 2 a 121 5 16 Warme Orgel 2 120 0 66 Trinity Perc Kit 3 121 8 17 Rotor Orgel 120 0 67 i30 Perc
183. 2 15 16 Tom Flam End 16 Rain Stick 16 Hollo2 16 Tef3 16 17 Drum Single A 17 Tamb Acc 1 17 17 Tef 4 17 18 Drum Single B 18 Tamb Acc 2 18 18 Tef5 18 19 Drum Single C 19 Tamb Open 19 19 Tef6 19 20 Drum Single D 20 Tamb Push 20 20 20 21 Drum Sing HouseA 21 Timbale Hi 21 21 21 22 Drum Sing HouseB 22 Timbale Low 22 22 22 23 Drum Sing HouseC 23 Timbale Rim 1 23 23 23 24 Drum Sing HouseD 24 Timbale Rim 2 24 24 24 25 Drum Kit A 25 Triangle 1 25 25 25 26 Drum Kit B 26 Triangle 2 26 26 26 27 Drum Kit C 27 Vibra Slap 27 27 27 28 Drum Kit D 28 Whistle 1 28 28 28 29 Drum Kit E 29 Whistle 2 29 29 29 30 Drum Kit F 30 Windchimes 1 30 30 30 31 31 Windchimes 2 31 31 31 32 32 Windchimes 3 32 32 32 Factory data Pads HIT Synth amp Pad HIT Voice HIT Blocks HIT Misc amp SFX 1 HIT Misc amp SFX 2 1 Cosmic 1 Aah 1 BlkFunk1A 1 Applause 1 Bubble 2 VCF Modulation 2 Hitit 2 BlkFunk1B 2 Bird1 2 Car Crash 3 Planet Lead 3 Laughing 3 BlkFunk1C 3 Bird2 3 Car Engine 4 Brightness 4 Scream 4 BlkFunk1D 4 Cat 4 Car Pass 5 Crystal 5 Uuh 5 BlkFunk2A 5 Church Bell 5 Car Stop 6 New Age Pad 6 Yeah 1 6 BlkFunk2B 6 Crickets 6 Explosion 7
184. 2 64 SopranSax Pro 121 4 78 Pfeifen RX2 121 3 67 BaritonSax Pro 121 2 78 Pfeifen Atmen 121 4 67 BaritonSax 121 1 68 Fagott Oboe 121 5 65 Studio AltoSax 121 5 73 Orchester Floete 121 6 65 Studio AltoSax 121 6 71 Holzblaes Sekt 121 7 65 Weiches AltoSax 121 19 71 Kleines Orchest 121 8 65 AltoSax Pro 121 5 71 Klarinetten Ens 121 8 66 TenorSax Expr 2 121 3 71 Holzblaes Sekt 1 121 7 66 TenorSax Expr 1 121 4 71 Holzblaes Sekt 2 121 9 66 Jazz TenorSax 1 121 10 71 Reeds amp Saxes 121 10 66 Jazz TenorSax 2 Factory Synth Flaeche 121 1 67 BaritonSax Growl 121 7 92 PopSynth 1 121 11 65 Cool Sar Ens 121 8 92 PopSynth 2 E _ u 12 od 92 Klass Bellsynth1 E 34 eebe 121 2 92 Klass Bellsynth2 Factory Holzblaeser 121 3 92 Ana ell Flaeche 121 26 71 Klarin Glissando 121 4 92 Warme Flaeche 2 121 25 71 Klarin Gliss DNC 121 5 92 Moving Flaeche 121 22 71 Klarin amp Blaeser 121 6 92 MidiStack Synth 121 16 71 Solo Klarin DNC 121 2 91 PopSynth 3 121 23 71 Sax Klarin Ens 1 121 11 91 PopSynth 4 121 24 71 Sax Klarin Ens 2 121 15 89 Warme Flaeche 1 121 3 77 Shakuhachi Vel 1 121 13 91 ChoirSeq Flaeche 121 4 77 Shakuhachi Vel 2 121 3 93 TechnoSynth DNC 121 14 73 Floete Gliss DNC 121 4 96 Wave Seq Synth 121 11 73 Floete DNC 121 4 101 Orgel Stab DNC 121 2 68 Klass Oboe 121 4 127 Deep Noise 121 3 68 Solo Oboe DNC 121 14 91 PopSynth 5 121 14 71 Real Klarin DNC 121 4 89 The Pad Flaeche 121 15 71 Jazz Klarin DNC 121 6 89 Dunkle Flaeche1 121 17 71 Kl
185. 20 12 00k Sets the EQ center frequency for the trigger signal Q 0 5 10 0 Sets the EQ bandwidth for the trigger signal Gain dB 18 0 18 0 Sets the EQ gain for the trigger signal Dry 1 99 99 1 Wet Dry Wet Balance between the wet and dry signal Src Off Tempo Table Dynamic Modulation sources on page 106 100 100 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 sig nal 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 individually b Ratio c Threshold dB e Gain Adjust dB This parameter sets the signal compression Ratio Compres sion is applied only when the signal level exceeds the Thresh old value Adjust the output level using the Gain Adjust parameter since compression causes the entire level to be reduced Dry Ratio 1 0 1 Ratioz2 0 1 atio 4 0 1 Threshold Ratio inf 1 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 Limiter Attack Release Threshold Ratio Inf 1 Attack 1 Rel
186. 21 0 88 NewAgeFlaeche GM 121 1 57 Posaune 2 121 0 89 Warme Flaeche GM 121 2 57 Posaune brill Mil 1 89 ne 121 0 58 Tuba GM 121 0 90 Poly Synth GM 121 0 59 Mute Trompete GM 121 0 91 Chor Flaeche GM 121 1 59 Muted Trompete 2 121 l A Itopia Flaeche 121 0 60 French Horn GM 121 0 92 Bowed Glass GM 121 1 60 FrenchHorn Warm 121 0 93 Metall FlaecheGM 121 0 61 Blaeser Sekt GM 121 0 94 Halo Flaeche GM 121 1 61 Blaeser Sekt 1 121 0 95 Sweep Flaeche GM 121 0 62 SynthBlaeser GM GM2 XG Synth SFX 121 1 62 Synth Blaeser 3 121 0 96 Eisregen GM 121 2 62 Analog Blaeser 1 121 0 97 Soundtrack GM 121 3 62 Jump Blaeser 121 0 98 Kristall GM 121 0 63 SynthBlaeser2 GM 121 1 98 Synth Mallet 121 1 63 Synth Blaeser 4 121 0 99 Atmosphaere GM 121 2 63 Analog Blaeser 2 121 0 100 Brightness GM GM2 XG Holzblaeser 121 0 101 Kobolde GM 121 0 64 Sopran Sax GM 121 0 102 Echo Drops GM 121 0 65 Alto Sax GM 121 1 102 EchoBell Flaeche 121 0 66 Tenor Sax GM 121 2 102 Echo Pan Flaeche 121 o 67 Bariton Sax GM E CH ebenen 121 0 68 OboeGM GM2 XG Welt 121 0 69 Englisch Horn GM 121 0 104 SitarGM 121 0 70 Fagott GM 121 1 104 Sitar 2 121 0 71 Klarinette GM 121 0 105 Banjo GM GM2 XG Floete 121 0 106 Shamisen GM 12 o 72 piccoloFloete GM a erp MEE eee 121 0 73 Floete GM 121 1 107 Taisho Koto 12 o 74 Blockfloete GM Iur Up 108 E 121 0 75 Panfloete GM 121 0 109 Dudelsack GM 121 o 76 Flaschegebl GM a EE 121 0 77 shakuhachi GM itr Bi E omens
187. 21 1 18 BX3Rock2V Factory Orgel 121 20 21 Akk Karinette NT Legacy Akkordeon 121 2 18 BX3 Fett Legacy Orgel 121 21 21 Akk Piccolo Factory Akkordeon 121 3 18 BX3 Schmutzig Legacy Orgel 121 22 21 Akk Piccolo NT Legacy Akkordeon 121 4 18 BX3 Klassisch Legacy Orgel 121 23 21 Master Akkordeon Factory Akkordeon 121 5 18 BX3 Rock 3 V Factory Orgel 121 24 21 Akkordeon 3 Factory Akkordeon 121 6 18 Super BX Perk Legacy Orgel 121 25 21 Steirisch Akk 1 Factory Akkordeon 121 7 18 JazzOrgel alt Legacy Orgel 121 26 21 Steirisch Akk 2 Factory Akkordeon 121 8 18 CX3 Perk kurz Legacy Orgel 121 27 21 Steirisch Akk 3 Factory Akkordeon 121 9 18 BX3 Jazz Pc V Factory Orgel 121 28 21 Steirisch Akk 4 Factory Akkordeon 121 10 18 Jimmy s Orgel V Factory Orgel 121 29 21 Klass Musette Factory Akkordeon 121 11 18 Rock Orgel 2 Legacy Orgel 121 30 21 Steirisch Akk 5 Factory Akkordeon 121 12 18 BX3 Rock4 V Factory Orgel 121 31 21 Solo Musette 1 Factory Akkordeon 121 13 18 Jimmy s Org DNC Factory Orgel 121 32 21 Solist Akkordeon Factory Akkordeon 121 14 18 BX3 Orgel JS 1 Factory Orgel 121 0 22 Harmonika GM GM2 XG Orgel 121 15 18 BX3 Orgel JS 2 Factory Orgel 121 1 22 Chrom Harmonika Legacy Akkordeon 121 16 18 BX3 Orgel JS 3 Factory Orgel 121 2 22 Harmonika Factory Akkordeon 121 0 19 Kirchenorgel GM GM2 XG Orgel 121 3 22 Harmonika AT 1 Factory Akkordeon 121 1 19 Kirchenorgel Okt G
188. 22 Wind 127 0 8 Room Kit KG 121 4 122 Wasserstrom 127 0 16 Rock Kit KG 121 5 122 Blubbern 127 0 24 Electro Kit KG 121 0 123 Vogelzwitsch GM 127 0 25 Analog Kit KG 121 1 123 Bellender Hund 127 0 32 Jazz Kit 1 KG 121 2 123 Pferdegalopp 127 0 48 Jazz Kit 2 XG 121 3 123 Vogelzwitsch 2 127 0 40 Brush Kit XG 121 0 124 Telefon GM 127 0 17 Classic Kit XG 121 1 124 Telefon 2 User 1 121 2 124 Tuerquietschen 121 64 0 Musikant Spezial 121 3 124 Tuer zuschlagen 121 64 1 jodeln is chee Erogo qp et oale 121 64 2 Tusche ST 121 5 124 Windspiel 121 0 125 Helikopter GM 121 1 125 Auto Motor 121 2 125 Auto bremst 121 3 125 Fahrendes Auto 121 4 125 Auto Unfall 121 5 125 Sirene 121 6 125 Fahrender Zug 121 7 125 Duesenflugzeug 121 8 125 Raumschiff 121 9 125 Ladungsimpuls 121 0 126 Applaus GM 121 1 126 Lachen 121 2 126 Schreien 121 3 126 Schlag 121 4 126 Herzklopfen 121 5 126 Schritte 121 0 127 PistolenschussGM 121 1 127 Maschinengewehr 121 2 127 Laserpistole 121 3 127 Explosion Sounds Program Change order The following table lists all Pa3X Factory Sounds in order of Bank Select Program Change number Legend 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 Bank Sound Select button Factory data Sounds Program Change order 203
189. 25 Stack a Hi Perc 1162 Djembe Slap Low Perc 1215 M E 1 Rik1 Low Perc 1110 Cabasa 2 S Stack b Hi Perc 1163 Djembe S Open Low Perc 1216 M E 1 Rik2 Low Perc 1111 Cabasa 2 S Roll Hi Perc 1164 Djembe S Open Slap a Low Perc 1217 M E 1 Rik3 Low Perc 1112 Cabasa 3 WS Hi Perc 1165 Djembe S Open Slap b Low Perc 1218 M E 1 Sagat Half Open Hi Perc 1113 Cabasa 3 Up Hi Perc 1166 DjembeS Closed Slapa_ Low Perc 1219 M E 1 Sagat Close Hi Perc 1114 Cabasa 3 Down Hi Perc 1167 Djembe S Closed Slap b Low Perc 1220 M E 1 Surdo LOpen Low Perc 1115 Cabasa 3 Tap Hi Perc 1168 DjembeS Closed Slapc Low Perc 1221 M E 1 Surdo L Mute Low Perc 1116 Caxixil a Hi Perc 1169 Djembe Bass Low Perc 1222 M E 1 Tabla Medium Low Perc 1117 Caxixil b Hi Perc 1170 UduOpena Low Perc 1223 M E 1 Tabla Dom Low Perc 1118 Caxixil c Hi Perc 1171 Udu Open b Low Perc 1224 M E 1 Tabla Flam Low Perc 1119 Caxixi2 a Hi Perc 1172 UduOpenc Low Perc 1225 ME 1 Tabla Rim Low Perc 1120 Caxixi2 b Hi Perc 1173 Udu Open d Low Perc 1226 M E 1 Tabla Tak Low Perc 1121 Caxixi2 c Hi Perc 1174 Udu Slide a Hi Perc 1227 MEI Timbales Hi Perc 1122 Caxixi3 Hard Hi Perc 1175 Udu Slide b Hi Perc 1228 M E 1 UdufOpen Low Perc 1123 Caxixi3 Soft Hi Perc 1176 UduHalfOpena Low Perc 1229 MEI Alkis Low Perc 1124 Shaker1 Pusha Hi Perc 1177 UduHalfOpenb Low Perc 1230 M E 1 Bandir Open Low Perc 1125 S
190. 3 Q 0 5 10 0 Sets the bandwidth of Band 3 Gain dB 18 18 Sets the gain of Band 3 E B4 Cutoff Hz 500 20 00k Sets the center frequency of Band 4 Q 0 5 10 0 Sets the bandwidth of Band 4 Gain dB 18 418 Sets the gain of Band 4 E B4 Cutoff Hz 500 20 00k Sets the center frequency of Band 4 Q 0 5 10 0 Sets the bandwidth of Band 4 Gain dB 18 18 Sets the gain of Band A CHORUS FLANGER PHASER F LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO LFO Waveform Triangle Sine Selects the LFO Waveform P LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO LFO Waveform Triangle Sine Selects the LFO Waveform FlDelay Time msec 0 0 1350 0 Sets the delay time Depth 0 100 Sets the depth of LFO modulation Feedback 100 100 Sets the feedback amount P Manual 0 100 Sets the frequency to which the effect is applied Depth 0 100 Sets the depth of LFO modulation Resonance 100 100 Sets the resonance amount F Cho Flng Wet Dry Wet 1 99 Dry 99 1 Wet Sets the effect balance of the chorus flanger Src Off Tempo Selects the Wet Dry modulation source for the chorus flanger Amt 100 100 Sets the Wet Dry modulation amount for the chorus flanger P Phaser Wet Dry Wet
191. 3 4 Ole 4 Everybody now 4 Tusch kurz F 4 5 Uh 5 Come on everyb 1 5 Tusch kurz G 5 6 Ah 6 Come on everyb 2 6 Tusch kurz Ab 6 7 Zickezacke 7 Everyb clap 1 7 Tusch kurz A 7 8 Hoi 8 Everyb clap 2 8 Tusch kurz Bb 8 9 Boah 9 Clap your hands 9 Tusch lang C 9 10 Yeah 10 What about you 10 Tusch lang D 10 11 Heeyy 11 Give it to me 11 Tusch lang Eb 11 12 Hey 12 Yeah 12 Tusch lang F 12 13 Juchzer 13 Ohh yeah 1 13 Tusch lang G 13 14 Servus 14 Ohh yeah 2 14 Tusch lang Ab 14 15 Grueazi 15 muahhh 15 Tusch lang A 15 16 Jomei 16 16 Tusch lang Bb 16 17 Auf geht s 17 17 K Tusch1 1X C 17 18 Jawoll 18 18 K Tusch1 1X F 18 19 Sauber 19 19 K Tusch1 1X G 19 20 Jo genau 20 20 K Tusch1 1X Bb 20 21 Die Haende 21 21 K Tusch1 3X C 21 22 Und jetzt alle 22 22 K Tusch1 3X F 22 23 Trrrrr 23 23 K Tusch1 3X G 23 24 Pfeifer 1 24 24 K Tusch1 3X Bb 24 25 Jodler 1F 25 25 K Tusch2 1X C 25 26 Jodler2F 26 26 K Tusch2 1X F 26 27 Jodler 1 As 27 27 K Tusch2 1X G 27 28 Jodler 2 As 28 28 K Tusch2 1X Bb 28 29 Spass Jodler 29 29 K Tusch2 3X C 29 30 Pfeifer 2 30 30 K Tusch2 3X F 30 31 Flasche auf 31 31 K Tusch2 3X G 31 32 Einschenken 32 32 K Tusch2 3X Bb 32 Advanced 240 Factory data Effects Effects The following table lists all Pa3X Factory Effects Detailed infor mation on ea
192. 3 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 E Bass2 RH Stop E Bass2 Harmo E Bass3 p E Bass3 mf E Bass3 f Slap E Bass4 Pick E Bass4 Harmo E Bass4 Slap E Bass4 SlapHar E Bass4 LH Mute E Bass4 RH Mute E Bass5 Finger E Bass6 Finger E Bass6 FingerLP E Bass7 Finger E Bass8 Pick E Bass9 Pick Muted1 E Bass9 Pick Muted2 E Bass10 Pick E Bass10 PickLP E Bass11 Thumb E Bass12 SlapThumb E Bass12 SlapThumbLP E Bass Gliss E Bass Noisel E Bass Noise2 E Bass Harmonics E Bass HarmonicsLP E Bass Fretless 1 E Bass Fretless 2 Finger Bass GM Picked Bass GM Slap Bassl GM Slap Bass2 GM Fretless Bass GM Sitarl Sitar2 Sitar GM Sitar amp Tambura Zither Santur SanturLP Tambura TamburaLP Bouzouki 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 BouzoukiLP Mandolin Dw mf L Mandolin Dw mf R Mandolin Dw fL Mandolin Dwf R Mandolin Up L Mandolin Up R Mandolin MandolinLP Mandolin Tremolo Mandolin Ensemble Banjo Banjo GM BanjoLP Ukulele Shamisen Shamisen GM Koto Koto GM M E Oud M E Oud Tek M E Kanounl M E Kanoun2 M E Kanoun Tremolo M E Baglamal M E Baglama2 M E Zurna M E Klarnet Tek M E Klarnet M E Nay Mouth Harpl Mouth Harp2 Mouth Har
193. 3 4 e Ifthe source length is not a divider of the target length the source Chord Variation will be copied for as many mea sures as can fit the target Chord Variation For example if the source is 6 measures long and the target 8 measures 9 7 v E gt o x 24 Style Record mode Style Edit Copy from Pad the source will be copied once then the first 2 measures will be copied to fit the remaining 2 measures 11243 4415 6 4 2 1 2 3 4 5 6 1 2 Note Avoid copying to a Chord Variation with a different meter time signature for example a 4 4 Chord Variation onto a 3 4 one Style Edit Copy from Pad Here you can copy a Chord Variation from a Pad Furthermore you can copy a whole Pad Warning The Copy operation deletes all data at the target loca tion overwrite STYLE REC Style Edit DRUM PERC BASS ACCL RCC2 ACCS ACCA ACCS Seel Trace uuo cut Joan ie ter After setting the various parameters touch Execute Note If you copy too many events on the same tick the Too many events message appears and the copy operation is aborted Note When you copy over an existing Chord Variation Program Change data is not copied to leave the original Sounds unchanged for that Chord Variation From Pad Choose this option to select the source Pad to copy the Chord Variation from Touch the Select button to open the Pad Select window and select the sour
194. 32 This section shows the value of the Control Change CC 32 message a k a Bank Select LSB for the selected Sound PC This section shows the value of the Program Change PC message for the selected Sound Values are in the standard 0 127 MIDI number ing format Note Some manufacturers could use the 1 128 numbering system when connecting your Pa3X to an instrument of this kind increment the PC value by 1 unit Octave Transpose icon Octave transpose value Use the UPPER OCTAVE buttons to change this value Realtime Controls area Controls in this area allow you to edit the main parameters of the Sounds assigned to each track Touch one of them and modify its value by using the VALUE DIAL controls or moving your finger While in this page Assignable Sliders are linked to the corre sponding Realtime Controls a k a Easy Sound Edit parame ters Assignable Realtime Assignable Realtime Slider Control Slider Control 1 Attack 5 LFO Depth 2 Decay 6 LFO Speed 3 Release 7 LFO Delay 4 Cutoff 8 Resonance Note All values refer to the original values of the Sound Note When selecting the Write Sound command from the page menu current parameter values after editing the Realtime Con trols are saved with the Sound After saving Realtime Controls are set back to the default position Note After selecting a different Sound Realtime Control values are automatically set to zero A
195. 331 Door Slam SFX 1384 GrvBD11 Bass Drum 1279 M E 2 Ramazangum Low Perc 1332 Car Engine SFX 1385 GrvBD12 Bass Drum 1280 M E 2 Ramazantek Low Perc 1333 Car Stop SFX 1386 GrvBD13 Bass Drum 1281 M E2 Renk Low Perc 1334 Car Pass SFX 1387 GrvBD14 Bass Drum 1282 M E2 Renkbir Low Perc 1335 Car Crash SFX 1388 Grv BD15 Bass Drum 1283 M E 2 Renkiki Low Perc 1336 Train SFX 1389 Grv BD16 Bass Drum 1284 M E 2 Tefacik Low Perc 1337 Helicopter SFX 1390 Grv BD17 Bass Drum 1285 M E2 Tefgum Low Perc 1338 Gun Shot1 SFX 1391 Grv SD1 Snare Drum 1286 M E 2 Teftek1 Low Perc 1339 Gun Shot2 SFX 1392 GrvSD2 Snare Drum 1287 M E 2 Teftokat Low Perc 1340 Machine Gun SFX 1393 Grv SD3 Snare Drum 1288 M E 2 Teftrill Low Perc 1341 Laser Gun SFX 1394 Grv SD4 Snare Drum 1289 M E 2 Tefzil Low Perc 1342 Explosion SFX 1395 Grv SD5 Snare Drum 1290 M E2 Tek1 Low Perc 1343 Thunder SFX 1396 GrvSD6 Snare Drum 1291 M E 2 Tek2 Low Perc 1344 Wind SFX 1397 Grv SD7 Snare Drum 1292 M E 2 Tekbir Low Perc 1345 Stream SFX 1398 Grv SD8 Snare Drum 1293 M E 2 Tokat Low Perc 1346 Bubble SFX 1399 GrvSD9 Snare Drum 1294 M E 2 Toprgum Low Perc 1347 Bubble GM SFX 1400 Grv SD10 Snare Drum 1295 M E 2 Toprtek1 Low Perc 1348 Church Bell SFX 1401 Grv SD11 Snare Drum 1296 M E 2 Toprtek2 Low Perc 1349 Telephone Ring SFX 1402 GrvSD12 Snare Drum 1297 M E 2 Toprtokat Low Perc 1350 Xylophone Sp
196. 39 Synth Bass 2 Factory Bass 121 8 35 Fretless Bass RX Factory Bass 121 0 40 Violine GM GM2 XG Streich Solo 121 9 35 Tiefton Bass 1 Factory Bass 121 1 40 Langs Violine 1 GM2 XG Streich Solo 121 0 36 Slap Bass 1 GM GM2 KG Bass 121 2 40 Violine Expr 2 Factory Streich amp Chor 121 1 36 Super SlapBass1 Factory Bass 121 3 40 langs Violine 2 Factory Streich amp Chor 121 2 36 Super SlapBass2 Factory Bass 121 4 40 Violine Expr 3 Factory Streich amp Chor 121 3 36 Funk SlapBass RX Factory Bass 121 5 40 Violine Expr DNC Factory Streich amp Chor 121 4 36 Slap FingBass RX Factory Bass 121 6 40 Konz Violine DNC Factory Streich amp Chor 121 5 36 Slap PickBass RX Factory Bass 121 7 40 Real Violine DNC Factory Streich amp Chor 121 6 36 Slap Bass 1 Legacy Bass 121 8 40 Violine Expr 1 Factory Streich amp Chor 121 7 36 Warm Bs amp Slp DNC Factory Bass 121 9 40 Violine Gliss Factory Streich amp Chor 121 0 37 Slap Bass 2GM GM2 KG Bass 121 0 41 Viola GM GM2 KG Streich Solo 121 1 37 Thumb Bass Factory Bass 121 1 41 Viola Expr Factory Streich amp Chor 121 2 37 Dyna Bass Legacy Bass 121 2 41 Violine amp Viola Factory Streich amp Chor Factory data 209 Sounds Program Change order
197. 50 for more information Before pressing MENU to enter the edit environment you should select a Sound of the type you wish to edit or create Note Notes pointing to special Drum Kit features are marked by the icon Main page Here is the main page of the Sound operating mode Page header Page menu icon Sound Info area Attack Decay I Release 8 Lfo Det f Lfo Spd Lfo Diy Realtime Controls area Amount Send Amount IY FX area Voice Assign Mode area Page header This line shows the current operating mode and transposition SOUND MT 8 Operating mode Master Transpose in name semitones Operating mode name Name of the current operating mode Master transpose Master transpose value in semitones This value can be changed using the TRANSPOSE buttons on the control panel Page menu icon Touch the page menu icon to open the menu See Page menu on page 75 for more information Sound Info area This is where basic details for the Sound are shown Touch any where in this area to open the Sound Select window Sound name Name of the Sound assigned to the corresponding Keyboard track Bank Bank the current Sound belongs to Bank Select Program Change sequence Bank Select MSB Bank Select LSB Program Change numbers in the form CC00 CC32 PC CC00 This section shows the value of the Control Change CC 00 message or Bank Select MSB for the selected Sound CC
198. 52 Uuh Chor Factory Streich amp Chor 121 0 48 Streich Ens 1 GM GM2 XG Streich Ensemb 121 7 52 AahChor 2 Legacy Streich amp Chor 121 1 48 Streicher amp Blaes GM2 XG Streich Ensemb 121 8 52 Wuuh Chor Factory Streich amp Chor 121 2 48 60er Streicher GM2 XG Streich Ensemb 121 9 52 Oh Ah Stimmen Factory Streich amp Chor 121 3 48 Stereo Streicher Legacy Streich amp Chor 121 10 52 Langsamer Chor Legacy Streich amp Chor 121 4 48 Legato Streicher Legacy Streich amp Chor 121 11 52 Grosser Chor Factory Streich amp Chor 121 5 48 i3 Streicher Legacy Streich amp Chor 121 12 52 Kleiner Chor Factory Streich amp Chor 121 6 48 N264 Streicher Legacy Streich amp Chor 121 13 52 Chor amp Streicher Legacy Streich amp Chor 121 7 48 Arco Streicher Legacy Streich amp Chor 121 14 52 Gemischter Scat Factory Streich amp Chor 121 8 48 Octav Streicher Factory Streich amp Chor 121 15 52 Scat Frauen Factory Streich amp Chor 121 9 48 StreichQuartett Factory Streich amp Chor 121 16 52 Scat Maenner Factory Streich amp Chor 121 10 48 Sinf Streicher Factory Streich amp Chor 121 17 52 Scat V amp Bass1 Factory Streich amp Chor 121 11 48 Ensemble amp Solo Factory Streich amp Chor 121 18 52 Scat V amp Bass2 Factory Streich amp Chor 121 12 48 Kammer Streicher Factory Streich amp Chor 121 19 52 Scat Stimmen RX Factory Streich amp Chor 121 13 48
199. 566 99HH Close1 HiHat 1461 Grv Fx26 SFX 1514 55 Tom Hi Tom 1567 99 HH Close2 HiHat 1462 Grv Fx27 SFX 1515 55 Tom Mid Tom 1568 99 HH Close3 HiHat 1463 Grv x28 SFX 1516 55 Tom Low Tom 1569 99 HH Open HiHat 1464 Grv Fx29 SFX 1517 66BD Bass Drum 1570 99 HH Open2 HiHat 1465 Grv Fx30 SFX 1518 66SD Snare Drum 1571 99 HH Open3 HiHat 1466 Grv Fx31 SFX 1519 66 HH Close HiHat 1572 99 Tom Hi Tom 1467 Grv Fx32 SFX 1520 66HH Open HiHat 1573 99 Tom Mid Tom 1468 Grv Fx33 SFX 1521 66 Tom Tom 1574 99 Tom Low Tom 1469 Grv Fx34 SFX 1522 66 Congas Low Perc 1575 99 Claps Low Perc 1470 Grv Fx35 SFX 1523 66 Cymbal Cymbal 1576 99 Guiro1 Low Perc 1471 Grv Slice1 SFX 1524 66 Cowbell Hi Perc 1577 99 Guiro2 Low Perc Factory data 235 Drum Samples Name Family Name Family Name Family 1578 99 Ride Cymbal 1587 99 Agogo Low Hi Perc 1596 Click GM SFX 1579 99 Ride Dance Cymbal 1588 99 Conga Hi Low Perc 1597 Seq Click SFX 1580 99 Crash1 Cymbal 1589 99 Conga Mid Low Perc 1598 Empty Bass Drum 1581 99 Crash2 Cymbal 1590 99 Conga Low Low Perc 1582 99 Crash3 Cymbal 1591 99 WoodBlock Low Perc 1583 99 Cabasa Hi Perc 1592 99 Timbale Hi Low Perc 1584 99 Bongo Hi Low Perc 1593 99 Timbale Mid Low Perc 1585 99 Bongo Low Low Perc 1594 99 Metal Hi Perc 1586 99 Agogo
200. 65 AltoSax Expr Factory Sax 121 19 71 Kleines Orchest Factory Holzblaeser 121 10 65 AltoSax RX Factory Sax 121 20 71 Nay Factory Welt Advanced 2 Factory data Sounds Program Change order ccoo CC32 PC Name Sound Family ccoo CC32 PC Name Sound Family 121 21 71 Piccolo Factory Holzblaeser 121 8 80 Old Analog Synth Legacy Synth Solo 121 22 71 Klarin amp Blaeser Factory Holzblaeser 121 9 80 GlideSquare Synt Factory Synth Solo 121 23 71 Sax Klarin Ens 1 Factory Holzblaeser 121 10 80 Sine Switch Synt Factory Synth Solo 121 24 71 Sax Klarin Ens 2 Factory Holzblaeser 121 11 80 Square Rez Synth Legacy Synth Solo 121 25 71 Klarin Gliss DNC Factory Holzblaeser 121 12 80 Port Whine Synth Factory Synth Solo 121 26 71 Klarin Glissando Factory Holzblaeser 121 13 80 2VCO Lead Synth Factory Synth Solo 121 0 72 PiccoloFloete GM GM2 XG Floete 121 0 81 Lead Saw GM GM2 XG Synth 121 0 73 Floete GM GM2 XG Floete 121 1 81 Lead Saw Synth GM2 KG Synth 121 1 73 Jazz Floete Expr Factory Holzblaeser 121 2 81 Saw amp Pulse Synth GM2 XG Synth 121 2 73 Floete Switch Fa
201. 8 1 Git Stahl Pick 1 1 Gloeckchen Takt4 1 8tl Git Quinten 1 Floete Triller 1 2 Git Stahl Pick 2 2 Sinus Arpeggio 2 ShuffleGit Quint 2 Boehm Trompete 2 3 Git Stahl Strum7 3 Rhyth Arpeggio 1 3 Git 16tl Funky 3 Sax Fills 3 4 Git Stahl Strum8 4 Solo Arpeggio 1 4 Reggae Akkorde 4 Shuffle Brass 4 5 Git Stahl Strum9 5 Rhyth Arpeggio 2 5 16tl Akkordeon 1 5 Orch Akkord 5 6 Git Stahl Strm10 6 Solo Arpeggio 2 6 16tl Akkordeon 2 6 Gerader Rockbeat 6 7 Git Stahl Strm11 7 Rhyth Arpeggio 3 7 Tamb amp Klatschen 1 7 Drum dopp Geschw 7 8 Git Stahl Strm12 8 Rhyth Arpeggio 4 8 Tamb amp Klatschen 2 8 Drum Shuffle 8 9 Country Git 1 9 Rhyth Arpeggio 5 9 Tambauf und 9 Drum Beat 1 9 10 Country Git 2 10 Rhyth Arpeggio 6 10 Shaker auf und 10 Drum Beat 2 10 11 Country Git 3 11 Wah Arpeggio 11 HiHat auf und 11 ChaCha Ride 11 12 Country 3 4 A 12 Orgel Akkord 1 12 8Beat Perkussion 12 Rheinl Perc 12 13 Country 3 4 B 13 Orgel auf 284 1 13 Bossa Hoelzer 13 Shfl Tamborin 13 14 WahWah Effekt 1 14 Orgel Akkord 2 14 Ratsche 14 Rhumba Perc 14 15 WahWah Effekt 2 15 Orgel Akkord 3 15 Samba Element 1 15 Taxi Brass 15 16 Funky Wah Git 16 Orgel auf 284 2 16 Samba Element 2 16 Clarinet Muck 16 17 Bld E Git 3 4 1 17 Orgel Linie 1 17 Beguine Conga 17 Samba Pfeife 17 18 Bld E Git 3 42 18 Orgel Linie 2 18 ChaCha Kuhglocke 18 Mute Tromp
202. 81 SD J center f Snare Drum 434 SDDance23 Snare Drum 329 SD Wood2 p Snare Drum 382 SDJedge1 Snare Drum 435 SD Dance23 GM Snare Drum 330 SD Wood2 mf Snare Drum 383 SDJedge2 Snare Drum 436 SD Dance24 Snare Drum 331 SD Wood2 f Snare Drum 384 SDJedge3 Snare Drum 437 SD House1 Snare Drum 332 SD Piccolo1 pp Snare Drum 385 SDJedge4 Snare Drum 438 SD House2 Snare Drum 333 SD Piccolo1 p Snare Drum 386 SDJstdp Snare Drum 439 SD House3 Snare Drum 334 SD Piccolo mf Snare Drum 387 SDJ std mf Snare Drum 440 SD House4 Snare Drum 335 SD Piccolo1 f Snare Drum 388 SDJstdf Snare Drum 441 SD BeatBox Snare Drum 336 SD Piccolo2 pp Snare Drum 389 SDJstd rimp Snare Drum 442 SDSmall Snare Drum 337 SD Piccolo2 p Snare Drum 390 SDJ std rim mf Snare Drum 443 SDRap Snare Drum 338 SD Piccolo2 mf Snare Drum 391 SDJstd rim f Snare Drum 444 SD Noise Snare Drum 339 SD Piccolo2 f Snare Drum 392 SD Dry1 Snare Drum 445 SDReverse Snare Drum 340 SD Solid1 p Snare Drum 393 SD Dry2 Snare Drum 446 SDHip1 Snare Drum 341 SD Solid1 mf Snare Drum 394 SDDry3 Snare Drum 447 SDHip2 Snare Drum 342 SD Solid1 f Snare Drum 395 SD Full Room Snare Drum 448 SDHip3 Snare Drum 343 SD Solid2 p Snare Drum 396 SD Off Center Snare Drum 449 SDHip4 Snare Drum 344 SD Solid2 mf Snare Drum 397 SD Jazz Ring Snare Drum 450 SDHip5 Snare Drum 345 SD Solid2 f Snare Drum 398 SDAmb Piccolo Snare Drum 451 SD Hip6 Snare Drum 346 S
203. 9 Multisample Key Assign 90 Page men sosi ceia eee larg sisi deme tese Se 90 Write Sample dialog box 92 Advanced 2 Table of Contents Write MultiSample dialogboz 92 Write Slice dialog box 92 Delete Sample dialog box 93 Delete Multisample dialog box 93 Export Sample page 93 Export Multisample page 94 How to merge PCM samples from various sources 94 Voice Processor 95 Accessing the Voice Processor edit pages 95 Voice Processor Setup Setup 95 Voice Processor Setup Mic Tone 96 Voice Processor Setup Talk 99 Voice Processor Preset Easy Preset 99 Voice Processor Preset Mixer FX 100 Voice Processor Preset Harmony 100 Voice Processor Preset Double 102 Voice Processor Preset Filter amp Hard Tune 103 Voice Processor Preset uMod 104 Voice Processor Preset Delay 104 Voice Processor Preset Reverb 105 Effects nenn 106 Dynamic Modulation sources
204. 91 PopSyn Flaeche1 Factory Synth Flaeche 121 6 98 Gloeck Flaeche Factory Synth Flaeche 121 5 91 Future Flaeche Factory Synth Flaeche 121 7 98 Gloeck Chor Legacy Synth Flaeche 121 6 91 Tsunami Flaeche Factory Synth Flaeche 121 0 99 Atmosphaere GM GM2 XG Synth SFX 121 7 91 Breath Flaeche Factory Streich amp Chor 121 0 100 Brightness GM GM2 XG Synth SFX 121 8 91 Ravel Flaeche Factory Synth Flaeche 121 1 100 LoneSpin Flaeche Legacy Synth Flaeche 121 9 91 FullVox Flaeche Factory Streich amp Chor 121 2 100 Ghostly Flaeche Legacy Synth Flaeche 121 10 91 ReMix Flaeche Legacy Synth Flaeche 121 0 101 Kobolde GM GM2 XG Synth SFX 121 11 91 PopSynth 4 Factory Synth Flaeche 121 1 101 MotionRace Synth Legacy Synth Solo 121 12 91 PopSyn Flaeche2 Factory Synth Flaeche 121 2 101 Digi Ice Flaeche Factory Synth Flaeche 121 13 91 ChoirSeq Flaeche Factory Synth Flaeche 121 3 101 VCF Mod Synth Factory Synth Solo 121 14 91 PopSynth 5 Factory Synth Flaeche 121 4 101 Orgel Stab DNC Factory Synth Flaeche 121 0 92 Bowed Glass GM GM2 XG Synth 121 0 102 Echo Drops GM GM2 XG Synth SFX 121 1 92 Klass BellSynth1 Factory Synth Flaeche 121 1 102 EchoBell Flaeche GM2 XG Synth SFX 121 2 92 Klass BellSynth2 Factory Synth Flaeche 121 2 102 Echo Pan Flaeche GM2 XG Synth SFX 121 3 92 AnaBell Flaeche Factory Synth Flaeche 121 3 102 BandPass Flaeche Legacy Synth Solo 121 4 92 Warme
205. 93 for more information Normalize Select this command to automatically rescale the level of the selected sample Peaks will be raised to OdB i e maximum vol ume before clipping while the remaining parts of the sample will be proportionally raised Normalization optimizes the samples level relative to other sam ples making all samples sound more uniformly It also helps optimizing signal noise ratio by preventing further stages of amplification from increasing any residual noise Cut Select this command to cut the selected part of the sample inside the Start and End points Trim Crop Select this command to cut all parts of the sample out of the selected range i e out of the Start and End points Select All Use this command to select the whole sample Init Multisample Only available in the Multisample page Select this command to create a new blank multisample Only one Zone will be avail able with no sample assigned Load Sample Use this command to load single samples mono or stereo in KSE AIFF or WAVE format Warning By loading new samples the sample currently n edit will be lost if not saved Before loading use the Write command to save the sample in edit if not yet saved to the internal HD KHD_SYSTEM SAMPLING Load Sample Type Name a 17 12 10 22 55 19 01 11 04 43 The samples are loaded to the editor Before leaving the Sam pling mode use the
206. Amt dB You can control the gain of Band 2 using the modulation source 8 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 fre quency responses You can select a center frequency setting for each band from twelve types according to the sound Stereo In Stereo Out Left o o FX Amt gf D T e F T T Thim Bandi Band2 Band3 Band4 Band5 Band6 Band7 i Tee LL CTS LS Band1 Band2 Band3 Band4 Band5 Band6 Band7 Righto gt o FX Amt 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 0 100 18 0 18 0 18 0 18 0 18 0 18 0 18 0 18 0 Selects a combination of center frequencies for each band Trim Band1 dB Band2 dB Band3 dB Band4 dB Band5 dB Band6 dB Band7 dB s the input level s the gain of Band 1 s the gain of Band 2 s the gain of Band 3 s the gain of Band 4 s the gain of Band 5 s the gain of Band 6 s the gain of Band 7 Left Right o EQ Trim EQ Trim LEQ HEQ ED ai n Exciter Blend 100 100 Sets the intensity depth of the Exciter effect Src Amt
207. Arab Streicher Legacy Streich amp Chor 121 20 52 Scat Stmmen DNC Factory Streich amp Chor 121 14 48 Orchester Tu Factory Streich amp Chor 121 21 52 Zyklus Scat 1 Factory Streich amp Chor 121 15 48 Streicher amp Hoern Factory Streich amp Chor 121 22 52 Zyklus Scat 2 Factory Streich amp Chor 121 16 48 Orch amp Oboe 1 Factory Streich amp Chor 121 23 52 Kinderstimme Factory Streich amp Chor 121 17 48 Orch amp Oboe 2 Factory Streich amp Chor 121 0 53 Uuh Chor GM GM2 XG Streich Ensemb 121 18 48 Streicher amp Glock Factory Streich amp Chor 121 1 53 Summen GM2 XG Streich Ensemb 121 19 48 Orchester Tutti2 Factory Streich amp Chor 121 2 53 Doolally Stimmen Legacy Streich amp Chor 121 20 48 Orchester amp Floete Factory Streich amp Chor 121 3 53 Airways Stimmen Factory Streich amp Chor 121 21 48 Streich Ens 1 Legacy Streich amp Chor 121 4 53 Sopran Vox1 DNC Factory Streich amp Chor 121 22 48 Streich Ens RX Factory Streich amp Chor 121 5 53 Sopran Vox2 DNC Factory Streich amp Chor 121 23 48 Sinf StreicherRX Factory Streich amp Chor 121 6 53 M amp F langs Chor Factory Streich amp Chor 121 0 49 Streich Ens 2 GM GM2 XG Streich Ensemb 121 7 53 Gemischter Chor Factory Streich amp Chor 121 1 49 Hybrid Streicher Legacy Streich amp Chor 121 0 54 Synth Stimmen GM GM2 XG Streich Ensemb 121 2 49 Volle Streicher Factory Streich amp
208. BX3Jazz P amp V 121 28 21 Steirisch Akk 4 E E 16 BX3 Gospel V 121 30 21 Steirisch Akk 5 LUN NEN NEU ere 121 29 21 Klass Musette pen BE 16 Gospel Orgel V 121 3 21 Musette Akk 1 121 16 17 Orgel Perkussion 12 4 21 Musette Akk 2 121 14 17 BX3 Perk Orgel1 121 4 22 Harmonika AT 2 121 15 17 BX3 Perk Orgel2 121 11 21 Zartes Musette 121 SC Go Fusslag Hoch4 V 121 18 21 Franzoes Musette 121 pi ya Fusslag Hochs V 121 23 21 Master Akkordeon 121 gt Ig Ci lia Lcd 121 13 21 Cassotto OT 121 53 16 Orgel RX 16 1 V 121 6 22 Jazz Harm DNC 120 36 18 BX3 OrgelJs 1 121 3 22 Harmonika AT 1 I Be 18 BX3 Orgel J5 2 121 16 21 2Stimm Musette 121 pde 18 BX3OrgelJ5S 3 121 17 21 3 Stimm Musette BE 16 50er Orgelibrill 121 2 23 Akkordeon 16 8 121 42 16 50er Orgel V SW 121 3 23 Akkordeon 16 8 4 MeN BEL 16 _ ltal60er Orgel 121 19 21 Akk Klarinette tet NS o D ee 12 2 2 Akk Piccolo 121 45 16 Volle Orgel JSF 121 8 23 Akk 16 8 4 Plus 121 46 16 Gospel Orgel JSF 121 8 21 Master Fisa 121 47 16 Warme Orgel1 JSF 121 2 22 Harmonika 121 48 16 Warme Orgel2 JSF 121 6 21 Fisa 16 8 121 49 16 Medium Orgel JSF 121 7 23 Akkordeon 16 4 121 19 16 Zugr Langsam V 121 7 21 Fisa 16 A 121 18 16 Zugr Schnell V 121 10 23 Tango Akkordeon 121 14 lo Zugriegel Orgel 121 1 23 Tango Akkordeon 121 8 18 Jazz Orgel 121 24 21 Akkordeon 3 121 17 16 Fusslag Hoch1 V 121 4 23 Akk 16 8 amp Bass 121 4 17 Fusslag Tief Pk 121 9 23
209. Balance between the wet and dry signal Src Off Tempo Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source Effects 149 Delay 77 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 Stereo In Stereo Out Left E ecc Delay t Ly Feedback m La Delay 7 x Righto Tempo FX Amt NT ee d LFO Phase Modulation Mode Switches between LFO modulation LFO D mod control and modulation source control Modulation Mode D mod L R Reversed L R control by modulation Modulation L R source Op Tempo Selects the modulation source that Src controls delay time Sets the rate of response to the Response 0 30 modulation source LFO Waveform Triangle Sine Selects the LFO Waveform LFO Shape _100 100 Changes the curvature ofthe LFO Waveform LFO Sync Off On Switches LFO reset off on Selects the modulation source that Src Off Tempo resets the LEO ae Frequency 0 02 20 00 Sets the speed of the LFO When this is on the LFO speed is set MIDI Sync Off On by BPM Base Note and Times instead of Frequency MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this 300 00 individual effect Selects
210. Cho Flng 102 Limiter Phaser Limiter Chorus Flanger This effect combines a mono limiter and a phaser You can This effect combines a mono limiter and a chorus flanger You change the order of the effects can change the order of the effects FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left o FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Routing FX Amt Limiter Y x Phaser Left gt o pio fece ii oui eta Routing FX Amt PE Limiter VK wx Chorus Flanger EE mu i M Limiter LJ Phaser Gain Adjust i Seier iod H i utpu lode Limiter Lo La Chorus Flanger SCHAN EQ Trim LEG HEQ Normal ne Phaser FX Amt Gain Adjust i gt Output Mode DEMNM S Feedback Wet Invert Right i t H lex Amt i gering FX Amt Envelope Control CLFO Tri Sine T Bion i i i FX Amt Envelope Control LFO Tri Sine LIMITER L Ratio is 1 Inf 1 Sets the signal compression ratio 1 0 1 50 0 1 Inf 1 L Ratio Sets the signal compression ratio Threshold dB 40 0 Sets the level above which the compressor is applied Sets the level above which the L compressor is applied Release 1 100 Sets the release time L Attack 1 100 Sets the attack time z L Gain Adjust Inf Sets the limiter output gain Release 1 100 Sets the release time
211. Chord Variation on the external sequencer please assign the Pad track to the MIDI channel 10 Note Only SMF in format 0 can be loaded From Song This is the name of the Standard MIDI File to be loaded Touch the Select button to open the file selector and select an SMF file Select Touch this button to open the file selector and load the SME o 7 v E gt 9 x 46 Pad Record mode Export SMF Initialize Check this parameter if you want all Pad settings i e Key Chord Chord Table Sound are reset when loading the SME Hint It is a good idea to check this parameter when importing the first Chord Variation of the Pad and uncheck it when importing the following Chord Variations To CV Use this parameter to select a target Chord Variation Execute After setting all parameters in this page touch this button to import the Standard MIDI File into the target Chord Variation Export SMF The Export SMF function allows you to export a Chord Varia tion as a Standard MIDI File SMF and edit it on your preferred external sequencer PAD REC Export SMF To Song This non editable parameters shows the name of the Standard MIDI File to be generated The automatically assigned name will be the same of the exported Chord Variation From CV Use this pop up menu to select one of the available Chord Varia tions from the current Pad Execute After selecting
212. Control L R Pitch Normal Determines whether or not the L R Up Down pitch shift amount is inverted Pitch Shift 1 5 454 Sets the pitch shift amount in steps Overdrive Off On Switches overdrive on off 2tone ji of a semitone Sre Off Tempo Selects a modulation source to Selects the modulation source of 7 switch overdrive on off Src Off Tempo itch shift pitch shift amount Toggle Sets the switch mode for overdrive 24 424 Sets the modulation amount of Sw Moment on off modulation 2 pitch shift amount Fine cents any OG Sets the pitch shift amount in steps Overdrive Gain 0 100 Determines the degree of distortion of one cent Overdrive 0 100 Sets the overdrive output level Sets the modulation amount of Leve pitch shift amount Sets the Sets the tonal quality of the Amt 100 100 modulation amount of pitch shift Overdrive Tone 0 15 overdrive zu amount Speaker Switches the speaker simulation on MIDI MIDI syncs to the system tempo 40 SI lator Off On o E 40 00 300 sets the tempo manually for this 300 00 individual effect Mode Switch Rotate Stop Switches between speaker rotation and sto Display the error message if the left E Time Over L OVER channel delay time exceeds the Selects a modulation source for e Src Off Tempo R S upper limit otate Stop Display the error message if the Toggle Sets the switch mode for Rotate OVER right channel delay time exceeds Sw Moment Stop modulation the
213. 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 Oscil lators 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 Cycle 2 As the above for use with a different and paral lel group of Oscillators Having two Cycle Trig ger Modes allows for cycling stereo multisamples As the above but with a random selection of Oscillators within the assigned group After Touch Trigger On Random 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 lat est Note On message The Oscillator will stop playing when the After Touch value falls back to zero Hint This like
214. D Maple1 pp Snare Drum 399 SDPaper Snare Drum 452 SDRingy Snare Drum 347 SD Maple1 p Snare Drum 400 SD Big Rock Snare Drum 453 SD Tiny Snare Drum 348 SD Maple1 mp Snare Drum 401 SD Yowie Snare Drum 454 SD Vintagel Snare Drum 349 SD Maple1 mf Snare Drum 402 SDTrinity1 Snare Drum 455 SD Vintage2 Snare Drum 350 SD Maple1 f Snare Drum 403 SD Trinity2 Snare Drum 456 SD Vintage3 Snare Drum 351 SD Maple ff Snare Drum 404 SD Stereo Gate Snare Drum 457 SD Vintage4 Snare Drum 352 SDMaple2 pp Snare Drum 405 SD Stereo Gate GM Snare Drum 458 SDVintage5 Snare Drum 353 SDMaple2 p Snare Drum 406 SD Processed Snare Drum 459 SD Vintage6 Snare Drum 354 SDMaple2 mp Snare Drum 407 SD Processed GM Snare Drum 460 SD AmbiHop Snare Drum E 355 SD Maple2 mf Snare Drum 408 SD Cracker Room Snare Drum 461 SD Brasser Snare Drum S 356 SD Maple2 f Snare Drum 409 SD El Funk Snare Drum 462 SD Chili Snare Drum 3 357 SD Maple ff Snare Drum 410 SDEI Funk2 Snare Drum 463 SDWhopper Snare Drum lt 358 SDBrass1 p Snare Drum 411 SDEI Funk3 Snare Drum 464 SD Syn 1 Snare Drum 228 Factory data Drum Samples Name Family Name Family Name Family 465 SDSyn 2 Snare Drum 518 Rim2 m Gate 1 Snare Drum 571 TomDLowmf Tom 466 SD Syn 3 Snare Drum 519
215. Dm Off On Dm 1 L123456R 2 1 135 246 selects the stereo panning pattern E a Siere Di anning Preset 35246R or each tap Lari f 4 L145632R High Damp Tap1 Feedback 100 100 Sets the Tap1 feedback amount Input Level Pitch e m Delay N re Status st Selects the modulation source for Feedback Position a Feedback _ Spread Src Off Tempo the Tap output pA i Md input Level m Post amount and eitect Balance Pitch Shifter DelayH N i High Damp Amt _100 100 Sets the modulation amount of Tap1 feedback amount Right PA Au Dry 1 99 99 1 Balance between the wet and dry Wet signal Wet Dry Slow Medium Switches Pitch Shifter mode Table Dynamic Modulation Fast Sources on page 106 Mode Src Off Tempo 100 100 Amount of modulation source L R Pitch Normal Determines whether or not the L R Up Down pitch shift amount is inverted Pitch Shift 1 Sets the pitch shift amount in steps b c d e f g Status 2tone 724424 of a semitone These parameters set the output status of each Tap Selects the modulation source of P v P Src Off Tempo pitch shift amount Always On Output is always on No modulation Amt 24 424 Sets the modulation amount of pitch shift amount Always Off Output is always off No modulation Fine cents _100 100 Sets the pitch shift amount in steps o
216. Drum 300 SD Dry center3 Snare Drum 195 SDCrvOpRimRoommf Snare Drum 248 SDLdwVintageS Rimmf Snare Drum 301 SD Dry Rim1 Snare Drum 196 SD Crv OpRim Room f Snare Drum 249 SDLdwVintage S Rimf Snare Drum 302 SD Dry Rim2 Snare Drum 197 SD LdwBB1A Cl1 Snare Drum 250 SD Ldw Roll p Snare Drum 303 SD Dry Rim3 Snare Drum 198 SD LdwBB1A CI2 Snare Drum 251 SD Ldw Roll mf Snare Drum 304 SD Dry Roll Snare Drum 199 SD LdwBB1A CH Snare Drum 252 SD Ldw Poll f Snare Drum 305 SD Pop1 p Snare Drum Factory data 227 Drum Samples Name Family Name Family Name Family 306 SD Pop1 p GM Snare Drum 359 SD Brass1 mf Snare Drum 412 SD Dance01 Snare Drum 307 SD Pop1 mf Snare Drum 360 SD Brass1 f Snare Drum 413 SD Dance02 Snare Drum 308 SD Pop1 mf GM Snare Drum 361 SD Brass2 p Snare Drum 414 SD Dance03 Snare Drum 309 SD Pop1f Snare Drum 362 SD Brass2 mf Snare Drum 415 SD Dance04 Snare Drum 310 SD Pop1 f GM Snare Drum 363 SD Brass2 f Snare Drum 416 SD Dance05 Snare Drum 311 SD Pop1 Rim mf Snare Drum 364 SD Roll Snare Drum 417 SDDanc
217. Drum End 22 Perc Guiro Bongo 22 Grv Techno 1 22 22 Pno GlissUpWhite 23 23 Perc Cowbel Tamb 23 Grv Techno 2 23 23 Pno GlissDwnBlak 24 24 Perc 3 4 24 24 24 Pno GlissUpBlack 25 25 Perc 6 8 25 25 25 Honky End 26 26 26 26 26 237 Advanced 238 Factory data Pads 27 27 27 27 27 28 28 28 28 28 29 29 29 29 29 30 30 30 30 30 31 31 31 31 31 32 32 32 32 32 SEQ Guitar SEQ Orchestral SEQ Solo SEQ Synth amp Pad SEQ Misc amp SFX 1 Gtr Steel Strum1 1 Timpani Roll 1 1 Solo Marimba 1 Synth Seq 1 1 Military 1 2 Gtr Steel Strum2 2 Timpani Roll 2 2 Solo Kalimba 1 2 Synth Seq 2 2 Military 2 3 Gtr Steel Strum3 3 Orch Tutti 1 3 Solo Kalimba 2 3 Synth Seq 3 3 Military 3 4 Gtr Steel Strum4 4 Orch Tutti 2 4 Solo Steel Drums 4 Synth Seq 4 4 Military 4 5 Gtr Steel Strum5 5 Orch Tutti 3 5 Solo Vibes 5 Synth Seg 5 5 Horror 1 6 Gtr Steel Strum6 6 Orch Tutti 4 6 Solo Gtr Dist 6 Synth Seq 6 6 Horror2 7 GtSteelStrum 3 4 7 Orch Harp 1 7 Solo Slide Steel 7 Synth Seq 7 7 Horror 3 8 Gtr Steel Arp 1 8 Orch Harp 2 8 Solo Banjo 8 Synth Seq 8 8 Horror 4 9 Gtr Steel Arp 2 9 Orch Harp 3 9 Solo Violin 9 Synth Seq 9 9 Lullaby 1 10 Gtr Stee
218. Dynamic Modulation sources on page 106 100 100 FJCho Flng Wet Dry Src Wet 1 99 Dry 99 1 Wet Off Tempo Sets the effect balance of the chorus flanger Selects the Wet Dry modulation source for the chorus flanger Amt 100 100 Sets the Wet Dry modulation amount for the chorus flanger Amount of modulation source FJOutput Mode Wet Dry Normal Wet Invert Dry 1 99 99 1 Wet Selects the output mode for the chorus flanger Balance between the wet and dry signal Src OI Tempo Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source Advanced 164 Effects Mono Mono Serial Mono Mono 107 Exciter Phaser 108 Exciter Mt Delay Exciter Multitap Delay This effect combines a mono limiter and a phaser This effect combines a mono exciter and a multitap delay FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left gt PR FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Exciter Phase a Left A i ji i FX Amt EQTrim LEQ HEQ Exciter Multitap Delay gt HARI Exciter gt Phaser H Normal i Output Mode Resonance 7 Wet Inve
219. Electro Kit GM GM2 XG Schlagz 120 0 25 Analog Kit GM GM2 XG Schlagz 120 0 26 House Kit 1 Legacy Schlagz amp SFX 120 0 27 House Kit 2 Legacy Schlagz amp SFX 120 0 28 House Kit 3 Legacy Schlagz amp SFX 120 0 30 House Kit RX1 Factory Schlagz amp SFX 120 0 31 House Kit RX2 Factory Schlagz amp SFX 120 0 32 Jazz Kit GM GM2 XG Schlagz 120 0 33 Jazz Kit RX1 Factory Schlagz amp SFX 120 0 34 Jazz Kit RX2 Factory Schlagz amp SFX 120 0 35 Jazz Kit RX3 Factory Schlagz amp SFX 120 0 36 Jazz Kit 1 Amb Factory Schlagz amp SFX 120 0 37 Jazz Kit 2 Amb Factory Schlagz amp SFX 120 0 38 Lounge Kit Amb Factory Schlagz amp SFX 120 0 39 Cool Kit Amb Factory Schlagz amp SFX 120 0 40 Brush Kit GM GM2 XG Schlagz 120 0 41 Brush Kit 2 Legacy Schlagz amp SFX 120 0 42 Brush Kit RX1 Factory Schlagz amp SFX 120 0 43 Brush Kit RX2 Factory Schlagz amp SFX ccoo CC32 PC Name Bank 120 0 44 Brush Kit RX3 Factory Schlagz amp SFX 120 0 45 Brush Kit 1 Amb Factory Schlagz amp SFX 120 0 46 BrushKit2 Amb Factory Schlagz amp SFX 120 0 48 Orchester Kit GM GM2 XG Schlagz 120 0 49 Orchester Kit Legacy Schlagz amp SFX 120 0 50 BDrum amp SDrum Kit Legacy Schlagz amp SFX 120 0 51 Arabisches Kit 1 Factory Schlagz amp SFX 120 0 56 SFX Kit GM GM2 XG Schlagz 120 0 57 SFX Kit 2 Factory Schlagz amp SFX 120 0 58 Synth Kit 2 Factory Schlagz
220. End parameter is edited the other one will be automatically adjusted so that the distance between them i e the loop length does not change This is convenient when you are creating a rhythm loop to match a spe cific tempo Loop On Use this parameter to turn the loop on or off On The loop is turned on and the portion of sound included between the Loop Start and Loop End points will cycle until a key is kept pressed If the Loop Start point matches the Start point the whole sample is cycled When the loop is turned on a vertical yellow line showing the loop point appears in the waveform display Off The loop is turned off The sound will play from the Sample Start to the Sample End point only once even if you keep a key pressed on the key board Crossfade 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 prob lems 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 Cross fade Length value of the waveform immediately before the beginning of the loop is taken and mixed with the
221. Expression Expression STYLE Use these knobs to set the Expression CC 11 value for the cor responding track This value can be seen at the beginning of the Event Edit list see Event Edit Event Edit on page 17 Different Expression values can be defined for each Style Ele ment This way you can set a different volume in each Style Ele ment relative to the general Volume value set in the Style Header Expression leveling You can quickly and easily adjust the Expression level of all tracks in a Style Element Variation Intro 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 Selected Style Element STYLE REC SE Track Ctris Ca Trk Acc 1 Konz Git 2 DNC F Gitarre 121 020 024 Ezpr Monitor Ezpression DRUM PERC BASS Guitar Expression level 2 Keep the SHIFT button pressed and move any Assignable Slider to proportionally change the Expression value of all Style Variation tracks 3 Release the SHIFT button 4 Repeat the above operation with all the desired Style Ele ments Note A track s 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 p
222. FO modulation Feedback 100 100 Sets the feedback amount High Damp 0 100 Sets the feedback damping amount in the high range Wet Dry Wet 1 99 Dry 99 1 Wet Balance between the wet and dry signal Src g Feedback h Wet Dry Off Tempo 100 100 Table Dynamic Modulation sources on page 106 Amount of modulation source 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 96 This parameter sets the amount of damping of the feedback in the high range Increasing the value will cut high range harmon Ics Speed Hz 0 10 10 0 Sets the speed of LFO Depth 0 100 Sets the depth of LFO modulation Resonance 0 100 Sets the resonance amount Manual 1 100 Sets the sweep frequency LFO Reset Source OI Tempo Selects a modulation source for LFO reset Reset Offset 0 100 Sets the offset Wet Dry Met 1 99 Dry 1 99 Wet Balance between the wet and dry signal Source OI Tempo Table Selects a modulation source for Wet Dry on page 107 Amount 100 100 Table Sets the modulation
223. Filter EG to control the filter A cutoff frequency With positive values playing more strongly will cause the fil ter EG to produce greater changes in cutoff frequency With neg ative 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 99 99 Value of the Velocity to A parameter Velocity to B This parameter specifies the depth and direction of the effect that velocity will have on the time varying changes created by the filter EG to control the filter B cutoff frequency see Veloc ity to A 99 99 Value of the Velocity to B parameter Int to A Intensity to A Specifies the depth and direction of the effect that the time vary ing changes created by the filter 1 EG will have on the filter A 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 e in the area and brighter when they are in the area 99 99 Parameter value Int to B Intensity to B Specifies the depth and direction of the effect that the time vary ing changes created by the filter EG will have on the filter B cut off
224. Floete 121 13 48 Arab Streicher 121 7 73 Holzfloete 121 1 49 Hybrid Streicher 121 8 73 Bambus Floete 121 2 50 Analog Streich 1 121 1 69 Englisch Horn 121 1 51 Synth Streich 2 121 1 74 Blockfloete 1 121 5 52 Take Stimmen 2 121 2 74 Blockfloete 2 121 7 52 Aah Chor2 121 10 52 Langsamer Chor LegacysSynth Elaeche 121 2 85 Cyber Chor 121 2 90 SkyWatcher Synth 121 4 50 OdisseyStreicher 121 11 89 Vintage Flaeche 121 13 52 Chor 8 Streicher 121 8 95 Decide Flaeche 121 3 50 Analog Streich 2 121 13 90 Korgmatose Synth 121 1 85 Aether Stimmen 121 6 95 Astra Flaeche 121 5 54 Traumstimmen 121 1 95 Dream Flaeche 121 4 54 Klassischer Vox 121 2 97 ResDown Flaeche 121 2 53 Doolally Stimmen 121 1 86 Crimsonsth Synth Legacy Blech Solo 121 7 89 Freedom Flaeche 121 5 97 Noble Flaeche 121 3 56 Trompete monoph 121 4 95 Mellow Flaeche 121 8 56 Fluegelhorn warm 121 1 100 LoneSpin Flaeche 121 5 57 Posaune Pitch 121 2 100 Ghostly Flaeche 121 4 57 Posaune zart 121 11 90 Farluce Synth 121 12 57 Posaune 1 121 7 98 Gloeck Chor Factory data 199 Sounds Bank order ccoo CC32 PC Sound Name ccoo CC32 PC Sound Name 121 10 91 ReMix Flaeche 121 9 39 80er Synth Bass 121 7 97 Elastik Flaeche
225. Global Scale When the switch or footswitch is pressed the Global gt General Controls gt Scale is recalled in the display SC4 SubScale Preset 1 SC1 4 Same functions of the SC Preset buttons in the display Microphone Talk Mic Lead On Off Mic Filter On Off Mic HardTune On Off Mic uMod On Off Mic Delay On Off Turns all Voice Processor effects down to let you address the audience See Voice Proces sor Setup Talk on page 99 On Off switch controls assigned to the Voice Processor Press to activate press a second time to deactivate FX CC12 Switch FX CC13 Switch Standard FX controllers Rotary Spkr On Off Rotary Spkr Fast Slow Drawbar Perc On Off ao u S gt lt 246 Assignable parameters List of EC5 functions Function Meaning Text Page Down These options let you move to the previous or next page when reading a text file loaded Text Page Up with a Song or Song Book entry see Textda teien die mit Standard MIDI Files oder MP3 Datei geladen wurden on page 177 of the User s Manual SongBook Next Moves to the next SongBook entry in the selected Custom List Sound Controller 1 Sound Controller 2 To be used as triggers for two DNC parameter transmit CC 80 or CC 81 When these func tions are assigned to the selected physical controller this latter becomes the co
226. HiHat Soul cl mf HiHat 709 HH3 Sizzle HiHat 762 Crash 15 edge2 Cymbal 657 HiHat Soul cl f HiHat 710 HH4 Closed1 HiHat 763 Crash 17 edge1 Cymbal 658 HiHat Soul op p HiHat 711 HH4 Closed2 HiHat 764 Crash 17 edge2 Cymbal 659 HiHat Soul op mf HiHat 712 HH4 Foot HiHat 765 Crash 19 open1 Cymbal 660 HiHat Soul op f HiHat 713 HH4 Foot Open HiHat 766 Crash 19 open2 Cymbal 661 HiHat Vintage cl p HiHat 714 HH4 Open HiHat 767 Crash 1 Cymbal 662 HiHat Vintage cl mf HiHat 715 HH Old Close HiHat 768 Crash2 Cymbal 663 HiHat Vintage cl f HiHat 716 HH Old Open HiHat 769 Crash Reverse Cymbal 664 HiHat Vintage op HiHat 717 HH Old TiteClose HiHat 770 Crash Dance 99 Cymbal 665 HiHat Jazz tip cl a HiHat 718 HH Old Close2 HiHat 771 Crash DDD 1 Cymbal 666 HiHat Jazz tip cl b HiHat 719 HH Old Open HiHat 772 Splash 8 edge1 Cymbal 667 HiHat Jazz tip cl c HiHat 720 HH House Open HiHat 773 Splash 8 edge2 Cymbal 668 HiHatJazztipopla HiHat 721 HH House Open2 HiHat 774 Splash Cymbal 669 HiHat Jazz tip op1 b HiHat 722 HHHip HiHat 775 China Cymbal 670 HiHat Jazz tip op1 c HiHat 723 HH Alpo Close HiHat 776 Orchestra Cymbal Cymbal 671 HiHat Jazz tip op2 a HiHat 724 HH Dance1 HiHat 777 Finger Snaps Low Perc 672 HiHat Jazz tip op2 b HiHat 725 HH Dance2 HiHat 778 Claps Natural 1a Low Perc 673 HiHat Jazz tip op3 HiHat 726 HH Syn Closed HiHat 779 Claps Natural 1b Low Perc 674 HiHat Jazz cla
227. Insert button in the display to insert a new event at the current shown Position The default values are Type Note Pitch C4 Velocity 100 Length 192 Delete Touch the Delete button in the display to delete the event selected in the display Event Edit procedure Here is the general procedure to follow for the event editing 1 Select the Style to edit and press the RECORD button Select the Current Style option to enter recording The main page of the Style Record mode will appear 2 Select the Element Style Element and Chord Var Chord Variation parameters Note For more information on the Style Elements and Chord Variations and the Style structure in general see The Style structure on page 3 3 Press MENU and select the Event Edit section The Event Edit page appears see Event Edit Event Edit on page 17 for more information 4 Press START STOP to listen to the selected Chord Varia tion Press START STOP to stop it Chord Scanning does not work so you will listen the pattern at the original Key Chord 5 Touch the Filter tab to select the Filter page and uncheck the filters for the event types you wish to see in the display see Event Edit Filter on page 19 for more information 6 Touch the Event Edit tab to go back to the Event Edit page 7 Use the Track pop up menu to select the track to edit see Track pop up menu on page 17 8 The list of even
228. KeyOff 121 9 56 BeBop Kornett 121 3 26 Club Jazz Git 2 121 7 56 Fluegelhorn 1 121 23 25 Pop West Slide 121 3 58 Dynabone 121 8 25 Finger Gitarre 121 4 58 Ob Tuba amp E Bass 1 121 11 27 Country E Git 121 5 58 Ob Tuba amp E Bass 2 121 12 25 Resonator Git Legacy Blech Ensemb 121 26 27 Tele E Git Mid 121 8 61 Attack Blaeser 121 5 281 Clean kun Gi 121 33 61 BigBand Shake Y T 6 30 Voll Dist E Git 121 35 61 Trompeten Ens1 Y 121 27 27 Tele E GitBridge 121 22 51 Dyna Blaeser 2 121 8 27 Hybrid E Gitarre 121 24 61 Live Blaeser 121 17 27 StratGit Slide 121 21 61 Power Blaeser 121 5 28 Strat E Gitarre 121 15 61 Blaeser Expr 121 25 27 Clean E Gitarre 121 17 61 Film Blaeser 121 10 27 L amp R EGitarre 2 121 18 61 Langsame Blaeser 121 7 28 Rhythmus E Git 121 19 61 Fanfare 121 19 28 Muted E Gitarre 121 5 63 Synth Blaeser 2 Ta 2 2 pore 121 3 63 Blaeser Flaeche 121 7 30 Solo Dist E Git 121 8 55 Synth Hit 3 121 12 30 Dist Steel Git Legacy Sar 121 3 30 Joystick Git Y 121 5 66 Folk TenorSax Legacy Streich amp Chor 121 2 67 Live BaritonSax 121 21 48 Streich Ens 1 121 1 65 Club AltoSax 121 3 49 i Streich ENE 121 3 66 Live TenorSar 2 t 2 a8 I3 Streicher 121 3 65 Balladen AltoSax 121 3 48 Stereo Streicher 121 4 65 AltoSax Growl 121 2 EE 121 2 66 Weiches Tenorsax 121 8 48 N264 Streicher 121 4 66 TenorSax Growl 121 7 48 Arco Streicher Legacy Holzblaeser 121 4 48 Legato Streicher 121 7 71 Folk Klarinette 121 3 45 Doppel Streicher 121 9 73
229. Kit 121 11 16 VOX Legende 120 0 60 SFX Kit 1 121 5 17 M1 Orgel 120 0 57 SFX Kit 2 121 7 18 JazzOrgel alt Legacy Piano 121 12 16 Arabische Orgel la 2 plana 121 24 16 Theater Orgel 3 121 2 1 Piano amp Flaeche1 121 25 16 Theater Orgel 4 LUN NES T BINGBRIBECHER 121 26 16 Tibia Register 121 2 2 _ 1920er Piano 121 27 16 Tibia 16 8 4 121 4 2 EE Fiano 121 28 16 Tibia amp Vox 121 gt ChorusFiano 121 29 16 PostHorn Tremolo 12l 3 6 _ CGembalo le RX 121 31 16 Tibia amp Kinura 121 ii 6 Cembalo Korg 121 32 16 Tibia Vox Glocke 121 e 7 Clavinet 1 121 6 17 Techno Org Bass 121 4 7 Synth Clavinet d Legacy Gitarre Legacy E Piano 121 4 24 BossaNova Git w z 5 Klass E Piano 1 121 10 24 Nylon Vel Harm 2 2 stereo Dig EF 121 6 24 Flamenco Gitarre 124 BR 5 EME Pianoa 121 15 24 nylon Gitarre 1 12i 8 e Beine Nyord 121 9 24 Brazil Gitarre 12 19 E 121 9 25 Folk Gitarre B Weiheswumy 121 7 24 Guitar Strings Advanced 198 Factory data Sounds Bank order ccoo CC32 PC Sound Name ccoo CC32 PC Sound Name 121 7 25 FingerGit
230. LFO modulation depth Amt 100 1100 Sets the modulation amount of the LFO modulation depth High Low Split 1 100 Sets the frequency split point Point ii between the low and high range Feedback _100 100 Sets the feed back amount of the chorus block Sets the high range damping High Damp 0 100 amount of the chorus block Low Level 0 100 Sets the low range output level High Level 0 100 Sets the high range chorus output level Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Table Dynamic Modulation Sic Off Tempo Sources on page 106 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 Effects 125 rus Flanger and Phaser Cho Fln Phaser 33 St Biphase Mod 34 Multitap Cho Delay Stereo Biphase Modulation Multitap Chorus Delay This stereo chorus effect adds two different LFOs together You This effect has four chorus blocks with a different LFO phase can set the Frequency and Depth parameters for each LFO indi You can create a comple
231. LS L Rotor Noise LS R H Organ Leakage H Organ 2nd Harmonic H Organ Click Kon H Organ Click Koff ON Click Organ OFF Click Organ Pipe Flute L Pipe Flute R Pipe Positive Pipe Mixture Pipe Full 1 L Pipe Full 1 R Pipe Full 2 E Organ Church Music Box Music BoxLP Kalimba Kalimba GM Marimba MarimbaLP Xylophone Balaphone Vibraphonel VibraphonelLP Vibraphone2 Celesta Celesta GM CelestaLP Glockenspiel GlockenspielLP Tubular Bell Log Drum Steel Drum Hard Steel Drum GM Steel Drum HardLP Gamelan FM Bell Flute Flute Falls Flute Gliss Up Flute Gliss Down 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 Flute Frull Flute Voice Flute Jazz Flute Vibrato Flute Attack p Flute Attack f Piccolo Pan Flute Pan Flute Attack Tin Whistle Tin Whistle Voice Tin Whistle Attack Whistle Gliss Whistle No Vibr Whistle Sfz Vibr Whistle Sfz No Vibr Whistle Slow Atk Vibr Whistle Breath Shakuhachi Shakuhachi Atk Shakuhachi Mid Shakuhachi High Bottle Bottlizer Shanai GM Recorder Ocarina Clarinet 1 Vibrato p Clarinet 1 Vibrato f Clarinet 1 GlissUp Clarinet 1 Fall Clarinet 2 Clarinet 3 DoubleReed M1 Oboe 1 Vibrato Oboe 2 Straight Oboe key noises Oboe get a breath English Horn Bassoon Baritone Sax mf Baritone Sax f Baritone S
232. Left Chorus Flanger Normal LFO Tri Sine o FX Amt Phaser Normal g i 2 Output Mode i Output Mode Feedback Wet Invert Rssonance Wet Invert Cho Fing FX Amt Phaser FX Amt Righte i xax o Right o H FX Amt FX Amt LFO Tii Sine P4EQ Trim 0 100 Sets the parametric EQ input level a E Trim 0 100 Sets the parametric EQ input level B1 Cutoff z 20 1 00k Sets the center frequency of Band 1 0 5 10 0 18 18 Sets the bandwidth of Band 1 Sets the gain of Band 1 E B1 Cutoff Hz 20 1 00k Sets the center frequency of Band 1 Q Gain dB 0 5 10 0 18 18 Sets the bandwidth of Band 1 Sets the gain of Band 1 B2 Cutoff S 50 5 00k Sets the center frequency of Band 2 0 5 10 0 Sets the bandwidth of Band 2 Gain dB 18 18 Setsthe gain ofBand 2 E B2 Cutoff Hz 50 5 00k Sets the center frequency of Band 2 Q 0 5 10 0 Sets the bandwidth of Band 2 Gain dB 18 18 Sets the gain of Band 2 EIB3 Cutoff Hz 300 10 00k Sets the center frequency of Band 3 Q 0 5 10 0 Sets the bandwidth of Band 3 Gain dB 18 18 Sets the gain of Band 3 E B3 Cutoff Hz 300 10 00k Sets the center frequency of Band
233. Legacy Blech Ensemb 121 2 71 Ethn Klarinette1 Factory Welt 121 4 63 Synth Blaeser 5 Factory Synth Flaeche 121 3 71 Holzblaes Sekt 1 Factory Holzblaeser 121 5 63 Synth Blaeser 2 Legacy Blech Ensemb 121 4 71 Holzblaes Sekt 2 Factory Holzblaeser 121 0 64 Sopran Sax GM GM2 XG Holzblaeser 121 5 71 Klarinetten Ens Factory Holzblaeser 121 1 64 Sopransax 1 Factory Sax 121 6 71 Holzblaes Sekt Factory Holzblaeser 121 2 64 SopranSax Pro Factory Sax 121 7 71 Folk Klarinette Legacy Holzblaeser 121 3 64 Sopransax 2 Factory Sax 121 8 71 Klarinette Pro 1 Factory Holzblaeser 121 4 64 Sopransax 3 Factory Sax 121 9 71 Klarinette Pro 2 Factory Holzblaeser 121 0 65 Alto Sax GM GM2 XG Holzblaeser 121 10 71 Reeds amp Saxes Factory Holzblaeser 121 1 65 Club AltoSax Legacy Sax 121 11 71 Ethn Klarinette2 Factory Welt 121 2 65 Sax Ensemble Factory Sax 121 12 71 Ethn Klarinette3 Factory Welt 121 3 65 Balladen AltoSax Legacy Sax 121 13 71 Klarinette DNC Factory Holzblaeser 121 4 65 AltoSax Growl Legacy Sax 121 14 71 Real Klarin DNC Factory Holzblaeser 121 5 65 Studio AltoSax Factory Sax 121 15 71 Jazz Klarin DNC Factory Holzblaeser 121 6 65 Studio AltoSax Factory Sax 121 16 71 Solo Klarin DNC Factory Holzblaeser 121 7 65 Weiches AltoSax Factory Sax 121 17 71 Klar amp Sax Ens 1 Factory Holzblaeser 121 8 65 AltoSax Pro Factory Sax 121 18 71 Klar amp Sax Ens 2 Factory Holzblaeser 121 9
234. 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 see warning in CV Length Chord Variation Length below However if you press START STOP to begin recording the real Rec Length value is changed to the new one even if the display still shows the old value CV Length Chord Variation Length gt PAD This parameter sets the total length up to 32 measures for the selected Chord Variation When playing a Style this will be the length of the accompaniment pattern when the chord corre sponding to the Chord Variation is recognized on the keyboard Warning If you reduce the Chord Variation Length after recording any measure after the selected length will be deleted Be very careful when setting the CV Length to a lower value after recording If it happens we suggest to exit from record without saving see Exit from Record on page 46 Metro Metronome This is where you can set the metronome Off No metronome click will be heard during record ing In any case a one bar precount will be played before starting recording Onl Metronome on with a one bar precount before starting recording On2 Metronome on with a two bar precount before starting recording Tempo Select this parameter to use TEMPO controls to set the tempo Note This value
235. Low Perc 1141 Dumbek b Low Perc 1194 WD Kangaroo6 SFX 1247 MEI Davul Hi Perc 1142 Dumbekc Low Perc 1195 WD Kangaroo7 SFX 1248 M E 1 Hollo1 Low Perc 1143 Dumbek d Low Perc 1196 WD Kangaroo8 SFX 1249 M E 1 Hollo2 Low Perc 1144 Dumbeke Low Perc 1197 Tambourine Push Hi Perc 1250 M E 1 Kup1 Low Perc 1145 Dumbekf Low Perc 1198 Tambourine Pull Hi Perc 1251 M E 1 Kup2 Low Perc 1146 Dumbekg Low Perc 1199 Tambourine Acc1 A Hi Perc 1252 M E 1 Ramazan Davul1 Low Perc 1147 Dumbekh Low Perc 1200 Tambourine Acc1 B Hi Perc 1253 M E 1 Ramazan Davul2 Low Perc 1148 Dumbeki Low Perc 1201 Tambourine Acc2 Hi Perc 1254 M E 1 Ramazan Davul3 Low Perc 1149 Dumbekj Low Perc 1202 Tambourine Mute1 Low Perc 1255 M E 1 Tef1 Hi Perc 1150 Dumbekk Low Perc 1203 Tambourine Mute2 Low Perc 1256 M E 1 Tef2 Hi Perc 1151 Djembe L Basstone a Low Perc 1204 Tambourine Open Low Perc 1257 M E 1 Tef3 Hi Perc 1152 Djembe L Basstone b Low Perc 1205 M E 1 Douf Rim Ak Low Perc 1258 M E 2 BD Kick Bass Drum 1153 Djembe L Basstone c Low Perc 1206 M E 1 Douf Tek Ak1 Low Perc 1259 M E 2 SD Snare Drum Factory data 233 Drum Samples
236. M2 XG Orgel 121 4 22 Harmonika AT 2 Factory Akkordeon 121 2 19 Verst Kirch Org GM2 XG Orgel 121 5 22 Harmonika DNC Factory Akkordeon 121 3 19 Kirch Org Mixtur Factory Orgel 121 6 22 Jazz Harm DNC Factory Akkordeon 121 4 19 Kirchenorgel Factory Orgel 121 7 22 Chrm Harm DNC Factory Akkordeon 121 5 19 Volles Werk Factory Orgel 121 8 22 Melodica DNC Factory Akkordeon 121 6 19 Kirch Org Tutti1 Factory Orgel 121 0 23 Tango Akkord GM GM2 XG Orgel 121 7 19 Orgel Positiv 1 Factory Orgel 121 1 23 Tango Akkordeon Factory Akkordeon 121 8 19 Kirch Org Tutti2 Factory Orgel 121 2 23 Akkordeon 16 8 Factory Akkordeon 121 9 19 Kirch Org Tutti3 Factory Orgel 121 3 23 Akkordeon 16 8 4 Factory Akkordeon 121 10 19 Kirch Org Tutti4 Factory Orgel 121 4 23 Akk 16 8 amp Bass Factory Akkordeon 121 0 20 Zungenst Org GM GM2 XG Orgel 121 5 23 Akkordeon Bass Factory Akkordeon 121 1 20 Harmonium GM2 XG Orgel 121 6 23 Akk Klappen Factory Akkordeon 121 2 20 Orgel Positiv 2 Factory Orgel 121 7 23 Akkordeon 16 4 Factory Akkordeon Advanced 206 Factory data Sounds Program Change order
237. MATOR D Pre LPF Off On Turn the harmonic noise caused by lowered sampling on and off High Damp 96 0 100 Sets the ratio of high range damping D Sampling Freq Hz 1 00k 48 00k Sets the sampling frequency Resolution D Output c Level 4 24 Sets the data bit length Sets the decimator output level COMPRESSOR C d Sensitivity 1 100 Sets the sensitivity C Attack 1 100 Sets the attack level Output Level 0 100 Sets the compressor output level Routing Decimator Comp Comp Decimator Switches the order of the decimator and compressor Wet Dry Dry 1 99 99 1 Wet Balance between the wet and dry signal Src Off Tempo Table Dynamic Modulation Sources on page 106 100 100 Amount of modulation source FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left S KC Amt Amp Simulation Tremolo Amp Simulation Filter gt Tremolo Right i o Be Amt LFO Tri Sin Vintage Up Down gt LFO Shape AMP SIM a celula SS EL84 6L6 Selects the type of guitar amplifier TREMOLO Triangle Sine Mir i Vintage Up Selects the LFO Waveform b Down Changes the curvature of the LFO LFO Shape 100 100 Waveform c TILFO 0 02 20 00 Sets the speed of the LFO Frequency Hz d T
238. MF file Select Touch this button to open the file selector and load the SMF Initialize Check this parameter if you want all settings of the target Style Element ie Key Chord Chord Table Sounds are reset when loading the SMF Hint It is a good idea to check the Initialize parameter when importing the first Chord Variation of a Style Element and uncheck it when importing the following Chord Variations To E CV Use this parameter to select a target Chord Variation Execute After setting all parameters in this page touch this button to import the Standard MIDI File into the target Chord Variation Importing an SMF separated by Markers into a Style As an alternative to importing single Chord Variations you can import a whole Style as an SMF separated by Markers i e a sin gle SMF containing all the Chord Variations Variation 1 Varia tion 2 etc each one separated by a Marker the same events used in Song Play mode 1 While in this page touch the Select button and choose the Standard Midi File to be imported 2 Keep the SHIFT button pressed 3 Without releasing the SHIFT button touch the Execute button in the display 4 Release the SHIFT button When creating a new Style we suggest to check the Initialize checkbox Do not check it if the SMF you are loading was previ ously exported from a Style to be edited in this case it is very important to keep all the previous settings
239. Mode FX Amt Right P Aiie mE De DECIMATOR D Pre LPF Off On Turn the harmonic noise caused by lowered sampling on and off High Damp 26 0 100 Sets the ratio of high range damping D Sampling Freq Hz 1 00k 48 00k Sets the sampling frequency Resolution 4 24 Sets the data bit length D Output Level AMP SIM 0 100 Sets the decimator output level q AlAmplifier Type SS EL84 6L6 Selects the type of guitar amplifier Routing Wet Dry Decimator Amp Amp Decimator Dry 1 99 99 1 Wet Switches the order of the decimator and amp simulation Balance between the wet and dry signal Off Tempo Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source Advanced Effects Mono Mono Serial Mono Mono 168 115 Decimator Comp Decimator Compressor This effect combines a mono decimator and a compressor You can change the order of the effects FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out 116 AmpSim Tremolo Amp Simulation Tremolo This effect combines a mono amp simulation and a tremolo Left E m Fu Amt louting Decimator KY wx Compressor Resolution Output Level ON Pj Decimator LZ Comp Pre LPF High Damp Output Level Right i Envelope Control I
240. Mode This parameter determines how the Damper pedal works 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 Hint Set the Damper to Damper Off if you plan to use the selected Oscillator in the Damper Trigger page to trigger sounds Check the Sound Harmon ica DNC and see how the Damper Trigger is used Resonance Halo The Damper pedal enables a multisample nor mally 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 parame ters 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 sug gested for solo piano playing Note Half pedaling as well as Damper messages received via MIDI as Control Change 64 con trol the level of the Resonance Halo effect This mode acts as the Normal mode but also enables the Damper pedal effect when the pedal is pressed after the note has been released Note Off In this case the Damper effect starts from the current Release level and decays slowly Repedaling Warning Do not use Sounds with the Repedal ing assigned to a
241. Mode Auto or D mod LFO Frequency Hz 0 02 20 00 Sets the speed ofthe LFO Src Off Tempo Selects a modulation source for LFO speed 20 00 Sets the modulation amount of LFO 20 00 speed When this is on the LFO speed is set MIDI Sync Off On by BPM Base Note and Times instead of Frequency Amt MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this 300 00 individual effect Selects the type of notes that specify the LFO speed Base Note LAN Sets the number of notes that Times x1 332 specify the LFO speed Sets the output level of the effect Output Level 0 100 sound Selects the modulation source that are Off Tempo will control the effect output level Sets the modulation amount of the Amt 100 100 effect output level Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Table Dynamic Modulation Src Off Tempo sources on page 106 100 100 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 nuances of the wah effect Advanced 114 Effects EQ and Filters EQ Filter 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
242. O speed Times Sets the number of notes that specify the LFO speed Step Base Note Selects the type of notes to specify the LFO step speed Times Sets the number of notes to specify the LFO step speed Depth Feedback 100 100 Sets the depth of LFO modulation Sets the feedback amount High Damp 0 100 Sets the feedback damping amount in the high range Wet Dry Wet 1 99 Dry 99 1 Wet Off Tempo Balance between the wet and dry signal Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source 40 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 Stereo In Stereo Out Left o y gt o fe Amt e V Flanger F i 2 Feedback i High Damp gt Flanger TR A Amt L Dly Bottom Sets the lower limit of the left msec 0 0 50 0 channel delay time a L Dly Top on enn Sets the upper limit of the left msec SECHS channel delay time R Dly Bottom 0 0 50 0 Sets the lower limit of the right b msec Ag NT channel delay time R Dly Top on enn Sets the upper limit of the right msec DONE channel delay time Determines whether th
243. Off Tempo 100 100 Selects the modulation source o Exciter intensity Sets the modulation amount of Exciter intensity Emphasis Freq 0 70 Sets the frequency to be empha sized Src Selects the modulation source of the frequency to be emphasized Amt Sets the amount of modulation of the frequency to be emphasized Enhancer Delay L msec Sets the delay time for the Enhancer left channel Enhancer Delay R msec Enhancer Depth 0 100 Sets the delay time for the Enhancer right channel Sets the determines to what degree the Enhancer effect is applied Src Off Tempo Selects the modulation source of the Enhancer width EO Trim 100 100 0 100 Sets the modulation amount of the Enhancer width Sets the 2 band EQ input level Pre LEQ Fc Low Mid Low Selects the cutoff frequency low or mid low of the low range equalizer Pre HEQ Fc Pre LEQ Gain dB High Mid High 15 0 15 0 Selects the cutoff frequency high or mid high of the high range equalizer Gain of the Lo EQ Pre HEQ Gain dB 15 0 15 0 Gain ofthe High EQ Wet Dry Dry 1 99 99 1 Wet Balance between the wet and dry signal Src OI Tempo Table Dynamic Modulation sources on page 106 a Exciter Blend 100 100 Amount of modulation source This parameter sets the depth intensity of the Ex
244. Open p Bass Drum 20 BD 26 inch Std f Bass Drum 70 BD Soul5 Long Bass Drum 120 BDOrchestra Open f Bass Drum 21 BD 26 inch Std ff Bass Drum 71 BD Soul6 Bass Drum 121 BD Orchestra muted Bass Drum 22 BD Natural p Bass Drum ss M E E EE 72 BD Dance1 Bass Drum 122 BD Orchestra Bass Drum 23 BD Natural1 mf Bass Drum 73 BD Dance2 Bass Drum 123 BD Orchestra GM Bass Drum 24 BD Natural f Bass Drum 74 BD Dance3 Bass Drum 124 Timpani Bass Drum 25 BD Natural2 p Bass Drum 75 BD House1 Bass Drum 125 SDCrvp Snare Drum 26 BD Natural2 mf Bass Drum 76 BD House2 Bass Drum 126 SDCrv mf Snare Drum 27 BD Natural2 f Bass Drum 77 BD House3 Bass Drum 127 SDCrvf Snare Drum 28 BD Natural2 ff Bass Drum 78 BD House4 Bass Drum 128 SDCrv Rimp Snare Drum 29 BD Pop1 Bass Drum 79 BD House5 Bass Drum 129 SD Crv Rim mf Snare Drum 30 BD Pop2 Bass Drum 80 BD Liquid Bass Drum 130 SD Crv Rim f Snare Drum 31 BD Pop3 p Bass Drum 81 BD Techno1 Bass Drum 131 SD CrvOpen pp Snare Drum 32 BD Pop3 f Bass Drum 82 BD Techno2 Bass Drum 132 SDCrvOpenp Snare Drum 33 BD Pop4 p Bass Drum 83 BD Hip1 Bass Drum 133 SDCrvOpen mf Snare Drum 34 BD Pop4 f Bass Drum E D Pt y S a 84 BD Hip2 Bass Drum 134 SDCrvOpenf Snare Drum 35 BD Pop5 Bass Drum 85 BD Hip3 Bass Drum 135 SD CrvOpRim pp Snare Drum 36 BD Acoustic p Bass Drum 86 BD Hip4 Bass Drum 136 SDCrvOpRim p Snare Drum 37 BD Acoustic mf Bass Drum 87 BD Kick1 Bass Drum 137 SD CrvOpRim mf Snare Drum 38 BD Acoust
245. Orgel 121 1 6 Cembalo Oktave GM2 XG Piano 121 8 16 Jazz Orgel Factory Orgel 121 2 6 Cembalo breit GM2 XG Piano 121 9 16 Gospel Orgel Legacy Orgel 121 3 6 Cembalo Key Off GM2 XG Piano 121 10 16 BX3 Rock 1 V Factory Orgel 121 4 6 Cembalo Korg Legacy Piano 121 11 16 VOX Legende Legacy Orgel 121 5 6 Cembalo 16 RX Legacy Piano 121 12 16 Arabische Orgel Legacy Orgel 121 6 6 Cembalo RX Factory Piano 121 13 16 Gospel Orgel V Factory Orgel 121 0 7 Clavinet GM GM2 XG Piano 121 14 16 Zugriegel Orgel Factory Orgel 121 1 7 Clavinet 2 GM2 XG Piano 121 15 16 Fusslag Tief V Factory Orgel 121 2 7 Wah Clavinet RX Factory Piano 121 16 16 Fusslag Mitte V Factory Orgel 121 3 7 Clavinet 1 Legacy Piano 121 17 16 Fusslag Hoch1 V Factory Orgel 121 4 7 Synth Clavinet Legacy Piano 121 18 16 Zugr Schnell V Factory Orgel 121 5 7 Clavinet RX Factory Piano 121 19 16 Zugr Langsam V Factory Orgel 121 6 7 Synth ClavinetRX Factory Piano 121 20 16 BX3 JazzV Factory Orgel 121 0 8 Celesta GM GM2 XG Mallet amp Bells 121 21 16 BX3 Gospel V Factory Orgel 121 1 8 Celesta Factory Mallet amp Bells 121 22 16 Theater Orgel 1 Factory Orgel 121 0 9 Glockenspiel GM GM2 XG Mallet amp Bells 121 23 16 Theater Orgel 2 Factory Orgel 121 1 9 Sistro Factory Mallet amp Bells 121 24 16 Theater Orgel 3 Legacy Orgel 121 2 9 Glockenspiel Factory Mallet amp Bells 121 25 16 Theater Orgel 4 Legacy Orgel 121
246. Position 87 2 Strings Treble l Il 2 88 2 Strings Treble Il 3 89 2 Strings Treble I Il 4 90 2 Strings Treble Il 5 Choosing a Key Chord for Intro 1 and Ending 1 The pattern is recorded in the key indicated by the Key Chord pair of parameters However this parameter is only used for playback by the Intro 1 and Ending 1 Style Elements All other Style Elements will be played back according to the recognized chord With Intro 1 and Ending 1 both Chord Variation 1 and 2 you can also prefer to enter a chord progression to be played on the lowest MIDI octave C 1 B 1 Chord types are inserted by using velocity values as shown in the following table 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 Playing back the pattern When in Stye Play mode the recorded Guitar pattern is trans posed according to the chord recognized on the keyboard The way it is transposed depends on the programmed pattern with the chosen positions strumming mods etc Style Rec
247. Purpose 7 82 Note Some Control Change messages cannot be recorded directly by using Pa3X integrated controls like the Ribbon Controller All allowed controllers can be assigned to an Assignable Pedal Slider Switch MIDI Control Change messaged inserted by using a software on an external computer are imported when using the import func tion Import Import SMF on page 28 Some controllers are reset at the end of the pattern Advanced 6 Style Record mode Main page Record 1 Main page Record 1 After having pressed the RECORD button and having chosen whether you want to edit an existing Style or create a new one the main page of the Style Record mode appears with the tab Record 1 selected Page sub header Page header Page menu icon Recording STYLE RECORD parameters MT 8 area B ji Rec Length SEXE Pango mm 7 C Length 2 Meter Selected ion Metro vjOff track info Konz Git 2 DNC _F itarre area Key Chord area DRUM PERC oor s Ng Track volume status area Page header This line shows the current operating mode and transposition STYLE RECORD MT 8 Operating mode Master Transpose in name semitones Operating mode name Name of the current operating mode Master transpose Master transpose value in semitones This value can be changed using the TRANSPOSE buttons on the control panel Page menu icon Touch this icon to open the page
248. Release The sound will begin when the note is released The note velocity is read from the Key Off Velocity Key Rel Nat Rel Natural Release The sound will begin when the note is released The note starts from the current volume of the sound If the sound s volume is already at zero this oscillator is not retriggered Sound operating mode 55 Basic Vel Key Zone OSC Off when Sound Controllers are On This mirrors the way Sound Controllers work With this param eter 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 Normal Legato Staccato Cycle 1 Cycle 2 Random After Tocuh Trigger On Y Trigger On Y Trigger On Legato Up and Legato Down trigger modes that can be turned off by using a switch footswitch EC5 pedal or the Joystick programmed as a Sound Controller Basic Vel Key Zone Here you can set a note and velocity range window for the selected oscillator SOUND Basic Basic Pes ese Velocity Zone Here you can specify the velocity range for the selected oscillator Note You cannot set the Bottom Velocity higher than the Top Velocity nor the Top Velocity lower than the Bottom Velocity 0 127 Assigned velocity Keyboard Range Here you can specify the note range for the selected oscillator Note Y
249. SE EE Offset 0 100 Sets the offset of level control 180 180 right LEON eect EE c Attack 1 100 Sets the attack time of level control 62260 Sets the depth of the right LFO d Release 1 100 Sets the release time of level control T modulation e LDelayTime Jon 13600 Sets the delay time for the left L Delay Time oo 19990 Sets the delay time for the left msec as channel msec DEE channel e R Delay Time Ion 13600 Sets the delay time for the right Sets the feedback amount of left msec SS i channel L Feedback 100 100 rn delay g Feedback 100 100 Sets the feedback amount R Delay Time Sets the delay time for the right i i ded 0 10000 e 9 High Damp 96 0 100 pi dal Al amountimthe Sets the feedback amount of right R Feedback 100 100 Setsthe damping amount in the low delay Low Damp 96 0 100 range Wet Sets the width ofth i Balance between the wet and dr ets the width of the stereo image Wet Dry re signal d i Spread 100 100 ofthe effect sound We Table Dynamic Modulation Dry 1 99 99 1 Balance between the wet and dr Src Off Tempo sources on page 106 Wet Dry wa signal d 100 100 Amount of modulation source j Table Dynamic Modulation Src Off Tempo es sources on page 106 b D mod Modulation Amt 100 100 Amount of modulation source When the modulation source is used for control this parameter reverses the left and r
250. STYLE This parameter pair allows you to define the tracks original key and chord type for the current Chord Variation When in Style Play mode this chord will be played back exactly as it was recorded without any NTT processing see above To record just one Chord Variation for a Style Element the sug gested original key chord is maj7 with NTT i Series Be very careful to play the 7th note i e with a Cmaj7th key chord the B to avoid the lack of notes or a bad NTT conver sion when playing different chords Note 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 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 key chord For example if the original key chord for the Accl track is A7th when selecting the Acc track all the remain ing tracks will play on the A7th key chord In the example above you will record the Accl 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 Note This does not apply to Guitar Mode relying on a different rule See Main page Guitar Mode on page 10 for more infoma tion Advanced 8 Style Record mode Main page Record 1 NTT Area NTT Type Table gt STYLE NTTs Not
251. Selects the modulation source channel Src Off Tempo commonly used for LFO speed and R Manu Sets the lower limit of the frequency step speed Bottom 0 100 range for the effect on the right Amt 20 00 Sets the modulation amount of LFO b channel 20 00 speed Sets the upper limit of the frequency R Manu Top 0 100 range for the effect on the right ee Step Freq 0 05 50 00 Sets the LFO step speed channel Amt 50 00 Sets the modulation amount of LFO Determines whether the flanger is 50 00 step speed Sweep Mode EG D mod y RE generator or by the modulation When this is on the LFO speed is set source MIDI Sync Off On py PEM Base Note and Times c Selects the modulation source that q y triggers the EG when EG is selected MIDI MIDI syncs to the system tempo 40 Src Off Tempo for Sweep Mode or modulation BPM 40 00 300 sets the tempo manually for this emp source that causes the flanger to 300 00 individual effect sweep when D mod is selected for Selects the type of notes that Sweep Mode Base Note LW P specify the LFO speed EG Attack 1 100 Sets the EG attack speed Times Sets the number of notes that d specify the LFO speed EG Decay 1 100 Sets the EG decay speed Selects the type of notes to specify Step Base Note the LFO step speed eua e Resonance 100 100 Sets the resonance amount Sets the number of notes to specify Sets the resonance damping Times x1 x32 the LFO step speed f High Damp 96 0 100 amount in the high range Sets the fr
252. Shape 56 St Phaser Trml Stereo Phaser Tremolo LEO Waveform EE EEN This effect combines a stereo phaser and tremolo with linked a Ch th t f the LFO i LFO Shape 100 4100 seen CAE UE ofthe LFOs Swelling phaser modulation and tremolo effects synchro p LFO Phase en mn Sets the LFO phase difference nize with each other creating a soothing modulation effect par degree between the dev andwght ticularly suitable for electric piano ae Frequency 0 02 20 00 Sets the speed of the LFO Stereo In Stereo Out c Sic Off Tempo at a modulation source for LFO Br i fe Sets the modulation amount of LFO gt Phaser Lu d Tremolo Amt speed H Phaser FX Amt 7 When this is on the LFO speed is set Resonance MIDI Sync by BPM Base Note and Times i Phaser FX Amt instead of Frequency Phaser gt Tremolo MIDI syncs to the system tempo 40 SN i N ES 3 BPM 00 300 sets the tempo manually for this 9 FX Amt individual effect LFO Type Selects the type of notes that specify Bh Ba Base Note Si the LEO speed LFO Phase Times Sets the number of notes that specify the LFO speed ina ine type of the tremolo and aser LFOs Depth 0 100 Sets the depth of LFO modulation Phs Trml il Tremolo ec Off Tempo Selects the modulation source of the E Phaser Tremolo Spin
253. T 8 Rec Length 2 Tempo J jJ C Length 2 Meter J Metro x Off Note To access this page a Guitar track must first be selected see Track Type on page 27 of the Users Manual Otherwise the Guitar Mode tab will remain grey not selectable Note When programming a Guitar track from an external sequencer you must be sure the Guitar tracks is associated to the right channel Go to the Global gt MIDI gt MIDI IN Channels page and assign the corresponding Style track usually Acc1 Acc5 to the same channel of the Guitar track on the external sequencer Then go to the Style Record gt Style Track Controls gt Type Ten sion Trigger page and set the track as a track of type Gtr see Track Type on page 27 of the User s Manual Guitar Mode allows to easily create realistic rhythm guitar parts without the artificial unmusical playing typical of MIDI pro gramming of guitar parts Just record a few measures and you will end up with realistic rhythm guitar tracks where each chord is played according to its real position on the guitar and not gen erated by simply transposing a written pattern Recording overview 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 can a play the keys corresponding to the strumming modes b play an arpeggio using t
254. Tempo Severts the aa Stereo Dynamic Delay Response 0 30 mn This stereo delay controls the level of delay according to the LFO Waveform Triangle sine Selects the LFO Waveform input signal level You can use this as a ducking delay that applies OSA 100 1100 Changes the curvature of the LFO delay to the sound only when you play keys at a high velocity or L ape 100 P Waveform only when the volume level is low off On Switches LFO reset off on Stereo In Stereo Out Selects the modulation source that iai 8 M Src Off Tempo resetsthe LFO Wa K f Amt B High Damp Low Damp ge Frequency 0 02 20 00 Sets the speed of the LFO V DEN SL Wf When this is on the LFO speed is set P A essai Spread MIDI Sync by BPM Base Note and Times i i High Damp Low Damp instead of Frequency i Delay NIA HA MIDI syncs to the system tempo 40 Right o ri i H BPM 300 sets the tempo manually for this e EN Amt individual effect Envelope 2 Attack Release iControl Target Selects the type of notes that Threshold Base Note Ts specify the LFO speed Sets the number of notes that Selects from no control output and Times x1 x32 specify the LFO speed Control Target None Out FB o poc H L LFO Phase _180 180 Sets the phase obtained when the Polarity Reverses level control deg we left LFO is reset Threshold 0 100 Sets the level to which the effect is 0 200 Sets the depth of the left LFO b W i applied i modulation
255. This parameter specifies the direction of the effect that AMS1 will have on Decay With positive values of Intensity set ting this parameter to will allow AMSI to lengthen the time and setting it to will allow AMSI to shorten the time With a setting of 0 there will be no effect SI Slope Time Swing This parameter specifies the direction of the effect that AMS1 will have on Slope With positive values of Intensity set ting this parameter to will allow AMSI to lengthen the time and setting it to will allow AMSI to shorten the time With a setting of 0 there will be no effect RI Release Time This parameter specifies the direction of the effect that AMS1 will have on Release With positive values of Intensity setting this parameter to will allow AMS1 to lengthen the time and setting it to will allow AMSI to shorten the time With a setting of 0 there will be no effect AMS2 Alternate Modulation Source 2 This is another alternate modulation source for the Amp EG See above AMS1 parameters LFO LFO1 In this and the next page you can make settings for the LFO that can be used to cyclically modulate the Pitch Filter and Amp of each oscillator There are two LFO units for each oscillator By setting the LFO1 or LFO2 Intensity to a negative value for Pitch Filter or Amp you can invert the LFO waveform Wavefor
256. WEED 4x10 TWEED 4x10 WSO pag Table Sets the modulation amount for Wet Dry on page 107 100 100 Advanced Effects Double Size 174 128 BassTubeAmp Cab Bass Tube Amp Model Cabinet This simulates a bass amp with gain and drive and speaker cab 129 St Mic PreAmp Stereo Mic Modeling PreAmp This is a stereo mic and preamp simulator See Mic Model Pre inet Amp Mic Modeling PreAmp on page 122 For example you might use this to simulate micing of a stereo source such as a FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out rotary speaker FX Amt Stereo In Stereo Out Volume Left o Bass Amp Model2 HI Cabinet Simulator om 3 i i Mic Simulation Tube Pre Amp Drive Output Level Righto o i FX Amt Mic Simulation Tube Pre Amp Der Right FX Amt Selects the type of the amplifier STUDIO A tube combo ideal for the Motown COMBO sound 130 Multitap Cho Delay A 100W tube amp AC100 made b VOXAC100 Vox p S Multitap Chorus Delay UK MAJOR A 200W tub de in the UK S s Sri aleile AN ti This effect has six chorus blocks with different LFO phases You Drive Gain 0 100 Sets the input gain d 1 t b t
257. Warning The older multisample at the same location will be deleted Write Slice dialog box Open this dialog box by selecting the Write command from the page menu while in the Time Slice page In this dialog box you can save the Sound sliced Samples and Multisample generated by the Time Slice function together with the generated MIDI Groove The Sound will be saved to the selected User bank location in the internal non volatile memory The Multisample will be saved to a free location in the same memory Samples will be saved to the internal HD KHD_SYSTEM Note The MIDI Groove is automatically saved n a reserved tem porary location and is automatically deleted when turning the instrument off So import it by using the Import Import Groove function in Style or Pad Record mode see page 27 of teh Users Manual before turning the instrument off Warning The older Sound at the target location will be deleted Write Slice Drum Loop 81 Name To assign a different name to the Sound touch the T Text Edit button to open the Text Edit window Sound Bank Target bank of Sounds Each bank corresponds to one of the SOUND buttons Use VALUE controls to select a different bank Sound Target Sound location in the selected bank Use VALUE controls to select a different location Select Touch this button to open the Sound Select window and select a target location Delete Sample dialog box Open
258. Write command to save any unsaved sample to the internal HD KHD_SYSTEM as a New Sample e KSF is Korgs native sample format used by the Trinity and Triton series of workstations as well as the Pa series arrangers The file name must have the KSF extension e SU is Akai S1000 and S3 is S3000 native sample format e AIFF is the Apple Macintosh preferred format for audio The file name must have the AIF extension e WAVE is the Microsoft Windows preferred format for audio The file name must have the WAV extension Note You can only load samples 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 Note If the sample exceeds the maximum size allowed by the Pa3X 1 048 576 samples corresponding to 1 Megasample either mono or stereo it will be truncated A warning will appear in the display Note Compressed samples have an asterisk next to their name Hint While in this window you can use the Search function allowing for searching a Sample file in the various media See Suchen von Dateien und Musik Ressourcen on page 113 of the Users Manual for more information Sampling operating mode 91 Page menu Import Use the Import command to import complex formats i e sounds multisamples and samples in non native i e non Korg formats SAMPLING Import Type Name a 17 12 1
259. X matrix are the same seen for the Style Play mode see Effects A B FX Configuration on page 130 of the User s Manual SOUND Effects MT 8 DH EE FX Name Use this pop up menu to choose one of the available effects For a list of the available effects see Effects on page 240 Insert FX Drum Family IT Use this pop up menu to choose the Drum Family the cor responding Insert FX is assigned to FX parameters All other parameters in this page are the same seen for the Style Play mode see Effects A B FX Configuration on page 130 in the User s Manual Send to Master Use these parameters to set the level of the Sound signal going from the Insert FX to the Master FXs 0 127 Level of the sent signal Dry Use this checkbox to mix the dry direct Sound signal to the effects Effects IFX 1 In this page you can edit the effect assigned to the Insert FX 1 effect processor See Effects on page 106 for more information Effects Master 1 Reverb In this page you can edit the effect assigned to the Master FX 1 effect processor usually Reverb See Effects on page 106 for more information Effects Master 2 Chorus In this page you can edit the effect assigned to the Master FX 2 effect processor usually Chorus See Effects on page 106 for more information Note When assigning double size effects to Master 2 either Mas ter 3 or the Insert
260. a Time Over L R 100 100 Amount of modulation source a Time Over You can set the delay time up to 2 730msec If the delay time exceeds this limit the error message OVER appears in the dis play Set the delay time parameters so that this message will not You can set the delay time up to 5 460msec If the delay time exceeds this limit the error message OVER appears in the dis play Set the delay time parameters so that this message will not appear Time Over is only a display parameter appear Time Over is only a display parameter 76 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 Left o Stereo In Stereo Out FX Amt ech Input Level D mod Input Level D mod Righto Tapi 1 N Tap2 2 Es Delay fe i Feedback i f Y FX Amt Tempo BPM BPw 3 7 gt Base Note x Times gt Base Note x Times Normal Cross Feedback Cross Pan Cross Pan2 MIDI 40 00 300 00 Switches the left and right delay routing MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect Ti
261. a Chord Variation touch this button to export it as a Standard MIDI File A standard file selector will appear Select the target device and directory then touch Save Page menu Touch the page menu icon to open the page menu Touch a com mand to select it Touch anywhere in the display to close the menu without selecting a command Write Pad When done recording or editing a Pad and you want to save the changes select this command to open the Write Pad dialog box and save the Pad to the internal memory See Write Pad dialog box on page 47 for more information Undo Only available in the Main page of the Pad Record mode and in some Pad Edit pages While in Record mode cancels the latest recorded data and restores the previous situation Selected a sec ond time it restores recorded data again Redo function Delete Pad Track Only available in the Main page of the Pad Record mode Select this command to delete the Pad track Overdub Step Recording Only available in the Main page of the Pad Record mode Select this command to open the Overdub Step recording window see the Style Record chapter in the User s Manual for more informa tion Exit from Record Select this command to exit from Record without saving changes to the Pad Write Pad dialog box Open this window by selecting the Write Pad item from the page menu Here you can save the recorded or edited Pad to memory Write Pad
262. abinet with four 30W 12 speakers Closed back cabinet with four 75W 12 speakers Closed back cabinet with four 30W 12 speakers Air 0 100 Sets the mic position Wet Dry Dry 1 99 99 1 Wet Balance between the wet and dry signal Src OI Tempo Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source Advanced Effects Overdrive Amp models and Mic models OD Amp Mic 120 22 Gtr Cabinet NR This simulates the acoustic qualities of a guitar amps speaker cabinet It also adds a Noise Reduction control 23 St Bass Cabinet Stereo Bass Cabinet This simulates the acoustical character of a bass amps speaker cabinet Stereo In Stereo Out Left o o f FX Amt lu Cabinet Simulator Trim Trim ER Cabinet Simulator Righto y e mi Sets the input level Selects the cabinet type Four 10 speakers LA sound LA 4x10 cabinet MODERN 4x10 Four 10 aluminum cone speakers modern cabinet Four 10 aluminum cone speakers METAL 4x10 modern cabinet CLASSIC 8x10 Eight 10 speakers classic cabinet Four 12 speakers UK manufac UK 4x12 tured cabinet One 15 speaker studio combo STUDIO 1x15 cabinet Cabinet Type One 15 speaker jazz combo JAZZ 1x15 cabinet VOX AC100 2x15 Two 15 speakers cabinet for Vox AC100 Two 15 speakers
263. ack before turning the instrument off Edit menu From any page of the Sampling mode press the MENU button to open the Sampling edit menu This menu gives access to the various Sampling edit sections When in the menu select an edit section or press EXIT to exit the menu and return to the Sample Edit Sample Record page To return to this page you can also select the Sample Edit Sam ple Record menu item SAMPLING Menu Each item in this menu corresponds to an edit section Each edit section groups various edit pages that may be selected by touch ing the corresponding tab on the lower part of the display Sampling operating mode 81 Edit menu Sampling Record This page allows you to record a 16 bit 48kHz stereo or mono sample While in this page you will be able to monitor the input signal The keyboard will not play SAMPLING Channel 1 LI CG ce es T SM Sample Touch this area to open the Choose Sample window and select one of the available samples to be loaded in the editor SAMPLING Humber KAABA Piano mf The window will be automatically closed after selecting Level Use these meters to see the level of the entering signal When the CLIP indicator turns red the signal is too hot Lower it by reduc ing the source output level or by using the GAIN knob on the rear panel of the Pa3X REC Setup Record Mode Use this parame
264. ack amount for the left channel R Delay Base OW Selects the type of notes to specify cap Note SR the right channel delay time Sets the number of notes to specify c Times x1 332 the right channel delay time Feedback _100 100 Sets the feedback amount for the right channel High Damp 94 0 100 Sets the damping amount in the d 9 pU e high range Low Damp 0 100 Sets the damping amount in the low range LFO Waveform Triangle Sine Selects the LFO Waveform Shape _100 100 Changes the curvature of the LFO e Waveform Sets the LFO phase difference LFO Phase 180 180 between the left and right f a Freq 0 02 20 00 Sets the panning speed When this is on the pan LFO speed MIDI Sync Off On is set by BPM Base Note and Times ef instead of Frequency MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this 300 00 individual effect g Selects the type of notes to specify Base Note LAN the delay time for the panning oga speed Sets the number of notes to specify Times x1 x32 the delay time for the panning speed Panning Depth 0 100 Sets the panning width Selects the modulation source for h Sic Off Tempo the panning width Amt 100 1100 Set the modulation amount of the panning width Wet Dry Dy 1 99 99 1 Balance between the wet and dry et signal i Table Dynamic Modulation Sre Off Tempo sources on page 106 Amt 100 100 Amount of modulation source Effects 151 Delay
265. ack 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 60 Pitch Shifter BPM This pitch shifter enables you to set the delay time to match the song tempo FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left FX Amt Input Level High Damp Pitch Shifter Delay H w H pe Post i Feedback Position Feedback Input Level Right Be Amt ja Tenga i i BPM BP Zen Base Note x Times i Slow Medium Switches Pitch Shifter mode Fast Pitch Shift 1 2tone Sets the pitch shift amount in steps 24 424 of a semitone Selects the modulation source of Src Off Tempo pitch shift amount Sets the modulation amount of Amt Ka pitch shift amount Sets the pitch shift amount in steps Fine cents 100 100 61 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 espe cially effective when the effect sound and dry sound output from stereo speakers are mixed
266. actory Gitarre 121 13 24 Nylon Git RX2 Factory Gitarre 121 38 25 Klass 12sait DNC Factory Gitarre 121 14 24 Nylon Slide Pro Factory Gitarre 121 39 25 Klass 12sait RX Factory Gitarre 121 15 24 Nylon Gitarre 1 Legacy Gitarre 121 40 25 Mandoline DNC Factory Welt 121 16 24 Konz Gitarre ST Factory Gitarre 121 41 25 Mandolinen Orch1 Factory Welt 121 17 24 Konzert Gitarre Factory Gitarre 121 42 25 Mandolinen Orch2 Factory Welt 121 18 24 Konz Git 1 DNC Factory Gitarre 121 43 25 Mandoline Factory Welt 121 19 24 Nylon Git DNC Factory Gitarre 121 44 25 Western Git DNC Factory Gitarre 121 20 24 Konz Git 2 DNC Factory Gitarre 121 45 25 6sait Folk DNC Factory Gitarre 121 21 24 Konzert Git Pro Factory Gitarre 121 46 25 12sait Folk1 DNC Factory Gitarre 121 22 24 Konz 12sait RX Factory Gitarre 121 47 25 12sait Folk2 DNC Factory Gitarre 121 23 24 Cavaquinho 1 Factory Welt 121 0 26 Jazz Gitarre GM GM2 XG Gitarre 121 24 24 Cavaquinho 2 Factory Welt 121 1 26 Pedal Steel 1 GM2 XG Gitarre 121 25 24 Ukulele Factory Welt 121 2 26 Club Jazz Git 1 Factory Gitarre 121 26 24 Konz Git 3 DNC Factory Gitarre 121 3 26 ClubJazzGit2 Legacy Gitarre 121 27 24 KonzGit12saitDNC Factory Gitarre 121 4 26 Pedal Steel 2 Factory Gitarre 121 0 25 Western Git GM GM2 XG Gitarre 121 5 26 JazzGit weich Factory Gitarre 121 1 25 12sait West Git GM2 XG Gitarre 121 6 26 JazzGit SlidePro Facto
267. actory Schlagz amp SFX 120 0 101 Standard El 3 Factory Schlagz amp SFX 120 0 103 Entertn Kit 1 Factory Schlagz amp SFX 120 0 104 Entertn Kit 2 Factory Schlagz amp SFX 120 0 105 Std GM Kit RX Factory Schlagz amp SFX 120 0 106 AlpenRock Kit RX Factory Schlagz amp SFX 120 0 107 BigBand Kit RX1 Factory Schlagz amp SFX 120 0 108 2nd Line Kit Factory Schlagz amp SFX 120 0 109 Studio Kit 1 Factory Schlagz amp SFX 120 0 110 Pop Std Kit 3 Factory Schlagz amp SFX 120 0 117 Arabisches Kit 2 Factory Schlagz amp SFX 120 0 118 Tuerkisches Kit Factory Schlagz amp SFX 120 0 119 Oriental PercKit Factory Schlagz amp SFX Factory data Drum Kits 217 ccoo CC32 PC Name Bank ccoo CC32 PC Name Bank 120 0 120 Room Kit 1 Factory Schlagz amp SFX 127 0 0 Standard Kit1 XG GM2 XG Drum 120 0 121 Power Kit 1 Legacy Schlagz amp SFX 127 0 9 Standard Kit2 XG GM2 XG Drum 120 0 122 Electro Kit Factory Schlagz amp SFX 127 0 8 Room Kit XG GM2 XG Drum 120 0 123 Analog Kit Factory Schlagz amp SFX 127 0 16 Rock Kit XG GM2 XG Drum 120 0 124 Vintage El Kit Factory Schlagz amp SFX 127 0 24 Electro Kit KG GM2 KG Drum 120 0 125 Brush Kit 1 Legacy Schlagz amp SFX 127 0 25 Analog Kit XG GM2 XG Drum 120 0 126 ComboBrushKit RX Factory Schlagz amp SFX 127 0 32 Jazz Kit 1 XG GM2
268. ad Here you can copy a Chord Variation from a different Pad Fur thermore you can copy a whole Pad Warning The Copy operation deletes all data at the target loca tion overwrite PAD REC Pad Edit unie este vecos cn oes SSC eri After setting the various parameters touch Execute Note If you copy too many events on the same tick the Too many events message appears and the copy operation is aborted Note When you copy over an existing Chord Variation Program Change data is not copied to leave the original Sounds unchanged for that Chord Variation TS 7 v E gt 9 lt 44 Pad Record mode Pad Track Controls Sound Expression From Pad Choose this option to select the source Pad to copy the Chord Variation from Touch the Select button to open the Pad Select window and select the source Pad From CV Chord Variation Use this parameter to select the source Chord Variation All All Chord Variations i e the whole Pad You can t change the target that is automatically set to All CV1 CV6 Single Chord Variation To CV Chord Variation Use this parameter to select a target Chord Variation inside the current Pad CV1 CV6 Target Chord Variation Automatically set to All if the From CV parameter is also set to All Execute Touch this button to execute the operation set in this page Pad Track Controls Sound Expression In this page y
269. after recording For exam ple when you select 1 8 all notes are moved to the nearest 1 8 division When you select 1 4 all notes are moved to the nearest 1 4 division d DLL JF 1 32 d 1 4 Grid resolution in musical values A b f char acter added after the value means swing quanti zation A 3 means triplet Start End Tick Use these parameters to set the starting and ending points of the range to quantize 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 Bottom Top Note Use these parameters to set the bottom and top of the keyboard range to quantize If you select the same note as the Bottom and TS 7 v E gt 9 lt 20 Style Record mode Style Edit Transpose Top parameters you can select a single percussive instrument in a Drum or Percussion track Note These parameters are available only when a Drum or Per cussion track is selected Execute Touch this button to execute the operation set in this page Track status icon Status of tracks Touch this icon to change the status Play Play status The track can be heard pese Track names Mute status The track cannot be heard Under the buttons a label for each track is shown Style Edit Transpose In this page you can transpose the selected track s Note After transposing please dont
270. age 37 1 12 Maximum transposition in semitones of the track referred to the original key of the Pad pat tern Pad Chord Table This is the page where you can assign a Chord Variation to each of the most important recognized chord When a chord is recog nized the assigned Chord Variation will be automatically selected by the arranger to play the Pad track PAD REC Chord Table Chord Chord Variation PAD Use these parameters to assign a Chord Variation to each of the most important chords Pad Record mode 45 Pad Chord Table Import Import Groove The Import Groove function allows the loading of MIDI Grooves GRV files generated by the Slice function see Time Slice in the Sampling mode By importing these data to the Pad track and assigning the Sound based on the sliced sam ples to the same track you can play the original audio groove and freely change its tempo PAD REC Import From Use this parameter to select one of the MIDI Groove patterns GRV files generated when saving data after a Time Slice operation To CV Chord Variation Use this parameter to select the target Chord Variation Import Import SMF The Import SMF function allows you to import MIDI data from a Standard MIDI File SMF created on your preferred external sequencer and transform them in a Chord Variation PAD REC Import Groove When programming a
271. age and delete it or them Volume area Use these controls to set the volume and status of each track See page 9 for more information The Volume value is the same for the whole Style Use the Expression controls to adjust the relative balance between tracks in each Style Element o 7 v E gt Ki x 26 Style Record mode Style Element Track Controls Keyboard Range Style Element Track Controls Keyboard Range The Keyboard Range automatically transposes any pattern note that would otherwise play too high or too low in pitch com pared to the original acoustic instrument when transposed by the arranger This will result in a more natural sound for each accompaniment instrument For example the lower limit for a guitar is E2 If you play a chord under the E2 the transposed pattern could exceed this limit and sound unnatural A Bottom limit set to E2 for the guitar track will solve the problem Different Keyboard Range values can be set for each Style Ele ment STYLE REC SE Track Ctris C Trk Ace 1 Konz Git 2 DNC F Sitarre 21 020 02 10 fo 0 0 qo 9 9 Top TP DRUM PERC BASS BCC RCC2 ACCS CHE T Note The Keyboard Range is ignored while recording The selected track can play on the full range of the keyboard When in this page press the corresponding button on the control panel to select a Style Element VARIATION ENDINGS To copy the settings of this pa
272. ain of the mid range trigger signal High Offset dB Gain of the high range trigger signal Envelope Select L R Mix LOnly R Only input signal as a trigger Selects the control signal left and right linked left only or right only Src Off Tempo Selects the source that will control the gate when Envelope Src D mod Advanced Effects EQ and Filters EQ Filter 110 Sets the level at which gating is Threshold applied Polarity Attack Switches the polarity of gating 1 100 Sets the attack time 1 100 Release Sets the release time Delay Time msec Sets the delay time for the gate 0 100 input Switches the trigger signal equalizer Side PEQ Insert Off On on off Trigger Off On Switches between monitoring the Monitor d effect output and the trigger signal Side PEQ 20 12 00k Sets the center frequency of the Cutoff Hz equalizer for the trigger signal Sets the bandwidth ofthe equalizer Q 0 5 10 0 for the trigger signal Gain dB 180 4180 Sets the gain of the equalizer for the trigger signal Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Src Off Tempo Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source c Threshold d Attack d Release Threshold specifies the level at which gating occurs when Envelope Select i
273. al Table Dynamic Modulation Src Off Tempo sources on page 106 100 100 Amount of modulation source a LFO Waveform This parameter sets the basic shape of the LFO The Vintage waveform models classic guitar amp tremolo Tremolo LFO Waveform Triangle Sine Vintage Up Down VATA LLL 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 Advanced 136 Effects Modulation and Pitch Shift Mod P Shift 53 Classic Tremolo 54 St Env Tremolo This models the highly acclaimed tremolo circuit that was built Stereo Envelope Tremolo into a US made combo amp The Spread setting lets you create a This effect uses the input signal level to modulate a stereo trem pan effect that wavers between left and right olo LFO volume modulation For instance you can create a EE tremolo effect that becomes deeper and faster as the input gets Left o Aa more quiet Wet Dry Tremolo Stereo In Stereo Out Left o gt 3 i FX Amt i Tremolo Tremolo H Ir FT N Right ij o warda gt Tremolo LEO ee ii 7 i N ird Ps Amt LFO Phase UFO Tri Sin Vintage LFO Shape 4 x
274. alue may change This parameter also shows the greyed out so non editable CC 11 Expression event at the beginning of the pattern and the End Of Loop marking when the end of a track is reached To change the event type select the Type parameter then use the VALUE controls to select a different event type A set of default values will be automatically assigned to the event To select and edit the events value select the corresponding parameter and use VALUE controls Length Length of the selected Note event The value format is the same as the Position value This is only available for Note events Note If you change a length of 000 00 000 to a different value you cant go back to the original value This rather uncommon zero length value may be found in some drum or percussion tracks Scrollbar Use the scrollbar to browse the event through the list As an alternative use Shift Dial Other elements Track pop up menu Use this pop up menu to select the track to edit inside the cur rent Chord Variation Drum Acc5 Style track Go Meas While the Style is not running touch this button to open the Go to Measure dialog box Go to Measure 5 u G 6 gt Kl lt 18 Style Record mode Event Edit Event Edit When in this dialog box select a target measure and touch OK The first event available in the target measure will be selected Insert Touch the
275. ame functions of the control panel buttons STS2 i with the same name STS3 STS4 STS Up Selects the next STS STS Down Selects the previous STS Perform Up Selects the next Performance Assignable parameters 247 List of EC5 functions Function Meaning Function Meaning Perform Down Selects the previous Performance Chord Latch Holds the recognized chord until the pedal is released Style Change Style number Sound Up Selects the next Sound Sound Down Selects the previous Sound Transpose Down Transpose Up Upper Octave Up Upper Octave Down Same functions of the control panel buttons with the same name Chord Latch Damper Holds the recognized chord until the pedal is released and sustains the tracks where the Damper has been turned on Punch In Out Turns Punch Recording on off Style Upper1 Mute Glide When the pedal is pressed affected notes on Upper tracks are bent down according to set tings for the Pitch Bend on the same tracks When the pedal is released notes return to the normal pitch at the speed defined by the Time parameter see Glide on page 211 of the User s Manual Style Upper2 Mute Audio In Mute Style Upper3 Mute Style Lower Mute Style Drum Mute Microphone Talk Mic Lead On Off Style Percussion Mute Mic Harmony On Off Style Bass Mute Mic Double On Off
276. ameter becomes visible when the Gate has been switched to Manual The Threshold defines the minimum singing level you need to reach in order for the Gate to open and let your voice sound The factory default set ting 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 adjust ment from 39 dB and upward may be needed Voice Processor Setup Talk This page is where you can set the Talk function to be used to address the audience speaking over the background music Parameters contained in this page are relative and are used to attenuate the music when speaking EJEA Tone E After editing you can save the Talk settings in memory by choosing the Write Global Voice Processor Setup command from the page menu see page 230 of the User s Manual Talk Talk On Off gt GBLTK On off switch for the Talk function This is the same switch you can find in the Mic panel of the Style Play and Song Play modes This parameter is automatically set to off when turning the instru ment off Note When you deactivate the Talk function the Voice Processor Preset is recalled Any unsaved change to the Preset will be lost Mode Auto AutoTalk gt GBL When this parameter is checked the Talk function automatically engages when the Player or Arranger is stopped This way you can talk to the a
277. aming structure for the Markers inside the SMF is EnCVn whose single 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 oth ers Warning It is mandatory not to use capital letters in Marker names Some examples of valid names ilcv2 Introl Chord Variation 2 v4cv3 Variation 4 Chord Variation 3 Examples of non accepted names Vi1cv2 vICV2 intro ilcv2 v1cv1 chorus The order of the Chord Variations inside the SMF is not relevant They can be freely placed inside the SMF At the end of this page you can find a screenshot ofa test file cre ated in Steinberg Cubase just as an example of how a SMF sepa rated by Markers can look like Considering analogies between actual workstations it will not look much different in other applications like Logic Digital Performer Pro Tools or Sonar 57 Iv2cv2 3 v3cv2 ice lorc je1cv2 je2cv1 Je2cv2 e3cv1 4cv2 2 le3cva icv1 f3cv2 lv3cvi dc 12 AH 16 az 125 126 27128 i Perc Perci F FI o 7 u E gt Ki x 30 Style Record mode Export SMF Export SMF The Export SME function a
278. ample a set ting of 50 will vary the delay time between 15mS and 5mS at the rate set by the Speed parameter Delay L R gt GBL Sets the left and right delay times Up to 50 ms of delay is avail able on the left and right delay lines to create effects from flange to slapback Feedback L R gt GBL P Re introduces a portion of the audio output signal of the uMod block back to the input to create flanges tube and chorus effects Values above 90 add a high amount of gain and cause distortion and higher audio levels Lead Level gt GBLYPP Level of the Lead voice mixed with the effect Voice Processor Preset Delay 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 slowly or build on themselves In addition there are filtering and stereo controls that allow you to create many popular delay sounds 174 Note Tape Saak ban Delays can be typically be categorized into the two listed catego ries 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 Delay On Off GBLYPP This button allows enabling disabling of the Delay block It is the same control found in the Easy Preset page Set gt GBL Use the soft knob assigned to this parameter to choose a pre
279. and a phaser You can Phaser change the order of the effects Left FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out __ Compressor EQTrim LEQ HEQ N Phaser fu Amt Routing gt H CHcompl 4 Righte x Output Level Normal Output Mode Resonance Wet Invert iPhaser FX Amt I Amt i L Envelope Control UFO Tri Sine COMPRESSOR 99 Comp Mt Delay Compressor Multitap Delay This effect combines a mono compressor and a multitap delay You can change the order of the effects FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Multitap Delay EQTrim LEQ HEQ gt H lt Comp ot Feedback Mt Diy FX Amt Left gt o Routing GE Amt Compressor KY wx Right ta Envelope Control i o FX Amt COMPRESSOR C Sensitivity Sets the sensitivity C Sensitivity Sets the sensitivity C Attack Sets the attack level Output Level C EQ Trim 0 100 Sets the compressor output level Sets the EQ input level C Attack Sets the attack level Output Level Sets the compressor output level CEO Trim Sets the EQ input level C Pre LEQ Gain dB 15 15 Sets the gain of Low EQ Pre HEQ Gain dB 15 415 Sets the gain of High EQ BT Sets the ga
280. and non selectable This is useful when assign ing to the oscillator a noise like the breath noise of a reed with a fixed frequency that must not change on different notes and different pitches Highest Pitch Bend only On this oscillator Pitch Bend is only activated on the highest note currently playing on the key board Sound operating mode 61 Pitch Pitch Mod Lowest Pitch Bend only On this oscillator Pitch Bend is only activated on the lowest note currently playing on the key board Ribbon to Pitch Pitch Bend range assigned to the Ribbon Controller 12 0 12 Maximum bending when touching the extreme left or right of the Ribbon Controller JS X This parameter specifies how the pitch will change when the joy stick is moved all the way to the right 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 60 12 Maximum pitch change in semitones JS X This parameter specifies how the pitch will change when the joy stick is moved all the way to the left 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 tremolo arm 60 12 Maximum pitch cha
281. ange gain of trigger signal Mid Offset dB Sets the mid range gain of trigger Src Off Tempo Mid Shape 0 36 damper effect Sets tonal quality of effect sound Sets the mid range of tonal quality Tune 50 50 Fine tuning Dry 1 99 99 1 Wet Dry Wet Balance between the wet and dry signal signal High Offset Sets the high range gain of trigger dB NO signal Gain Adjust dB Sets the output gain Selects the modulation source for Sic Off Tempo the output gain Sets the modulation amount of the Amt 63 63 output gain Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Table Dynamic Modulation Sources on page 106 Src Off Tempo 100 100 Amount of modulation source Table Dynamic Modulation Src Off Tempo sources on page 106 100 100 Amount of modulation source 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 modulation 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
282. ap Bass 1 ale Sl 121 6 37 Slap Bass 2 121 0 0 Akustik Piano GM 121 7 37 Slap Bass 3 121 1 0 Ak Piano breit 121 3 37 Dyna Slap Bass 121 2 0 Ak Piano warm 121 4 37 Chorus Slap Bass 121 0 1 PianoBrillant GM 121 5 32 Ak Bass DarkWood 121 1 1 mane brillant 121 11 33 E Bass mittig qal 9 2 EFluegel GM 121 6 35 Tiefton Bass 2 121 1 2 E Fluegel breit 121 4 35 R amp B Bass warm1 121 0 3 Honky TonkGM 121 2 37 Dyna Bass 121 1 3 Honky Tonk breit 121 9 34 Ticktacing Bass 1al 2 4 RE 121 7 35 Fretless Bass 3 121 1 4 Verst E Piano 1 121 5 33 Stick Bass 121 2 4 E Piano Vel Mix 121 5 35 R amp B Bass warm2 121 3 5 130067 E Piang 121 13 39 Auto Pilot Bass 121 j 9 a E Planga GM 121 14 39 Synth Funk Bass P 1 i Vesi Ran 121 16 38 Octave Bass 121 2 5 E Piano Vel Mix 121 11 39 Monofilter Bass LE MES gt BPianolegende Advanced 200 Factory data Sounds Bank order ccoo CC32 PC Sound Name ccoo CC32 PC Sound Name 121 4 5 Phaser E Piano 4 121 0 28 Muted E Git GM 121 0 6 Cembalo GM 121 1 28 Funky Cut E Git 121 1 6 Cembalo Oktave 121 2 28 Mute Vel E Git 121 2 6 Cembalo breit 121 3 28 Jazzy E Gitarre 121 3 6 Cembalo Key Off 12
283. apo over the fingerboard i e I corresponds to the first fret II to the second o Diagram The diagram shows how a chord would be composed on the fin gerboard Here is the meaning of the various symbols Red dot White dot Fingered string i e played note 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 Advanced 14 Style Record mode Style Record procedure Style Record procedure There are two different methods for recording a Style Realtime and Step Realtime Recording allows you to record Style patterns in realtime Step Recording allows you to create a new Style by entering single notes or chords in each track This is very useful when transcribing an existing score or needing a higher grade of detail and is particularly suitable to create drum and percussion tracks In addition you can program a Style on a personal computer and then import it via the Import function see Import Import SMF on page 28 Preparing to record N wc u d a 10 If you like to edit an existing Style select that Style Press the RECORD button to enter the Style Record mode You are prompted to select either the Current Style or a New Style Select Record Edit Current Style if you want to edit the current Style or make a new Style starting from an existing one
284. ar amp Sax Ens 1 121 8 89 Analog Flaeche1 121 18 71 Klar amp Sax Ens 2 121 9 89 Analog Flaeche2 121 4 74 Panfloete 1 DNC 121 12 89 OB Flaeche 121 5 74 Panfloete 2 DNC 121 13 89 Dunkle Flaeche2 121 13 71 Klarinette DNC 121 14 89 Symphon Flaeche 121 13 73 Jazz Floete DNC 121 5 91 Future Flaeche 121 6 78 Tinwhistle DNC 121 1 97 AirCloud Flaeche 121 12 73 Orch Floete DNC 121 3 97 Tinklin Flaeche 121 5 78 Pfeifen DNC 121 4 97 Pod Flaeche 121 1 76 Flasche geblasen 121 7 95 Sweep Flaeche 121 1 70 Fagott 121 5 89 Money Flaeche 121 21 71 Piccolo 121 6 91 Tsunami Flaeche 121 1 79 Okarina 121 8 91 Ravel Flaeche 121 2 73 Floete Switch 121 2 95 Meditat Flaeche 121 10 73 Jazz Floete RX 121 4 90 SuperSweep Synth 121 1 73 Jazz Floete Expr 121 5 90 Wave Sweep Synth 121 3 73 Floete Dyn 5th 121 6 90 CrossSweep Synth 121 4 73 Floeten Frullato 121 2 101 Digi Ice Flaeche Factory data Sounds Bank order 195 ccoo CC32 PC SoundName ccoo CC32 PC SoundName 121 5 95 Cinema Flaeche 121 42 25 Mandolinen Orch2 121 1 88 Virtual Flaeche 121 43 25 Mandoline 121 1 96 MotionOcean Synt 121 9 104 Zither 121 5 102 Cycle Flaeche 121 6 25 Hackbrett 121 6 98 Gloeck Flaeche 121 25
285. ar 1 Factory Welt 121 2 119 Becken rueckw Legacy Schlagz amp SFX 121 9 104 Zither Factory Welt 121 0 120 Gtr FretNoise GM GM2 XG SFX 121 0 105 Banjo GM GM2 XG Welt 121 1 120 Gitarren CutNois GM2 XG SFX 121 1 105 Banjo Key Off Factory Welt 121 2 120 Ak Bass Saite GM2 XG SFX 121 2 105 Oud2 Factory Welt 121 3 120 Vox Wah Chick RX Factory Gitarre 121 3 105 Maultrommel Factory Welt 121 0 121 Atemgeraeusch GM GM2 XG SFX 121 4 105 Banjo RX Factory Welt 121 1 121 Floete Klappen GM2 XG SFX 121 5 105 Oud1 Factory Welt 121 0 122 Meeresrausch GM GM2 KG SFK 121 0 106 Shamisen GM GM2 XG Welt 121 1 122 Regen GM2 XG SFX 121 0 107 Koto GM GM2 XG Welt 121 2 122 Donner GM2 XG SFX 121 1 107 Taisho Koto GM2 XG Welt 121 3 122 Wind GM2 XG SFX 121 2 107 Kanoun 2 Factory Welt 121 4 122 Wasserstrom GM2 XG SFX 121 3 107 Kanoun Trem 2 Factory Welt 121 5 122 Blubbern GM2 XG SFX 121 4 107 Kanoun Mix Factory Welt 121 0 123 Vogelzwitsch GM GM2 XG SFX 121 5 107 Kanoun 1 Factory Welt 121 1 123 Bellender Hund GM2 XG SFX 121 6 107 Kanoun Trem 1 Factory Welt 121 2 123 Pferdegalopp GM2 XG SFX 121 7 107 Ac Baglama 1 Factory Welt 121 3 123 Vogelzwitsch 2 GM2 XG SFX 121 8 107 Ac Baglama 2 Factory Welt 121 0 124 Telefon GM GM2 XG SFX 121 9 107 Ac Baglama Grp Factory Welt 121 1 124 Telefon 2 GM2 XG SFX 121 0 108 Kalimba GM GM2 XG Welt 121 2 124 Tuerqu
286. ass ll VI 3 63 2 Strings Bass V VI 2 11 5 Strings Bass ll VI 4 64 2 Strings Bass V VI 3 12 5 Strings Bass Il VI 5 65 2 Strings Bass V VI 4 13 5 Strings Treble V 0 66 2 Strings Bass V VI 5 14 5 Strings Treble V 1 67 2 Strings MiddleBas IV V 0 15 5 Strings Treble l V 2 68 2 Strings MiddleBas IV V 1 16 5 Strings Treble V 3 69 2 Strings MiddleBas IV V 2 17 5 Strings Treble l V 4 70 2 Strings MiddleBas IV V 3 18 5 Strings Treble I V 5 71 2 Strings MiddleBas IV V 4 19 4 Strings Bass IN VI 0 72 2 Strings MiddleBas IV V 5 20 4 Strings Bass IN VI 1 73 2 Strings Middle II IV 0 21 4 Strings Bass IN VI 2 74 2Strings Middle II IV 1 22 4 Strings Bass IN VI 3 75 2 Strings Middle II IV 2 23 4 Strings Bass IN VI 4 76 2 Strings Middle Ul IV 3 24 4Strings Bass ll VI 5 77 2 Strings Middle II IV 4 25 4Strings Middle Il V 0 78 2Strings Middle M IV 5 26 4Strings Middle Il V 1 79 2 Strings MiddleTreble Il II 0 27 4Strings Middle Il V 2 80 2 Strings MiddleTreble Il Hl 1 28 4 Strings Middle Il V 3 81 2 Strings MiddleTreble Il Hl 2 29 4Strings Middle Il V 4 82 2Strings MiddleTreble I Hl 3 30 4Strings Middle Il V 5 83 2Strings MiddleTreble M II 4 31 4 Strings Treble I IV 0 84 2Strings MiddleTreble Il Hl 5 32 4 Strings Treble IV 1 85 2Strings Treble I Il 0 33 4Strings Treble IV 2 86 2 Strings Treble l Il 1 Vel Range from Str to Str
287. ation Stereo In Stereo Out Left gt o fe Amt LEO Step Tri Random o FX Amt LFO Phase LFO Waveform Step Tfi Step Selects the LFO Waveform Source Stereo In Stereo Out Left o o Phaser D FX Amt x i Bt gt Phaser i a Resonance 7 P High Damp gr Resonance gt Phaser i mo DA L igh Damp gt Phaser Right o sA 7 Right o 2 Daran S gt EG Attack Decay zd Sweep Mode D mod Depth 0 100 Sets the depth of LFO modulation Resonance 100 100 Sets the resonance amount High Damp 96 0 100 Sets the resonance damping amount in the high range Wet 1 99 Dry 99 1 Wet Wet Dry Balance between the wet and dry signal Src Off Tempo Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source Sin Random hel limitofthef L Manu Sets the lower limit of the frequency LFO Phase 180 1180 Sets the LFO phase difference Bottom 0 100 range for the effect on the left degree uli between the left and right channel a LFO Frequency Sets the upper limit of the frequency Hz 0 02 20 00 Sets thespeed ofthe LFO L Manu Top 0 100 range for the effect on the left
288. ation set in this page Pad Edit Copy from Style Here you can copy a track from a Style and transform it into a Pad pattern Warning The Copy operation deletes all data at the target loca tion overwrite PAD REC Pad Edit pue faze Jee cut one SCH Copy fm After setting the various parameters touch Execute Pad Record mode 43 Pad Edit Delete All Note If you copy too many events on the same tick the Too many events message appears and the copy operation is aborted Note When you copy over an existing Chord Variation Program Change data is not copied to leave the original Sounds unchanged for that Chord Variation From Style Choose this option to select the source Style to copy the track from Touch the Select button to open the Style Select window and select the source Style From E CV Style Element Chord Variation Use this parameter to select the source Style Element and Chord Variation Varl End2 A single Style Element i e all Chord Variations V1 CV1 E2 CV2 A single Chord Variation From Track Use this parameter to select the source track to copy Drum Acc5 Single track of the selected Style Element or Chord Variation To CV Chord Variation Use this parameter to select a target Chord Variation inside the current Pad CV1 CV6 Target Chord Variation Execute Touch this button to execute the operation set in this page Pad Edit Copy from P
289. ato Depth 1 9 0 1272 Change 40 31 i e the MSB Most Significant Byte and are changed accord B ing to their MSB counterparts Vibrato Decay 1 10 0 127 64 Damper Damper pedal Filter Cutoff 1 32 0 127 65 Portamento Resonance 1 33 0 127 66 Sostenuto Sostenuto pedal EG Attack Time 1 99 e 127 67 Soft Soft pedal B EG Decay Time 1 100 0 127 68 Legato i 1270 69 Hold 2 EG Release Time 1 102 0 127 70 Sustain level Drum Filter Cutoff 20 dab 0 127 2 71 F Res Hp Filter resonance Drum Filter Resonance 21 dab 0 127 72 Release Release time Drum EG Attack Time 22 da 0 127 73 Attack Attack time Drum EG Decay Time 23 dd 0 1978 74 F CutOff Filt toff Brilli S ilter cutoff Brilliance Drum Coarse Tune 24 dd 0 127 2 75 Decay T Decay time Drum Fine Tune 25 da 0 127 2 76 Lfo1 Sp Vibrato speed His 77 Lfo1 Dpt Vibrato depth Drum Volume 26 dab 0 127 78 Lfo1 Diy Vibrato initial delay Drum Panpot 28 dd 0 127 79 FilterEgp Drum Rev Send FX 1 29 dab 0 127 2 80 Gen pc 5 Sound Controller 1 Drum Mod Send FX 2 30 dd 0 127 81 Gen pc 6 Sound Controller 2 E a 64 No change to the original parameter s value U 82 Ve b dd Drum Instrument No 0 127 C0 C8 c 83 Gen pc 8 gt 9 84 Port ctl Note These controls are reset when stopping the Song or choosing Bei 85 90 Undef ctl a new Song 250 Recognized chords Recognized chords The following pages show the most important chords rec
290. ator 49 Doppler 50 Scratch 51 Grain Shifter 52 Stereo Tremolo 53 Classic Tremolo 54 St Env Tremolo 55 Stereo Auto Pan 56 St Phaser Trml 57 St Ring Modulator 58 Detune 59 Pitch Shifter 60 Pitch Shifter BPM 61 Pitch Shift Mod 62 Organ Vib Chorus 63 Rotary Speaker 64 L C R Delay 65 Stereo CrossDelay 66 St Multitap Delay 67 St Mod Delay 68 St Dynamic Delay t 69 St AutoPanningDly a E et 8 3 z 70 Tape Echo x 5 2 71 Classic Tape Echo a EN 72 Auto Reverse p n 73 Sequence BPM Dly x 74 L C R BPM Delay 75 Stereo BPM Delay 76 St BPM Mtap Delay 77 St BPM Mod Delay 78 St BPMAutoPanDly 79 Tape Echo BPM 80 Reverb Hall 81 Reverb SmoothHall 82 Reverb Wet Plate 83 Reverb Dry Plate 84 Reverb Room 85 ReverbBrightRoom 86 Reverb Spring 87 Early Reflections 88 P4EQ Exciter 89 P4EQ Wah 90 P4EQ Cho Flng 91 P4EQ Phaser 92 P4EQ Mt Delay 93 Comp Wah 94 Comp Amp Sim Effects Factory data 241 95 Comp OD HiGain 120 St Mltband Limiter 96 Comp P4EQ 121 PianoBody Damper 97 Comp Cho Fing 122 OD HyperGain Wah 98 Comp Phaser 123 GuitarAmp P4EQ 99 Comp Mt Delay 124 Amp Clean Combo 100 Limiter P4EQ 125 Amp California 101 Limiter Cho FIng
291. ator input Noise Level 0 100 Sets the noise mix level to the Carrier Selects the modulation source for g Src Off Tempo the noise mix level Amt 100 100 Sets the modulation amount for the noise mix level h Modulator 0 100 Sets the high range output level of High Mix i the modulator Sets the low range output level of Low Gain dB 12 12 the vocoder Sets the high range output level of High Gain dB 12 12 the vocoder Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Table Dynamic Modulation j Sic Off Tempo sources on page 106 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 microphone input When programming the Vocoder you can start from one of the specially programmed Vocoder Performances in the Synth Pad bank Page 3 as templates To use a voice from a microphone as a modulator Effects Vocoder 181 1 Connect a microphone to the Mic Input 2 Set Modulator Source to Au
292. attack level Output Level Sets the compressor output level CJEQ Trim Sets the EQ input level C Attack Sets the attack level Output Level HI GAIN Sets the compressor output level C Pre LEQ Gain dB Sets the gain of Low EQ Se Gain Sets the gain of High EQ O Overdrive Hi Switches between overdrive and Drive Mode Gain high gain distortion Drive 1 100 Sets the degree of distortion AMP SIM e AlAmplifier Type SS EL84 6L6 Selects the type of guitar amplifier O Output 0 50 Sets the overdrive output level Level Comp Amp Switches the order of the Routing Amp Comp compressor and amp simulation Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Op Tempo Table Dynamic Modulation sources on page 106 Src Off Tempo Selects the modulation source for the overdrive output level Sets the modulation amount of the 50 50 overdrive output level O Low Cutoff 20 1 00k Sets the center frequency for Low Hz EO shelving type Gain dB 18 18 Sets the gain of Low EQ 100 100 Amount of modulation source O Mid1 Cutoff Sets the center frequency for Mid Hz 300 10 00k High EQ 1 peaking type Q 0 5 10 0 Sets the band width of Mid High EO Gain dB 18 18 Sets the gain of Mid High EQ 1 O Mid2 Cutoff Sets the center frequency for Mid Hz 500 20 00k High EQ 2 peaking type Q 0 5
293. atural 3g Low Perc 846 DJ Vinyl Sliced 23 SFX 899 Conga2 Hi Open Low Perc 794 Claps Natural 3h Low Perc 847 DJ Vinyl Sliced 24 SFX 900 Conga2 Hi Mute Low Perc 795 Claps1 Low Perc 848 DJ Scratch 01 SFX 901 Conga2 Hi Mt Slap Low Perc 796 Claps2 Low Perc 849 DJ Scratch 02 SFX 902 Conga2 Hi Slap1 Low Perc 797 Claps3 Low Perc 850 DJ Scratch 03 SFX 903 Conga2 Hi Slap2 Low Perc 798 Claps4 Low Perc 851 DJ Scratch 04 SFX 904 Conga2 Heel Low Perc 799 Dance Claps1 Low Perc 852 DJ Scratch 05 SFX 905 Conga2 Toe Low Perc 800 Dance Claps2 Low Perc 853 DJ Scratch 06 SFX 906 Quinto1 Open Low Perc 801 Dance Claps3 Low Perc 854 DJHit Rub SFX 907 Quinto1 Closed Low Perc 802 Dance Claps4 Low Perc 855 DJ Vocal Rubi SFX 908 Quinto1 Closed Slap Low Perc 803 Dance Claps5 Low Perc 856 DJ Vocal Rub2 SFX 909 Quinto1 Toe Low Perc 804 Dance Claps6 Low Perc 857 DJBDRub SFX 910 Quinto2 Basstone Low Perc 805 DanceCongalLo Open Low Perc 858 DJSD Rub SFX 911 Quinto2 Open mp Low Perc 806 DanceCongalHi Open Low Perc 859 Guiro Long Low Perc 912 Quinto2 Open Flam Low Perc 807 Dance Tambourine Hi Perc 860 Guiro Short Low Perc 913 Quinto2 Open Slap Low Perc 808 Electric Bongo Low Perc 861 Vibraslap Hi Perc 914 Quinto2 Muffled Low Perc 809 Syn Bongo1 Low Perc 862 Samba Whistle Hi Perc 915 Quinto2 C Slap Flam p Low Perc 810 Syn Bongo2 Low Perc 863 Samba Whistle L
294. ax Growl Baritone Sax GM Tenor Sax p Vib 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 Factory data 219 Multisamples Tenor Sax mf Vib Tenor Sax f Vib Tenor Sax ff Vib Tenor Sax Glissando Tenor Sax Falls Tenor Sax mf Straight Tenor Sax Riff Up Tenor Sax Riff Down Tenor Sax Vibrato Tenor Sax Expressive Tenor Sax mp Tenor Sax mf Tenor Sax Straight Tenor Sax M1 Tenor Sax GM Alto Sax Vibratol Alto Sax Vibrato2 Alto Sax Vibrato2 Drive Alto Sax p Alto Sax mf Alto Sax GM Alto Sax Growl Soprano Sax Vibrato Soprano Sax Straight Soprano Sax GM Sax Family Vibrato Sax key on Sax key off Sax breath Musette 1 Musette 2 Musette 2LP Musette3 L Musette 3R Accordion 16 Accordion 16 OrigTune Accordion 8 Accordion 8 OrigTune Accordion 4 Accordion 4 OrigTune Accordion preset 1 Accordion preset 2 Accordion Bassoon Advanced Accordion Clarinet Accordion Bandoneon 220 Factory data 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 Multisamples Accordion Volkst Accordion Bass Accordion Noise KeyOn Accordion Noise KeyOff Accordion Change Voice
295. b 121 12 65 AltoSax DNC Factory Sax 121 19 61 Fanfare Legacy Blech Ensemb 121 13 65 Jazz AltoSax1DNC Factory Sax 121 20 61 Movie Blaeser Factory Blech Ensemb 121 14 65 Jazz AltoSax2DNC Factory Sax 121 21 61 Power Blaeser Legacy Blech Ensemb 121 15 65 BigBand Sax Ens Factory Sax 121 22 61 Dyna Blaeser 2 Legacy Blech Ensemb 121 0 66 Tenor Sax GM GM2 XG Holzblaeser 121 23 61 Sforzato Blaeser Factory Blech Ensemb 121 1 66 Live TenorSax 1 Factory Sax 121 24 61 Live Blaeser Legacy Blech Ensemb 121 2 66 Weiches TenorSax Legacy Sax 121 25 61 Blaeser Hit Factory Blech Ensemb 121 3 66 Live TenorSax 2 Legacy Sax 121 26 61 Blaeser Fall Factory Blech Ensemb 121 4 66 TenorSax Growl Legacy Sax 121 27 61 Harte Blaeser 1 Factory Blech Ensemb 121 5 66 Folk TenorSax Legacy Sax 121 28 61 Harte BlaeserPro Factory Blech Ensemb 121 6 66 TenorSax Noise2 Factory Sax 121 29 61 Harte Blaeser 2 Factory Blech Ensemb 121 7 66 TenorSax Expr 1 Factory Sax 121 30 61 Fette Blaeser Factory Blech Ensemb 121 8 66 TenorSax Expr 2 Factory Sax 121 31 61 Blaeser Sekt 2 Factory Blech Ensemb 121 9 66 Jazz TenorSax 1 Factory Sax 121 32 61 BigBand Blaeser Factory Blech Ensemb 121 10 66 Jazz TenorSax 2 Factory Sax 121 33 61 BigBand Shake Y Legacy Blech Ensemb 121 11 66 Holzblaeser Ens Factory Sax 121 34 61 Trompet amp Posaune Factory Blech Ensemb 121 12 66 TenorSax DNC Factory Sa
296. b mellow p Jazz Gib mellow mf Jazz Gib mellow f Pedal Steel Guitar Resonator Guitar ks Ou Vox Wah Guitar e ni gt Overdrive GM 3 Dist Guitar Dist Guitar GM 222 Factory data 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 Multisamples Dist Guitarl Harmo Gtr Harmonic GM Dist Guitar2 Harmo P1 Dist Guitar2 Harmo P2 Dist Guitar2 Mutel Dist Guitar2 Mute2 El Guitar DistMuted p El Guitar DistMuted mp El Guitar PowerChord1 El Guitar PowerChord2 El Guitar PowerChord3 Ac Bass Natural Ac Bass Natural Key Off Ac Bass Natural Ghost Acoustic Bassl Acoustic Bass2 mf Acoustic Bass2 f Acoustic Bass3 mp Acoustic Bass3 mp VAR Acoustic Bass3 mf Acoustic Bass3 mf VAR Acoustic Bass3 f Acoustic Bass3 f VAR Acoustic Bass GM Acoustic Bass RX Noises Bass Prec FW Finger Bass Prec RW Finger Bass Prec RW FingerDeads Bass Prec Pick Open mf Bass Prec Pick Open f Bass Prec Pick Dead Bass Sray Finger Bass Sray Harmonics Bass Sray Deads Bass Sray HandNoise Bass Almb Fingered mf Bass Almb Fingered f Bass Fjazz Fingered Bass Fjazz pickmute mf Bass Fjazz pickmute f Bass Fjazz Ghost E Bass1 Finger E Bass2 P B 1 E Bass2 P B 2 E Bass2 LH Stop 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 58
297. be too obvious a slight reduction of 6 dB is best The Ducking can also be turned Off with this parameter Lead Level gt GBLYPP Level of the Lead voice mixed with the effect Voice Processor Preset Reverb Reverb is arguably the most common vocal effect It can add a spaciousness that softens the abrupt beginnings and endings of Iyric 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 reverber ant sounds known as the tails There are usually controls to con trol 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 J EZ Amsterdam Hall Les BE e one ine wos T ons Voice Processor Voice Processor Preset Reverb 105 Reverb On Off gt GBLYPP This button allows enabling disabling of the Reverb block It is the same control found in the Easy Preset page Set gt GBL Use the soft knob assigned to this parameter to choose a pre programmed reverb
298. c 991 Tabla1 Mute Low Perc 1044 Cowbell5 Open a Hi Perc 1097 Castanet Double Low Perc 992 Tabla2 Tin a Low Perc 1045 Cowbell5 Open b Hi Perc 1098 Cabasa 1 La Down Hi Perc 993 Tabla2 Tin b Low Perc 1046 Cowbell5 Mute Hi Perc 1099 Cabasa1LaUp Hi Perc 994 Tabla2 Naa Low Perc 1047 Cowbell6 Hi Perc 1100 Cabasa 1 Lb Down Hi Perc Advanced 232 Factory data Drum Samples Name Family Name Family Name Family 1101 Cabasa1Lb Up Hi Perc 1154 DjembeL Open Low Perc 1207 MEI Douf Tek Aki Low Perc 1102 Cabasa 1S a Down Hi Perc 1155 Djembe L Open Slap Low Perc 1208 M E 1 Pand Open Low Perc 1103 Cabasa1SaUp Hi Perc 1156 Djembe L Closed Slap Low Perc 1209 M E 1 Pand Pattern1 Low Perc 1104 Cabasa 1 S b Down Hi Perc 1157 Djembe S Basstone a Low Perc 1210 M E 1 Pand Pattern2 Low Perc 1105 Cabasa1Sbup Hi Perc 1158 Djembe S Basstone b Low Perc 1211 M E 1 Pand Pattern3 Low Perc 1106 Cabasa 2 L Stack b Hi Perc 1159 Djembe S Basstone c Low Perc 1212 M E 1 Pand Pattern4 Low Perc 1107 Cabasa 2 L Stack a Hi Perc 1160 Djembe Open Low Perc 1213 M E 1 Rek Dom Ak Hi Perc 1108 Cabasa 2 L Roll Hi Perc 1161 Djembe Mute Low Perc 1214 MEI Rek Jingle Hi Perc 1109 Cabasa
299. ca between the wet and dry High Damp 9 0 100 Sets the op mone Wet signa resonant sound in the high range Src Off Tempo Table Dynamic Modulation Pan Ge G Sets the Voice2 stereo image ti P sources on page 106 ik 100 100 Amount of modulation source Wet Dry DD 199 9911 Balance between the wet and dry et signal Src Op Tempo Table Dynamic Modulation sources on page 106 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 intensity of resonance If the Resonance parameter has a negative value harmonics 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 neg ative values causing resonance 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 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
300. ce Pad From CV Chord Variation Use this parameter to select the source Chord Variation All All Chord Variations i e the whole Pad You cant change the target that is automatically set to All CV1 CV6 Single Chord Variation To CV Chord Variation Use this parameter to select a target Chord Variation inside the current Style CV1 CV6 Target Chord Variation Automatically set to All if the From CV parameter is also set to All To Track Use this parameter to select the target track to copy 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 Execute Touch this button to execute the operation set in this page Style Element Track Controls Sound Expression In this page you can assign a different Sound to each track of the selected Style Element Each Style Element can have different Sound after saving the new Style please don t forget to check the Original Style Sounds parameter in the Style Play mode see page 118 to let the Style select the Sound bypassing the Style Performance settings In this page you can also check and modify the Expression CC 11 value for each of the Style Element tracks This lets you reduce the relative level of a track in a single Style Element with out reducing the overall Volume of the Style This is a very useful control when you have different Sounds assigned to
301. cer and transform them in a Chord Variation Note You cannot use this function to import data from any generic Song The Standard MIDI File to be imported must be pro grammed as if it was one of Pa3X s Chord Variations STYLE REC Import Groove When importing an SME parameters like CV Length Meter Tempo Changes Program Changes and Expression are recog nized These parameters will be imported as the header of the Style Element containing the Chord Variation provided the Initialize parameter is checked or the Style Element is empty Hint It is a good idea to check the Initialize parameter when importing the first Chord Variation of a Style Element and uncheck it when importing the following Chord Variations e Sounds assigned to each track can be imported provided the Program Change Bank Select MSB and LSB events are on the first tick of the SME These data are loaded in the Style Ele ments header and not as Sounds assigned to the Style Perfor mance Note Sounds in the Style Element header can be overridden by Sounds assigned to the Style Performance by checking the Origi nal Style Sound parameter in the main page of the Style Play mode Style Track view If the above data was not found on the first tick of the imported SME Sounds must be manually assigned to each track You can do this in the Record 1 or Record 2 or the Sound Expression page of the Style Re
302. ch Ensemb 121 8 57 Posaune Vel 1 Factory Blech Solo 121 7 61 Trompet amp Blaeser Factory Blech Ensemb 121 9 57 Posaune Vel 2 Factory Blech Solo 121 8 61 Attack Blaeser Legacy Blech Ensemb 121 10 57 Posaune Vel 3 Factory Blech Solo 121 9 61 Trompeten Ens 2 Factory Blech Ensemb 121 11 57 Posaune Vel Pro Factory Blech Solo 121 10 61 Posaunen Ens Factory Blech Ensemb 121 12 57 Posaune 1 Legacy Blech Solo 121 11 61 Posaunen Factory Blech Ensemb 121 13 57 Posaune DNC Factory Blech Solo 121 12 61 Harte Blaeser 4 Factory Blech Ensemb 121 14 57 JazzPosaune2 DNC Factory Blech Solo 121 13 61 Fette Blaeser Factory Blech Ensemb 121 15 57 JazzPosaunel DNC Factory Blech Solo 121 14 61 Dyna Blaeser 1 Factory Blech Ensemb 121 16 57 Posaune zart DNC Factory Blech Solo 121 15 61 Blaeser Expr Legacy Blech Ensemb 121 17 57 Posaune Expr DNC Factory Blech Solo 121 16 61 Blaeser amp Sax Factory Blech Ensemb Factory data Sounds Program Change order 211 ccoo CC32 PC Name Sound Family ccoo CC32 PC Name Sound Family 121 17 61 Film Blaeser Legacy Blech Ensemb 121 11 65 Cool Sax Ens Factory Sax 121 18 61 Langsame Blaeser Legacy Blech Ensem
303. ch EG Level parameters AMS Alternate Modulation Source list on page 77 Intensity AMS1 2 Intensity These parameters specify the depth and direction of the effect applied by AMSI With a setting of 0 the levels specified by Level will be used For example if AMS1 is After Touch pressing the keys 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 greatly when the key pressure is released The direction of the change is specified by St Start Level Swing and At Attack Level Swing When the key pressure is released the pitch EG levels will return to their own settings If AMS1 is set to Velocity 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 99 99 Parameter value St Start Level Swing This parameter specifies the direction of change in Start Level caused by AMS1 2 If Intensity is a positive value a set ting of will raise the EG level and a setting of will decrease it With a setting of 0 there will be no change o 7 v E gt o x 64 Sound
304. ch Rock 30 29 6 8 Ballad 2 15 14 Gitarren Legende 31 30 Country Ballad 1 16 15 Rock eg 32 31 Country Ballad 2 17 16 Pop Rock 33 32 Analog Ballad 1 18 17 Up Tempo Rock 34 33 Analog Ballad 2 19 18 Rock you too 35 34 Celtic Ballad 20 19 South Strait Rock 36 35 Easy Ballad 21 20 Walk of Rock 37 36 Swing Ballad 3 22 21 Pop Evergreens 38 37 Funky Ballad 23 22 Final Rock 39 38 Rock 6 8 24 23 Alabama Rock 40 39 Orchester Bossa 25 24 Easy Pop 1 Bank Akustisch ii Easy Pop 2 1 o 10 o Akustik Eric 27 gt Peete BOR 2 1 Akustik Rock 28 27 British Pop 3 2 Nova Bossa 28 Fir Rok 4 3 Amb Ballade 30 29 Hard Rock 5 4 Akustik Foxtrott 8 SE 6 5 Akustik Shuffle 32 21 Pop Rock 7 6 Gitarren Pop 33 32 Soft Rock 8 7 Liedermacher m 33 Vocal Pop 9 8 Akust Ballade 1 25 34 Easy Beat 10 9 Akust Ballade 2 u 3 gt EB 11 10 Akust Ballade 3 Bank Ballade 12 11 Akust Ballade 4 1 0 9 0 Blueberry 6 8 13 12 Real 8 Beat 2 1 Moonlight Ballad 14 13 Real 16 Beat 3 2 Slow 12 8 15 14 Soft 8 Beat 4 3 Orchestral Bld 1 16 15 Soft 16 Beat 5 4 Piano Ballad 17 16 Gitarren Beat 6 5 Gitarrenballade 18 17 Latin Bolero 7 6 Soft Ballade 1 19 18 Cool Vocal 8 7 Soft Ballade 2 20 19 Akustik Bossa 9 8 Love 4 All 21 20 Akustik Reggae 10 9 Romantik Schlager 22 21 Serenade 11 10 Classic Pop 23 22 Flamenco 3 4 12 11 Orchestral Bld 2 24 23 Flamenco 4 4 13 12 Standar
305. ch effects parameter are contained in the Effects chapter see page 106 FX Name o No Effect Stereo Compressor 2 Dyn Compressor 3 Stereo Limiter 4 Multiband Limiter 5 St MasteringLimtr 6 Stereo Gate 7 St Parametric4EQ 8 St Graphic 7EQ 9 St Exciter Enhncr 10 Stereo Isolator 11 St Wah Auto Wah 12 St Vintage Wah 13 VOX Wah 14 St Random Filter 15 St MultiModeFilter 16 St Sub Oscillator 17 Talking Modulator 8 Stereo Decimator 19 St Analog Record 20 OD Hi Gain Wah 21 St Guitar Cabinet 22 Gtr Cabinet NR 23 St Bass Cabinet 24 Bass Amp Model 25 Bass Amp Cabinet 26 Tube PreAmp Model 27 St Tube PreAmp 28 MicModel PreAmp All FX slots FX A Master 2 amp Insert 1 FX B Master 2 29 Stereo Chorus 30 Classic Chorus 31 Black Chorus Flanger 32 St HarmonicChorus 33 St Biphase Mod 34 Multitap Cho Delay 35 Ensemble 36 Polysix Ensemble 37 Stereo Flanger 38 Classic Flanger 39 St Random Flanger 40 St Env Flanger 41 Stereo Phaser 42 Orange Phaser 43 Small Phaser 44 St Random Phaser 45 St Env Phaser FX Name 46 Stereo Vibrato 47 St Auto Fade Mod 48 2Voice Reson
306. ch vibrato is applied on a guitar When Waveform is set to Guitar the modulation will occur only in the positive direction even if you set Offset to 0 Here are offset settings and pitch change produced by vibrato Pitch offset 99 offset 0 Pitch at note on 99 99 Offset value Key Sync This parameter specifies if the LFO is synchronized to key strokes On The LFO will start 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 Fade This parameter specifies the time from when the LFO begins to apply until it reaches the 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 00 99 Fade rate Delay This parameter specifies the time from note on until the LFO effect begins to apply When Key Sync is Off the delay will apply only when the LFO is first started 0 99 Delay time Frequency Modulation You can use two alternate modulation sources to adjust the speed of the LFO1 for the selected oscillator Sound operating mode 73 LFO LFO1 AMS1 Alternate Modulation Source1 Selects t
307. chOuartett 121 16 25 Western Git RK2 121 12 48 Kammer Streicher 121 18 25 12sait W Git RK 121 14 48 Orchester Tutti1 121 22 24 Konz 12sait RX 121 19 48 Orchester Tutti2 121 24 25 Pop Western RX1 121 16 48 Orch amp Oboe 1 121 25 25 Pop Western RX2 121 17 48 Orch amp Oboe 2 121 3 120 Vox Wah Chick RX 121 20 48 Orchester amp Floete 121 12 27 FunkyWah Git RX 121 15 48 Streicher amp Hoern 121 15 30 E Git Akkorde RX 121 18 48 Streicher amp Glock 121 36 27 Funky E Git RX 121 1 45 Pizz Ensemble 121 11 28 Clean FunkGit RX 121 2 45 Pizz Sektion 121 13 28 Funky E Git RX2 121 8 48 Octav Streicher 121 14 28 Clean E Git RX1 121 4 49 Spicc Streicher 121 15 28 Clean E Git RX2 121 10 48 Sinf Streicher 121 16 28 Clean E Git RX3 121 5 50 Analog Streich 3 121 17 28 Clean E Git RX4 121 6 50 Synth Streich 1 121 18 28 Clean E Git RX5 121 17 52 Scat V amp Bass1 121 20 28 Clean E Git RX6 121 18 52 Scat V amp Bass2 Factory Streich amp Chor 121 8 52 Wuuh Chor 121 9 40 Violine Gliss LUN ME 22 OhrAhStimmen 121 17 49 Konz Streicher a i EN REF 121 12 49 Konz Streicher2 LUN NU Be Take amen 121 6 53 M amp F langs Chor 121 3 52 Uuh Chor langsam 121 7 53 Gemischter Chor i 12 32 SER SU MMEA 121 7 40 Real Violine DNC E gr 92 Scat Maenner vrl 5 40 Violine Expr DNC 121 Bar Seat Frauen 121 2 46 Klassische Harfe 121 uL 32 Grosser Chor 121 4 53 Sopran Vox1 DNC DT ps EE 12 5 53 Sopran Vox2 DNC PM M 22 Vuh Stimmen 12
308. citer effect Positive values give a frequency pattern to be emphasized dif ferent from negative values Advanced Effects EQ and Filters EQ Filter 112 b Emphasis Freq 11 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 Lee Wah This parameter sets the frequency to be emphasized Higher val ues will emphasize 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 Stereo In Stereo Out Left o gt Envelope Sens d Envelope Share 7f 7 s mod LFO je 10 Stereo Isolator i y FX Amt This is a stereo effect that separates the input signal into low mid and high frequency bands and controls the volume of each Frequency Sets the lower limit of the wah band independently For example you can separately boost or cut Bottom 0 100 Eeer the kick snare and hi hat sounds from a drum signal in real E TU Sets
309. comp 4 5 Drum Rock 1 5 Perc Latin 3 5 Grv Latin 5 Bass Finger Med 5 Piano Accomp 5 6 Drum Rock 2 6 Perc Mix 6 Grv HipHop 1 6 Bass Finger Walk 6 Piano Accomp 6 7 Drum Brush 1 3 4 7 Perc Soft 7 Grv HipHop 2 7 Bass Latin 7 Piano Accomp 7 8 Drum Brush 2 3 4 8 Perc Conga 8 Grv HipHop 3 8 Bass Slap 8 Piano Accomp 8 9 Drum Disco 1 9 Perc Conga Ride 9 Grv HipHop 4 9 Bass Digital 9 Piano Accomp 9 10 Drum Disco 2 10 Perc Conga Mix 10 Grv HipHop 5 10 Bass Synth 10 Piano Arpeg 1 11 Drum Disco 3 11 Perc Conga Bongo 11 Grv HipHop 6 11 Bass DigiFilter1 11 Piano Arpeg 2 12 Drum Disco 4 12 Perc Conga Tamb 12 GrvFunk 1 12 Bass DigiFilter2 12 Piano Arp 1 3 4 13 Drum Funk 1 13 Perc Shaker 13 GrvFunk2 13 Bass DigiFilter3 13 Piano Arp 2 3 4 14 Drum Funk 2 14 Perc Shak Tamb 1 14 Grv Funk 3 14 14 Piano Arp Down 15 Drum Brush Shuff 15 Perc Shak Tamb 2 15 Grv House 1 15 15 Piano Arp Up 16 Drum Latin 16 Perc Shak Cong 1 16 Grv House 2 16 16 Piano Rhythm 1 8 17 Drum Progressiv1 17 Perc Shak Cong 2 17 Grv Analog 17 17 Piano Rhythm1 8T 18 Drum Progressiv2 18 Perc Tambourine1 18 Grv Garage 1 18 18 Piano Latin Rock 19 Drum Fill 1 19 Perc Tambourine2 19 Grv Garage 2 19 19 Piano Salsa 1 20 Drum Fill 2 20 Perc Tamb Congal 20 Grv Dance 1 20 20 Piano Salsa 2 21 Drum Break 21 Perc Tamb Conga2 21 Grv Dance 2 21 21 Pno GlissDwnWhit 22
310. cord mode e Key Chord Chord Table Expression and any other Style Vari ation parameter must be manually programmed in the relevant Style Record pages The starting Tempo and each tracks Volume must be pro grammed as Style Performance data and then saved in the Style Performance Meter time signature Change is not allowed therefore not recognized The Chord Variation length is the same as the imported SME You can change length by changing the value of the CV Length parameter on the main page of the Style Record mode Hint If a note extends beyond the last measure of the Chord Vari ation an additional measure is appended for example if a note extends after the end of the fourth measure in a 4 measure pat tern 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 pattern length When programming a Chord Variation on an external sequencer please assign each Style track to the correct MIDI channel 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 Note Only SMF in format 0 can be loaded From Song This is the name of the Standard MIDI File to be loaded Touch the Select button to open the file selector and select an S
311. creasing this value will pro duce a stronger effect 00 99 Resonance value Res Mod by AMS Resonance modulated by AMS Selects the source that will control the Resonance level See AMS Alternate Modulation Source list on page 77 The effect of resonance Low Pass Level Low resonance value if E High resonance value Intensity AMS Intensity This parameter specifies the depth and direction of the effect that Res Mod by AMS Resonance modulated by AMS will have on the resonance level specified by Resonance Resonance A For example if Velocity has been selected changes in keyboard velocity will affect the resonance With positive values the resonance will increase as you play more strongly and as you play more softly the resonance will approach the level specified 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 adding the Resonance and Intensity AMS Intensity values 99 99 Parameter value Filter B Frequency Cutoff Frequency B This parameter specifies the cutoff frequency of filter B This parameter will be displayed when Filter Type is set to Low Pass amp High Pass High Pass Level This filter cuts the low frequency range that lies below the cut
312. cting the Write Current Style Settings from the page menu see Write Style Settings Dialogfenster on page 144 of the User s Manual Note After a record or edit operation the memory is automati cally reorganized Therefore when you press START STOP there is a delay before you can actually listen to the Style This delay is higher with a Style containing more MIDI events Note While in Record mode the footswitch and EC5 pedals are disabled On the contrary volume expression type pedals can be used Exit by saving or deleting changes When finished editing you can save your Style or Pad in mem ory or abort any change e To save changes select the Write Style command from the page menu see Write Style dialog box on page 31 To abort all changes select the Exit from Record command from the page menu or press the RECORD button to exit from record and return to the main page of the Style Record mode Hint Save often while recording to avoid accidentally losing your changes to the Style Listening to the Style while in Edit mode While you are in Style Pad Record mode you can listen to the selected Chord Variation or to the whole Style or Pad depending on the page you are in To select a Chord Variation go to the Main page of the Record Edit mode see Element Style Element and Chord Var Chord Variation on page 6 When you are in the Main Event Edit Quantize Trans
313. ctory Blech Ensemb 121 24 56 Jazz TrompeteDNC Factory Blech Solo 121 3 60 Klass FrenchHorn Factory Blech Ensemb 121 25 56 Jazz Kornett DNC Factory Blech Solo 121 4 60 Horns amp Ensemble Factory Blech Ensemb 121 26 56 Trompete Exp DNC Factory Blech Solo 121 5 60 Tromp amp Hoerner Factory Blech Ensemb 121 27 56 Studio Tromp Exp Factory Blech Solo 121 6 60 Hoerner warm 1 Factory Blech Ensemb 121 28 56 Studio Tromp Pro Factory Blech Solo 121 7 60 Hoerner warm 2 Factory Blech Ensemb 121 29 56 Studio Tromp DNC Factory Blech Solo 121 8 60 Hoerner warm 3 Factory Blech Ensemb 121 30 56 Tromp Up DwnDNC Factory Blech Solo 121 9 60 Tenorhorn Expr Factory Blech Solo 121 0 57 Posaune GM GM2 XG Blaeser 121 10 60 Tromp amp Hoerner Factory Blech Ensemb 121 1 57 Posaune2 GM2 XG Blaeser 121 0 61 Blaeser Sekt GM GM2 XG Blaeser 121 2 57 Posaune brill GM2 XG Blaeser 121 1 61 Blaeser Sekt 1 GM2 XG Blaeser 121 3 57 Posaune hart Factory Blech Solo 121 2 61 Harte Blaeser 3 Factory Blech Ensemb 121 4 57 Posaune zart Legacy Blech Solo 121 3 61 Glenn M Blaeser1 Factory Blech Ensemb 121 5 57 Posaune Pitch Legacy Blech Solo 121 4 61 BigBand Blaeser Factory Blech Ensemb 121 6 57 Posaune Expr 1 Factory Blech Solo 121 5 61 Sax amp Blaeser Factory Blech Ensemb 121 7 57 Posaune Expr 2 Factory Blech Solo 121 6 61 Glenn M Blaeser2 Factory Ble
314. ctory E Piano 121 23 4 Glock E Piano 3 Factory E Piano 121 24 4 Glock E Piano 4 Factory E Piano 121 25 4 E P D mpfer1DNC Factory E Piano 121 26 4 E P D mpfer2DNC Factory E Piano 121 27 4 Phaser E Piano 3 Factory E Piano 121 28 4 Dyno E Piano Factory E Piano 121 29 4 Amp Phas E Piano Factory E Piano 121 30 4 Verzerrt E Piano Factory E Piano 121 31 4 Brillant E Piano Factory E Piano 121 32 4 Glock E Piano 5 Factory E Piano 121 33 4 Suitcase88 E P 1 Factory E Piano 121 34 4 Suitcase88 E P 2 Factory E Piano 121 35 4 E Piano RX Noise Factory E Piano 121 36 4 Brillant Wurly Factory E Piano 121 37 4 Wurly Tremolo 2 Factory E Piano 121 38 4 Amp Wurly Factory E Piano 121 39 4 Wurly Tremolo 1 Factory E Piano 121 40 4 AmpChorus Wurly Factory E Piano 121 41 4 Wurly Clean Factory E Piano 121 42 4 Wurly RX Noise Factory E Piano 121 43 4 Phaser E Piano 2 Factory E Piano 121 44 4 Chorus Wurly Factory E Piano 121 45 4 Phaser E Piano 1 Factory E Piano 121 46 4 Balladen E Piano Factory E Piano 121 47 4 Studio E Piano 1 Factory E Piano 121 48 4 Studio E Piano 2 Factory E Piano 121 0 5 E Piano 2 GM GM2 XG Piano 121 1 5 Verst E Piano 2 GM2 XG Piano 121 2 5 E Piano Vel Mix GM2 XG Piano 121 3 5 E Piano Legende GM2 XG Piano 121 4 5 Phaser E Piano 4 GM2 XG Piano 121 5 5 Synth E Piano 3 Legacy E Piano 121 6 5 Stereo Dig E P Legacy E Piano Advanced 2
315. ctory Holzblaeser 121 3 81 Lead Saw Synth GM2 XG Synth 121 3 73 Floete Dyn 5th Factory Holzblaeser 121 4 81 Lead Seq Synth GM2 XG Synth 121 4 73 Floeten Frullato Factory Holzblaeser 121 5 81 Power Saw Synth Factory Synth Solo 121 5 73 Orchester Floete Factory Holzblaeser 121 6 81 Octo Lead Synth Factory Synth Solo 121 6 73 Flute Muted Factory Blech Ensemb 121 7 81 Seq Lead Synth Legacy Synth Solo 121 7 73 Holzfloete Legacy Holzblaeser 121 8 81 FatSaw LeadSynth Factory Synth Solo 121 8 73 Bambus Floete Legacy Holzblaeser 121 9 81 Glide Lead Synth Factory Synth Solo 121 9 73 Floete Legacy Holzblaeser 121 10 81 Fire Wave Synth Factory Synth Solo 121 10 73 Jazz Floete RX Factory Holzblaeser 121 11 81 Rezbo Synth Legacy Synth Solo 121 11 73 Floete DNC Factory Holzblaeser 121 12 81 Pianoid Synth Factory Synth Solo 121 12 73 Orch Floete DNC Factory Holzblaeser 121 13 81 Ana SawLeadSynth Factory Synth Solo 121 13 73 Jazz Floete DNC Factory Holzblaeser 121 0 82 Calliope GM GM2 XG Synth 121 14 73 Floete Gliss DNC Factory Holzblaeser 121 0 83 Chiff GM GM2 XG Synth 121 0 74 Blockfloete GM GM2 XG Floete 121 0 84 Charang GM GM2 XG Synth 121 1 74 Blockfloete 1 Legacy Holzblaeser 121 1 84 Wire Lead Synth GM2 XG Synth 121 2 74 Blockfloete 2 Legacy Holzblaeser 121 2 84 SynchroCitySynth Legacy Synth Solo 121 3 74 Kawala Factory Welt 121 3 84 Sync Kron Synth Legacy Synth
316. ctory Holzblaeser 121 7 87 Square Bass Legacy Synth Solo 121 0 79 Okarina GM GM2 XG Floete 121 8 87 Big amp Raw Lead Factory Synth Solo 121 1 79 Okarina Factory Holzblaeser 121 9 87 Cat Lead Legacy Synth Solo 121 0 80 Lead Square GM GM2 XG Synth 121 10 87 OBLead Factory Synth Solo 121 1 80 LeadSquare Synth GM2 XG Synth 121 11 87 Nice Lead Factory Synth Solo 121 2 80 Lead Sine Synth GM2 XG Synth 121 12 87 BassPhat SawLead Factory Synth Solo 121 3 80 Old Porta Synth Factory Synth Solo 121 0 88 NewAgeFlaeche GM GM2 XG Synth 121 4 80 Dance Lead Synth Factory Synth Solo 121 1 88 Virtual Flaeche Factory Synth Flaeche 121 5 80 Wave Lead Synth Factory Synth Solo 121 2 88 Angeles Flaeche Factory Synth Solo 121 6 80 Sine Wave Synth Factory Synth Solo 121 0 89 WarmeFlaeche GM GM2 XG Synth 121 7 80 AnalogLead Synth Factory Synth Solo 121 1 89 Sine Flaeche GM2 XG Synth Factory data 213 Sounds Program Change order ccoo CC32 PC Name Sound Family ccoo CC32 PC Name Sound Family 121 2 89 Master Flaeche Legacy Streich amp Chor 121 1 93 Cosmic Flaeche Factory Synth Solo 121 3 89 Power Synth Factory Synth Solo 121 2 93 80er Pop Synth Factory Synth F
317. cup2 Cymbal 637 Tom Brush1 sd open Tom 690 HH1 Foot mp HiHat 743 Ride Z 20 cup3 Cymbal 638 Tom Brush1 sd close Tom 691 HH1 Foot mf HiHat 744 Ride Z Brush Edge 1 Cymbal 639 Tom Brush2 sd open Tom 692 HH1 Open mp HiHat 745 Ride Z Brush Edge 2 Cymbal 640 Tom Brush2 sd close Tom 693 HH1 Open mf HiHat 746 Ride Z Brush Cup Cymbal 641 Tom Brush3 Hi mf Tom 694 HH2 Closed pp HiHat 747 Crash 220 Cymbal 642 Tom Brush3 Hi f Tom 695 HH2 Closed p HiHat 748 Ride 20 mp1 Cymbal 643 Tom Brush3 Hi f GM Tom 696 HH2 Closed mp HiHat 749 Ride 20 mp2 Cymbal 644 Tom Brush3 Mid mf Tom 697 HH2 Closed mf HiHat 750 Ride 20 mf1 Cymbal 645 Tom Brush3 Mid f Tom 698 HH2 Closed f HiHat 751 Ride 20 mf2 Cymbal 646 Tom Brush3 Mid f GM Tom 699 HH2 Closed ff HiHat 752 Ride Edgel Cymbal 647 Tom Brush3 Low mf Tom 700 HH2Footp HiHat 753 Ride Edge2 Cymbal 648 Tom Brush3 Low f Tom 701 HH2Footf HiHat 754 Ride Cup Cymbal 649 Tom Brush3 Low f GM Tom 702 HH2 Open p HiHat 755 Ride Jazz Cymbal 650 Tom Brush4 Tom 703 HH2Openf HiHat 756 Ride Brush1 Cymbal 651 Tom Brush5 Amb Hi Tom 704 HH3 Closed HiHat 757 Ride Brush2 Cymbal 652 Tom Brush5 Amb Low Tom 705 HH3 Closed2 HiHat 758 Ride Brush3 Cymbal 653 ETom FM Tom 706 HH3 Foot HiHat 759 Ride Rivet Cymbal 654 E Tom Real Tom 707 HH3 Open HiHat 760 Ride Rivet Amb Cymbal 655 HiHat Soul cl p HiHat 708 HH3 Open HiHat 761 Crash 15 edge1 Cymbal 656
318. curate you may need to adjust both the Start and End parame ters of the Sampling Edit page to make the groove loop flawlessly After editing these parameters you must execute the Time Slice again Go on experimenting different settings Editing an audio groove is a pure matter of experimentation When the Slice is completed you can save the sliced sam ples and the MIDI Groove or use the Extend function to improve the quality of the slices Select the Write command from the page menu The Write Slice dialog box will appear see Write Slice dialog box on page 92 Assign a name to the new Sound and save it to an User Sound location A MIDI Groove with the same name will also be saved to the internal HD KHD_SYSTEM Be warned that this area will be deleted when turning the instrument off Con vert it to an internal Style pattern by using the Import function of the Style or Pad Record mode before turning the instrument off e To improve the quality of the slices use the Extend func tion see Extend below After saving you may press RECORD to exit the Sampling mode After exiting the Sampling mode you may load the gener ated MIDI Groove by using the Import function of the Style Record mode see Import Import Groove on page 27 of the User s Manual for more information The Extend procedure 1 Set the By parameter according to the tempo of the groove you will use If you will
319. d 2 1 22 Dr e a de 61 Pitch Pitch EG spe cn aia ie 63 Filter Filter Type dea opt vaca EI 64 Filter Filter Mod ii 65 Filter Filter LEO 2 a EI 67 Filter Filter EG e eo dana iri ta 67 Amp Amp Level Pan 69 Amp Amp Mod 70 Amp AMPEG ia 70 LFO LFOL 5 2224 e nr iii a 72 LEO LEO IIIA 74 Effects B FX Config i oo mai een 74 Effects ee 74 Effects Master 1 Reverb 74 Effects Master 2 Chorus 74 Effects Master 3 a ah pu f ee d e 74 Page meni sea ee ee 75 Write Sound dialog box 75 Copy Oscillator dialog bok 76 Copy Drum Kit dialog box 76 AMS Alternate Modulation Source list 77 Sampling operating mode 79 Entering and exiting the Sampling mode 79 The Record Sampling procedure 79 Edit men x ERE Red hae en Dem tug 81 Sampling Record 81 Sampling Edit 82 Sampling Loop Edit 83 Sampling Sampling Info 84 ginti e n Er 85 The Time Slice procedure 88 The Extend procedure 89 Multisample Edit MS 8
320. d 8 Beat 25 24 Akustik Git 1 14 13 Standard 16Beat 26 25 Akustik Git 2 15 14 Modern Ballad 1 27 26 Akustik Git 3 16 15 Modern Ballad 2 28 27 Akustik Git 4 17 16 Pop Ballade 1 29 28 Akustik 8 Beat 18 17 Pop Ballade 2 30 29 Latein Akustik Advanced 186 Factory data Styles cco CC32 PC Name cco CC32 PC Name 31 30 Akustik Swing 8 7 Ritz Swing 32 31 Akustik 3 4 9 8 Hochzeitsmarsch 33 32 Akustik 6 8 10 9 Festmusik 34 33 Modern Latin 11 10 Happy Birthday 35 34 Folk Beat 12 11 Polonaese 36 35 Folk Ballad 13 12 Kasatschok Bank Country Welt 14 13 Mystery Man 1 0 11 0 Country Blues 15 14 TVThema 2 1 Country Pop 16 15 TVThema2 3 2 Trucker 1 17 16 Weihn Walzer 4 3 Trucker 2 18 17 Weihn Swing 5 4 Hula Tattoo 19 18 Broadway 6 5 Reggae Town 20 19 Show Time 7 6 Hawaii 1 21 20 Hollywood 1 8 7 Sirtaki 22 21 Hollywood 2 9 8 Sally Groove 23 22 Step Tanz 10 9 West Shuffle 24 23 Movie Swing 11 10 West Coast 25 24 Western Movie 12 11 Easy Country 26 25 Cartoon Time 13 12 Happy Pan 27 26 Horror Movie 14 13 Country Hit 28 27 Love
321. d Block 2 b Low Perc 975 Baya KaToe b Low Perc 1028 Timbales1 Hi Abanico2 Low Perc 1081 Wood Block 3 a Low Perc 976 Baya Nail a Low Perc 1029 Timbales1 Hi Mute Low Perc 1082 Wood Block 3 b Low Perc 977 Baya Nail b Low Perc 1030 Timbales1 Hi Paila mf Hi Perc 1083 Wood Block 4a Low Perc 978 Baya Nail c Low Perc 1031 Timbales1 Hi Paila f Hi Perc 1084 Wood Block 4 b Low Perc 979 Baya Ge Low Perc 1032 Timbales2 Lo Open Low Perc 1085 Wood Block 5 a Low Perc 980 Baya Up Low Perc 1033 Timbales2 Lo Mute Low Perc 1086 Wood Block 5 b Low Perc 981 Baya UpDown a Low Perc 1034 Timbales2 Lo Rim Low Perc 1087 Wood Block 6 a Low Perc 982 Baya UpDown b Low Perc 1035 Timbales2 Hi Edge Low Perc 1088 Wood Block 6 b Low Perc 983 BayaMutel Low Perc 1036 Timbales2 Hi Rim1 Low Perc 1089 Wood Block 7 Low Perc 984 BayaMute2 Low Perc 1037 Timbales2 Hi Rim2 Low Perc 1090 Wood Block 8 Low Perc 985 Baya Mute3 Low Perc 1038 Timbales2 Paila Hi Perc 1091 Castanet 1a Low Perc 986 Tabla1 Na Low Perc 1039 Cowbell1 Hi Perc 1092 Castanet 1 b Low Perc 987 Tablal Open Low Perc 1040 Cowbell2 Hi Perc 1093 Castanet 1 c Low Perc 988 Tabla1 Tin Low Perc 1041 Cowbell3 Hi Perc 1094 Castanet 2 Low Perc 989 Tabla1 Mute1 Low Perc 1042 Cowbell4 Open Hi Perc 1095 Castanet Single Low Perc 990 Tabla1 Mute2 Low Perc 1043 Cowbell4 Mute Hi Perc 1096 Castanet Single GM Low Per
322. d Gate f Snare Drum 286 SDPE Open mf Snare Drum 181 SD Crv Open Plate pp Snare Drum 234 SDLdwSup S R Gate p Snare Drum 287 SDPE Openf Snare Drum 182 SDCrv Open Plate p Snare Drum 235 SDLdwSupS RGatemf Snare Drum 288 SD PE OpRim mf Snare Drum 183 SDCrv Open Plate mf Snare Drum 236 SDLdwSup S R Gate f Snare Drum 289 SDPE OpRimf Snare Drum 184 SDCrv Open Plate f Snare Drum 237 SDLdwSupStdRoomp Snare Drum 290 SDPE Roll mf Snare Drum 185 SD Crv OpRim Plate pp Snare Drum 238 SDLdwSupStdRoommf Snare Drum 291 SD PE Roll f Snare Drum 186 SD Crv OpRim Plate p Snare Drum 239 SDLdwSup Std Room f Snare Drum 292 SD Natural p Snare Drum 187 SD Crv OpRim Platemf Snare Drum 240 SDLdwSupS RRoomp Snare Drum 293 SD Natural mf Snare Drum 188 SD Crv OpRim Plate f Snare Drum 241 SDLdwSupS RRoommf Snare Drum 294 SD Natural f Snare Drum 189 SDCrv Open Room pp Snare Drum 242 SDLdwSup S R Room f Snare Drum 295 SD Natural Rim p Snare Drum 190 SD Crv Open Room p Snare Drum 243 SDLdwVintage Std p Snare Drum 296 SD Natural Rim mf Snare Drum 191 SD Crv Open Room mf Snare Drum 244 SDLdwVintage Std mf Snare Drum 297 SD Natural Rim f Snare Drum 192 SD Crv Open Room f Snare Drum 245 SDLdwVintage Std f Snare Drum 298 SD Dry center Snare Drum 193 SDCrvOpRimRoompp Snare Drum 246 SDLdwVintage Std ff Snare Drum 299 SD Dry center2 Snare Drum 194 SD Crv OpRim Room p Snare Drum 247 SDLdwVintage S Rim p Snare
323. d into the signal path for maximum flexibility The options are Off No routing Lead Filter is inserted on the Lead voice only Harmo nies 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 Lead FX Filter is inserted on the Lead send to the uMod Delay and Reverb effect sends Lead voice will be clean Harmony FX Filter is inserted on the Harmony send to the effects Lead and Harmony voices will be clean Low Cut Hi Cut gt GBLYPP Sets the cut off frequency for these very steep low and high shelving filters Voice Processor Voice Processor Preset Filter amp Hard Tune 103 Gate Threshold gt GBL A gate separate from the main Gate under the Voice Processor Setup Mic Tone page is used to help prevent feedback when using the Filter with presence filtering that can introduce feed back in a live environment This parameter sets how loud you must sing in order to open the gate HardTune This effect is a pitch corrector that has been optimized to pro duce corrective pitch correction as well as obvious effects made popular by a number of artists Note This effect only works when a chord is recognized HardTune On Off gt GBL This button allows enabling disabling of the HardTune block It is the same control found in the Easy Preset page Set gt GBLYPP Use thi
324. dB 38 24 Threshold dB 40 0 Attack 1 100 Sets the attack time Se Adjust Sets the limiter output gain PHASER PILFO Frequency Hz 0 02 20 00 Sets the speed ofthe LFO LFO Waveform Triangle Sine Selects the LFO Waveform Sets the frequency to which the effect is applied CHORUS FLANGER 0 02 20 00 Sets the speed of the LFO F LFO Frequency Hz LFO Waveform Triangle Sine Selects the LFO Waveform P Manual 0 100 FlDelay Time msec Depth 0 100 Sets the depth of LFO modulation Resonance 100 100 Feedback _100 100 Sets the feedback amount Ebert Wet Dr 1 99 Dry 99 1 Sets the phaser effect balance FJEQ Trim 0 100 Sets the EQ input level y Wet FIPre LEQ Gain dB Pre HEQ Gain dB 0 0 1350 0 Sets the delay time Depth 0 100 Sets the depth of LFO modulation Sets the resonance amount Selects the phaser s Wet Dry modulation source Sets the phaser s Wet Dry modulation amount 15 415 Sets the gain of Low EQ Src Off Tempo 15 415 Sets the gain of High EQ Amt 100 100 Wet 1 99 Dry 99 1 Wet P Output Normal Mode Wet Invert Limiter Selects the Wet Dry modulation Routing Phaser Phaser source for the chorus flanger Limiter Sets the Wet Dry modulation Wet Dr Dry 1 99 99 1 Balance between the wet and dry amount for the chorus flanger y Wet signal FlOutput Normal Selects the
325. db Input Level D mod R Delay Righto L Delay Time Imsec Sets the delay time of TapL Level BE Sets the output level of TapL Effects Double Size 177 135 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 Stereo In Stereo Out Left jg FX Amt High Damp Low Dam gt Delay N h Input Level D mod Stereo Cross Y rei Stereo Cross Spread Input Level D mod d High Damp Low Dam gt Delay N LC e Righte s A FX Amt Switches between stereo delay and Stereo Cross Stereo Cross cross feedback delay L Delay Time msec Sets the delay time for the left channel 0 0 2730 0 R Delay Time msec Sets the delay time for the right channel 0 0 2730 0 Sets the feedback amount for the L Feedback left channel 100 100 Selects the modulation source of Off Tempo feedback amount Sets the modulation amount of the 100 100 left channel feedback Sets the feedback amount for the R Feedback right channel 100 100 Sets the modulation amount ofthe Amt 1 00 41 10 right channel feedback Sets the damping amount in the High Damp 0 10
326. dio In 1 3 Speak into the microphone while you use the GAIN knob to adjust the level as high as possible without allowing dis tortion to occur With these settings the sound from the microphone will be used as the modulator While you play speak into the mic it will sound as though the instrument is talking If the effect sound is distorted adjust the Carrier Trim and Modulator Trim 2 e Note Please remember to set the Carrier tracks Dry parameter to Off and the Send value to 127 You can add reverb to the Vocoder by way of the to MFX1 parameter Hint To create a new Song making use of the Vocoder enter the Sequencer Backing Sequence mode with a Performance that includes the Vocoder effect Kl U u S gt Kl lt x Factory data Styles 182 Factory data Styles Note You can remotely select Styles on the Pa3X by sending it Bank Select MSB CC 0 Bank Select LSB CC 32 and Pro gram Change messages on the Control channel see MIDI MIDI In Channels on page 221 of the User s Manual cco CC32 PC Name Bank Schlager 1 0 0 0 Discofox Platin 2 1 Shuffle Pop 3 2 Amigo Pop 1 4 3 Flip Medley 5 4 G G Disc
327. direction in which AMS will affect Break Break Point When Intensity has a positive value a setting of for this parameter will allow 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 Time Modulation Filter 1 EG changes Time AMS Velocity Intensity a positive value Note on Note on Note on Note off Note off Note off Softly played note with Attack Strongly played note with Strongly played note with Decay Slope and Release Level Swings set to Attack Decay Slope and Attack Decay Slope and Release Level Swings set to Release Level Swings set to AMS1 2 Use this parameter to selecthe source that will control the Time parameters of the filter EG See AMS Alternate Modulation Source list on page 77 Int AMS Intensity This parameter specifies the depth and direction of the effect that AMS1 2 will have For example if AMS1 2 is set to FItKTr 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 SI Slope Time Swing and RI Release Time Swi
328. e Filter Filter EG Here you can make settings for the EG that will produce time varying changes in the cutoff frequency of filters A and B for the selected oscillator The depth of the effect that these settings will have on the filter cutoff frequency is determined by the Veloc ity and Intensity parameters is as Jue Diagram The diagram on top of the page shows the Filter envelope line Filter envelope Note off Attack Level Sustain Level Note on Attack Decay Slope Time Time Time Release Level The specified cutoff frequency Release Time Level These are the envelope segment levels The result will depend on the filter that was selected in 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 TS 7 v E gt 9 lt 68 Sound operating mode Filter Filter EG Start This parameter specifies the change in cutoff frequency at the time of note on 99 99 Level value Attack This parameter specifies the change in cutoff frequency after the attack time has elapsed 99 99 Level value Break Break Point This parameter specifies the change in cutoff frequency after the decay time has elapsed 99 99 Level value Sustain This parameter specifies the chang
329. e DrumKit Sample Setup Drum Kits DrumKit Sample Setup Drum Kits This page appears when you edit a Drum Kit Here you can select a different percussive sample for each key and layer Ef Drum Kits use only one oscillator SOUND DrumKit MT 8 ESTERI D UU Selected Layer y mE EE EE ME Velocity Switches Key Key Key in edit To select a key you can press a key on the keyboard while this parameter is selected Layers Number of layers assigned to the selected key Depending on the number of selected layers you can have a different number of velocity switches Assign Use this parameter to turn the sample on off On The sample is assigned to the selected key Off The sample is not assigned The sample assigned to the next highest assigned key is used instead Layer Selector amp Velocity Sample Switch Selected Layer Use these radio buttons to select the layer to edit The available layers depends on the Layers parameter Velocity Switches Each of these values separates the two adjacent layers for the selected sample key Notes stricken 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 respectively Drum Sample Bank Num Name Use these parameters to select a different Drum Sample for each layer You can use
330. e Send to Master Dry On Off and DrumFamily parameters To copy a single effect 1 Select the source Sound then e go to the page of the single effect you want to copy IFX 1 Master 1 Master 2 Master 3 or e go to the Effects gt B FX Config page to copy all effects This may be useful if you want to copy more than a single effect 2 Choose the Copy FX command from the page menu 3 Select the target Sound then go to the page of the single effect you want to paste IFX 1 Master 1 Master 2 Master 3 Sound operating mode 75 Page menu 4 Choose the Paste FX command from the page menu To copy all effects 1 Select the source Sound then go to the Effects gt B FX Con fig page to copy all the effects N Choose the Copy FK command from the page menu Gei Select the target Sound then go to the page of the Effects gt B FX Config page 4 Choose the Paste FX command from the page menu Copy Drum Kit Select this command to copy the Drum Kit from a different Drum Kit See Copy Drum Kit dialog box on page 76 for more information Init Sound Select this command to delete all parameters and set them to a default value Compare When this command is checked original Sound parameter val ues are temporarily recalled to compare them with edited parameters You cannot edit the Sound while you are in Com pare mode While this function is on the C
331. e are user loaded or created multisamples Note If you create a new Sound based on a RAM multisample the RAM samples must be loaded from the internal HD or from a connected USB pen driver In case samples are not loaded no sound will be heard even if the Sound can be selected and its name appears in the display Note Each multisample has an upper note range limit and cannot produce sound when played above that limit Offset These parameters specify the point where the multisample s will begin to play For some multisamples this parameter will not be available Off The sound will start from the beginning of the multisample waveform mo 7 v E gt Ki lt 54 Sound operating mode Basic OSC Basic Ist 6th The sound will begin from the offset location pre determined 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 one Offset point is available in the multisample Randomly selects one of the available Offset points including Attack and Off Level These parameters specify the level of each multisample 0 127 Multisample level Note Depending on the multisample high settings of this parame ter may cause the sound to distort when a chord is played If this occurs lower the level Octave Use this parameter to adjust the pitch of the selected oscillat
332. e 121 19 25 Western Git 2 Factory Gitarre 121 14 27 SingleCoilGitPro Factory Gitarre 121 20 25 Western Git 3 Factory Gitarre 121 15 27 Clean E Git Pro Factory Gitarre 121 21 25 Pop West Git 1 Factory Gitarre 121 16 27 StratGit Vel Pro Factory Gitarre Sounds Program Change order Factory data 207 ccoo CC32 PC Name Sound Family ccoo CC32 PC Name Sound Family 121 17 27 StratGit Slide Legacy Gitarre 121 19 28 Muted E Gitarre Legacy Gitarre 121 18 27 Chorus E Git Pro Factory Gitarre 121 20 28 Clean E Git RX6 Factory Gitarre 121 19 27 Vintage E Git 1 Factory Gitarre 121 21 28 5th Mute E Git Factory Gitarre 121 20 27 Clean E Gitarre Factory Gitarre 121 0 29 Overdr Git GM GM2 XG Gitarre 121 21 27 Solid E Gitarre Factory Gitarre 121 1 29 Pinch E Git GM2 XG Gitarre 121 22 27 Clean Jazz Git1 Factory Gitarre 121 2 29 Ovdr E Git 2 DNC Factory Gitarre 121 23 27 Clean Jazz Git2 Factory Gitarre 121 3 29 Crunch E Git DNC Factory Gitarre 121 24 27 1954er E Gitarre Factory Gitarre 121 4 29 Lead E Git DNC Factory Gitarre 121 25 27 Clean E Gitarre Legacy Gitarre 121 5 29 Ovdr E Git 1 DNC Factory Gitarre 121 26 27 Tele E Git Mid Legacy Gitarre 121 0 30 Distort Git GM GM2 XG Gitarre 121
333. e Wet i t Selects the Wet Dry modulation Src Off Tempo Selects the Wet Dry modulation k L Off Tempo source for the multitap delay Source for thieiphaser Amt 100 100 Sets the Wet Dry modulation Amt 100 100 Sets the Wet Dry modulation amount for the multitap delay amount for the phaser Wet Dr Dry 1 99 99 1 Balance between the wet and dry P Output Normal Sel he ph d y Wet signal Mode Wet Invert elects the phaser output mode e gt Src Off Tempo Table Dynamic Modulation OD HG Switches the order of th dri P Sources on page 106 Routing Phaser Phaser Switches the order of the overdrive OD HG and phaser Amt 100 100 Amount of modulation source Wet Dry Dry 1 99 99 1 Wet Balance between the wet and dry signal Src Off Tempo Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source Effects Mono Mono Serial Mono Mono 167 113 Wah Amp Sim Wah Amp Simulation 114 Decimator Amp Decimator Amp Simulation This effect combines a mono decimator and an amp simulation You can change the order of the effects This effect combines a mono wah and an amp simulation You can change the order of the effects WAH W Frequency Bottom 0 100 Sets the lower limit of the wah center frequency Frequency Top 0 100 Sets the upper limit of the wa
334. e 106 i De Envelope Con 100 100 Amount of modulation source ei E EUM GH B Delay Tap1 msec a Rec Mode Single Multi Sets the recording mode a Src iti a Amt B Reverse Time 20 2640 Sets the maximum duration of the S a msec reverse playback b Tap2 Position Selects whether the start and end of b Tap3 Position Envelope E recording is controlled via the P Po Select D mod Input modulation source or the input c signal level The delay time for Tap 2 and 3 is specified as a proportion 96 relative to Delay Tap1 Even if you use dynamic modulation to control Delay Tap1 Tap 2 and 3 will change at the same Selects the modulation source that Src Off Tempo controls recording when Envelope Select is set to D mod Sets the recording start level when proportion d Threshold 0 100 Envelope Select is set to Input Sets the speed of the response to e Response 0 100 the end of recording Always On f Direct Mix Always Off Selects how a dry sound is mixed Cross Fade Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Table Dynamic Modulation 9 Sre sources on page 106 Off Tempo 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 play back the playback
335. e Transposition Tables are the sophisticated algo rithms that allow Korg arrangers to convert recognized chords into musical patterns The Note Transposition Table NTT determines how the arranger will transpose pattern notes when a chord is recognized 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 recog nized on the keyboard the arranger must transpose some notes to create the missing 7th Note These parameters cannot be selected with Drum or Percus sion tracks and are therefore greyed out Note NTT parameters are separately programmed for each track of the Style Element There are two general types of NTTs When Parallel types are selected notes are transposed inside the area set by the Wrap Around parameter These tables are ide ally suited to melody parts Cmaj Fmaj Dmin Gmaj as played back as written When Fixed types are selected 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 Cmaj Fmaj Dmin Gmaj as played back as written Note To conform to Korg specifications it is advisable to set the NTT to No Transpose on the Intro 1 and Ending 1 Parallel Root The root note in CMaj C is transposed to the missing notes Parallel Fifth The 5th note in
336. e between the wet and dry Wet Dry Wet signal Table Dynamic Modulation Src Off Tempo sources on page 106 100 100 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 Advanced 118 Effects Overdrive Amp models and Mic models OD Amp Mic 19 St Analog Record e Stereo Analog Record Overdrive Amp models and Mic models This effect simulates the noise caused by scratches and dust on OD Amp Mic analog records It also reproduces some of the modulation caused by a warped turntable 20 OD Hi Gain Wah Lett Bac an Overdrive Hi Gain Wah EQTrim Pre EQ Analog Record EE Simulation 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 Stereo In Stereo Out
337. e current edit section corresponding to one of the items of the edit menu see Edit menu on page 51 Page menu icon Touch this icon to open the page menu see Page menu on page 75 Selected oscillator Use these buttons to select the oscillator to edit Parameters area Each page contains various parameters Use the tabs to select one of the available pages For detailed information on the vari ous types of parameters see sections starting from page 52 Tabs Use tabs to select one of the edit pages of the current edit section Basic Sound Basic Here you can make basic settings for the Sound such as basic oscillator settings the oscillator count and the polyphonic mode SOUND Basic Ost Vel Keu Damper Damper Oscillator Count Oscillators Count Use this box to specify the number of oscillators up to 24 the Sound is based on The total amount of polyphony varies depending on the number of oscillators used by the Sound a maximum of 120 with only 1 oscillator per voice Note When editing the Grand Piano sound keep in mind Oscilla tors 10 15 can only be heard when the Damper pedal is depressed Low priority Use this parameter to decide if the highest numbered oscillators must be turned off when more polyphony voices are needed Keep in mind that with a dense polyphony missing oscillators might not even be heard 0 No oscillator will be turned off in any case 1 The hig
338. e effect in the order of V1 C1 V2 C2 V3 C3 Sets the level balance between the high frequency horn and low frequency rotor Horn Rotor Rotor 1 99 Balance Horn Sets the distance between the 0 100 microphone and rotary speaker Mic Distance Sets the angle of left and right microphones Mic Spread 0 100 Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Table Dynamic Modulation Off Tempo sources on page 106 100 100 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 modu lation 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 Advanced 142 Effects Delay 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
339. e filter center frequency Selects the modulation source for f Src Off Tempo the filter center frequency Amt _100 100 Sets the modulation amount for the T filter center frequency Sets the modulation depth of filter Depth 0 100 center frequency Selects the modulation source of g Src Off Tempo filter modulation Amt _100 100 Sets the modulation amount of filter modulation h Resonance 0 100 Sets the resonance amount Wet Dr Bor Dr 99 1 Balance between the wet and dry y Wet nont signal Src Off Tempo Table Dynamic Modulation S P sources on page 106 Amt 100 100 Amount of modulation source 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 LFO Phase ___ 90 1 80 degree 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 waveform 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 Random Filter LFO LFO Frequency 7 gt Step Frequency ER Step Frequency Random d BPM e Step Base Note e Times The width of an LFO step or a cycle of random LFO is obtained by multiplying the length of a note
340. e flanger is 7 controlled by the envelope Sweep Mode EG D mod generator or by the modulation source c Selects the modulation source that triggers the EG when Sweep Mode Src Off Tempo EG or the modulation source that causes the flanger to sweep when Sweep Mode D mod d EG Attack 1 100 Sets the EG attack speed EG Decay 1 100 Sets the EG decay speed e Feedback _100 100 Sets the feedback amount Sets the feedback damping amount f High Damp 96 0 100 in the high range Wet Wet Dry 1 99 Dry 99 1 d between the wet and dry Wet 9 Src Op Tempo Table Dynamic Modulation sources on page 106 Amt 100 100 Amount of modulation source c Sweep Mode c Src This parameter switches the flanger control mode With Sweep Mode EG the flanger will sweep using the envelope genera tor This envelope generator 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 genera tor will start when the note on message is received When Sweep Mode D mod the modulation source can con trol the flanger 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 whe
341. e in cutoff frequency that will be maintained from after the slope time has elapsed until note off occurs 99 99 Level value Release This parameter specifies the change in cutoff frequency that will occur when the release time has elapsed 99 99 Level value Time These parameters specify the time over which the filter change will occur Attack This parameter specifies the time over which the level will change from note on until the attack level is reached 0 99 Time value Decay This parameter specifies the time over which the level will change from the attack level to the break point level 0 99 Time value Slope This parameter specifies the time over which the level will change after the decay time has elapsed until the sustain level is reached 0 99 Time value Release This parameter specifies the time over which the level will change after note on occurs until the release level is reached 0 99 Time value Level Modulation Filter 1 EG changes level AMS Velocity Intensity a positive value Note on Note on Note on KA AX IAA Softly played note with Start Level Strongly played note with Stat Strongly played note with Start Swing Attack Level Swing and Level Swing Attack Level Swing Level Swing Attack Level Swing Break Level Swing setto and Break Level Swing setto and Break Level Swing set to AMS Alternate Modulation Source This parameter select
342. e track cannot be heard Bu Record status After starting recording the track will receive notes from the keyboard and the MIDI IN connector Track names Under the sliders a label for each track is shown Drum Acc5 Shown Style tracks Style Record mode 9 Main page Record 2 Cue Main page Record 2 Cue While in the main page touch the Record 2 Cue tab to see this page Most parameters in this page are the same as in Main page Record 1 In addition here you can see and select Sounds for each Style track and the Cue mode for the Style Element STYLE RECORD Rec Length 2 Tempo J 69 J CY Length 2 Meter 44 Metro wi LI LI a LI LI Sounds area Cue area DRUM PERC Sounds area This area lets you see Sounds and octave transposition for the eight Style tracks Octave transpose icon Sound bank s icon Octave transpose icon Non editable This indicator shows the tracks octave transposi tion Tracks will be recorded with the selected octave transposi tion To change this value use the UPPER OCTAVE buttons or go to the Mixer Tuning Tuning edit page in the Style Play mode see page 127 of the User s Manual Save this value to the Style Settings Sound bank s icon gt STYLE This picture illustrates the bank the current Sound belongs to Touch an icon a first time to select the corresponding track detailed information are shown on the Selected Track I
343. e06 Snare Drum 312 SDPop1 Rim mfGM Snare Drum 365 SD Ghost Roll Snare Drum 418 SD Dance07 Snare Drum 313 SD Bopi Rimf Snare Drum 366 SDGhostp Snare Drum 419 SD Dance08 Snare Drum 314 SD Pop1 Rim f GM Snare Drum 367 SDGhostf Snare Drum 420 SD Dance09 Snare Drum 315 SDPop2p Snare Drum 368 SD Snr Ghost1 a Snare Drum 421 SD Dance10 Snare Drum 316 SD Pop2 mf Snare Drum 369 SD Snr Ghost1 b Snare Drum 422 SD Dance11 Snare Drum 317 SDPop2f Snare Drum 370 SD Snr Ghost2 a Snare Drum 423 SD Dance12 Snare Drum 318 SDPop2ff Snare Drum 371 SD Snr Ghost2 b Snare Drum 424 SDDance13 Snare Drum 319 SDFlam Snare Drum 372 SD Snr Ghost2 c Snare Drum 425 SD Dance14 Snare Drum 320 SD Black Snare Drum 373 SD Snr Signature p Snare Drum 426 SD Dance15 Snare Drum 321 SD S Gate1 Snare Drum 374 SD Snr Signature mf Snare Drum 427 SD Dance16 Snare Drum 322 SDSGatel GM Snare Drum 375 SD Snr Signature f Snare Drum 428 SD Dance17 Snare Drum 323 SD S Gate2 Snare Drum 376 SD Snr Signature Rim mf Snare Drum 429 SD Dance18 Snare Drum 324 SD S Gate3 Snare Drum 377 SD Snr Signature Rim f Snare Drum 430 SD Dance19 Snare Drum 325 SD Wood1 p Snare Drum 378 SD Snr Signature Rim1 Snare Drum 431 SD Dance20 Snare Drum 326 SD Wood1 mf Snare Drum 379 SD Snr Signature Bim Snare Drum 432 SD Dance21 Snare Drum 327 SD Wood1 f Snare Drum 380 SDJ center p Snare Drum 433 SDDance22 Snare Drum 328 SD Wood2 pp Snare Drum 3
344. e2 SFX 1525 88BD1 Bass Drum 1420 Grv HH Closed9 HiHat 1473 Grv Slice3 SFX 1526 88BD2 Bass Drum 1421 Grv HH Closed10 HiHat 1474 Grv Slice4 SFX 1527 88BDLong Bass Drum 1422 Grv HH Closed11 HiHat 1475 Grv Slice5 SFX 1528 88SD1 Snare Drum 1423 Grv HH Closed12 HiHat 1476 Grv Slice6 SFX 1529 88SD2 Snare Drum 1424 Grv HH Open HiHat 1477 Grv Slice7 SFX 1530 88SD2 GM Snare Drum 1425 Grv HH Open2 HiHat 1478 Grv Slice8 SFX 1531 88SD3 Snare Drum 1426 GrvHi Tom1 Tom 1479 Grv Slice9 SFX 1532 88SD3 GM Snare Drum 1427 Grv Hi Tom2 Tom 1480 Grv Slice10 SFX 1533 88 RIM Shot Snare Drum 1428 GrvLow Tom1 Tom 1481 Grv Slice11 SFX 1534 88 Rim Shot2 Snare Drum 1429 Grv Low Tom2 Tom 1482 Grv Slice12 SFX 1535 88Rim Shot2 GM Snare Drum 1430 Grv Ride Cymbal 1483 Grv Slice13 SFX 1536 88 HH Close1 HiHat 1431 Grv Crash1 Cymbal 1484 Grv Slice14 SFX 1537 88 HH Close1 acc HiHat 1432 Grv Crash2 Cymbal 1485 Grv Slice15 SFX 1538 88HH Close1 acc GM HiHat 1433 Grv Claps1 Low Perc 1486 Grv Slice16 SFX 1539 88HH Close2 HiHat 1434 Grv Claps2 Low Perc 1487 Grv Slice17 SFX 1540 88HH Close2 GM HiHat 1435 Grv Claps3 Low Perc 1488 Grv Slice18 SFX 1541 88 HH Open1 HiHat 1436 Grv Fx1 SFX 1489 GrvSlice19 SFX 1542 88 HH Open GM HiHat 1437 GrvFx2 SFX 1490 78BD Bass Drum 1543 88HH Open2 HiHat 1438 Grv Fx3 SFX 1491 78SD1 Snare Drum 1544 88 Tom1 Tom 1439 Grv Fx4 SFX 1492 78SD2 Snare Drum
345. ease 1 RatiozInf 1 UN Attack 100 Release 100 Release Attack f Trigger Monitor Setting this parameter On will cause the trigger signal to be out put 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 4 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 differe
346. ectr SFX 1403 Grv SD13 Snare Drum 1298 M E 2 TRILL1 Low Perc 1351 Cricket Spectrum SFX 1404 Grv SD14 Snare Drum 1299 M E2 Zil1 Hi Perc 1352 Air Vortex SFX 1405 GrvSD15 Snare Drum 1300 M E 2 Zil2 Hi Perc 1353 Noise White SFX 1406 Grv Rim1 Snare Drum 1301 M E 2 Zil3 Hi Perc 1354 Noise FM Mod SFX 1407 GrvRim2 Snare Drum 1302 M E2 Zilgit SFX 1355 Tubular Hi Perc 1408 Grv Rim3 Snare Drum 1303 Orchestra Hit SFX 1356 Gamelan Hi Perc 1409 Grv Rim4 Snare Drum 1304 Band Hit SFX 1357 Tambura Hi Perc 1410 Grv Rim5 Snare Drum 1305 Impact Hit SFX 1358 Gtr Cut Noise1 SFX 1411 Grv Rim6 Snare Drum 1306 Metal Hit SFX 1359 Gtr Cut Noise2 SFX 1412 Grv HH Closed1 HiHat 1307 Yeah SFX 1360 Power Chord SFX 1413 Grv HH Closed2 HiHat 1308 Yeah Solo SFX 1361 Fret Noise SFX 1414 Grv HH Closed3 HiHat E 1309 Uhh SFX 1362 Dist Slide SFX 1415 Grv HH Closed4 HiHat S 1310 Hitlt SFX 1363 Dist Slide2 SFX 1416 Grv HH Closed5 HiHat 3 1311 Uhhhh Solo SFX 1364 E Gtr Pick1 SFX 1417 Grv HH Closed6 HiHat E 1312 Comp Voice Noise SFX 1365 EGtr Pick2 SFX 1418 Grv HH Closed7 HiHat 234 Factory data Drum Samples Name Family Name Family Name Family 1419 Grv HH Closed8 HiHat 1472 Grv Slic
347. ed Style 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 e Time signature e Control Change bundle 00 32 Bank Select MSB LSB e Program Change e Control Change 11 Expression Touch the page menu icon to open the page menu Touch a com mand to select it Touch anywhere in the display to close the menu without selecting a command Write Style Select this command to open the Write Style dialog box and save the Style to the internal memory See Write Style dialog box on page 31 for more information Undo Only available in Record mode While in Record mode cancels the latest recorded data and restores the previous situation Selected a second time it restores recorded data again Redo function Copy Key Ch Copy Key Chord button Select this command to open the Copy Key Chord dialog box and copy Key Chord settings of the currently selected track to all other tracks of the same Chord Variation or to the whole Style See Copy Key Chord dialog box on page 32 for more informa tion Copy Sound Only available in some edit pages While the Style Element Track Control edit section is selected use this command to open the Copy Sound dialog box and copy all Sounds assigned to the current Style Element tracks to a dif
348. ed for the scanned chord Which Chord Variation corre sponds to each scanned chord is a setting of the Style the Chord Variation Table Each Style Element contains a Chord Variation Table whose prototype is the following Chord Chord Variations CVs Variation 1 4 Intro 1 3 Fill 1 4 Break Ending 1 3 Maj 6 M7 M7b5 Sus4 Sus2 M7sus4 min m6 m7 m7b5 mM7 7 7b5 7sus4 CV1 CV6 CV1 CV2 dim dimM7 aug aug7 augM7 no 3rd no 3rd no 5th b5 dim7 After deciding what CV to play the arranger triggers the right sequence for each track Since each sequence is written in a par ticular key for example 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 recognized chords Going deeper into the Style structure we can see that each Chord Variation is made up of Track Sequences and the Pa3X supports 8 different tracks DRUM and PERC are used for drum and percussion sequences BASS for bass and ACC1 5 are for accompaniment sequences string guitar piano or other accom paniment instruments Advanced 4 Style Record mode Style Pad Import Export Just to summarize when you play a chord on the chord recogni tion area the arranger determines which Style Element is used then determines which Chord Va
349. edback 100 100 Sets the Tap2 feedback amount F PreLEQ Gain dB 15 15 Sets the gain of Low EQ PreHEQ Gain dB 15 15 Sets the gain of High EQ D High Damp 0 100 Sets the damping amount in the high range D Mt DelayWe Dry Dry 1 99 99 1 Wet Sets the multitap delay effect balance Src Off Tempo Selects the Wet Dry modulation source for the multitap delay Wet Dry 100 100 Dry 1 99 99 1 Wet Off Tempo Sets the Wet Dry modulation amount for the multitap delay Balance between the wet and dry signal Table Dynamic Modulation sources on page 106 FJCho Flng Wet Dry Wet 1 99 Dry 99 1 Wet Sets the effect balance of the chorus flanger Src Off Tempo Selects the Wet Dry modulation source for the chorus flanger Amt 100 100 Sets the Wet Dry modulation amount for the chorus flanger 100 100 Amount of modulation source FJOutput Mode Wet Dry Normal Wet Invert Dry 1 99 99 1 Wet Selects the output mode for the chorus flanger Balance between the wet and dry signal Src Off Tempo Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source Advanced 170 Effects Mono Mono Serial Mono Mono 119 Reverb Gate This effect combines a mono reverb and a gate
350. eeded to record just a 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 Vari ations Pattern data vs track data While the Style Record mode is where you can create or edit music patterns for the Style track parameters like Volume Pan Octave Transpose FX settings have to be edited in Style Play mode e After creating or editing music patterns in Style Record mode save them by selecting the Write Style command from the page menu of the Style Record mode see Write Style dialog box on page 31 of the User s Manual e After editing track parameters in Style Play mode save them to the Style Settings by selecting the Write Current Style Settings command from the page menu of the Style Play mode see Write Style Settings Dialogfenster on page 144 of the Users Manual Sounds There are two ways of assigning Sounds to the Style tracks While in Style Record mode you can assign different Sounds to each Style Element see Sounds area on page 9 of the User s Manual While in Style Play mode you can assign a single Sound to the Style Settings together with the other track parame ters that remains the same for all Style Elements Which Sounds are used depends on the status of the Original Style Sounds parameter see page 118 of the User s Manual Note When assigning a Sound in Style Play mode the Original Style Sound
351. efto e Side PEQ Envelope Select Envelope Source o i p Right P D 1 gt Envelope Control Ze _f _ gt Envelope Control gt o FX Amt Gain Adjust Limiter 7 X X Limiter Gain Adjust JI FX Control BUS 1 121 0 FX Control BUS 2 Pt Amt L R Mix Envelope L Only R Only Select L R Individ ually Selects from linking both channels controlling only from left channel only from the right channel or controlling each channel individ ually A Output Level Limiter Threshold Ratio Ratioz1 0 1 af i Ratioz2 0 1 Threshold Ratio 4 0 1 cameras Ration Inf 1 k o ke 3 l Louder x Input Level 1 0 1 Ratio 50 0 1 Inf 1 Sets the signal compression ratio Threshold dB 40 0 Sets the level above which the compressor is applied Attack 1 100 Sets the attack time Release 1 100 Sets the release time Gain Adjust Inf dB 38 424 Sets the output gain Src Off Tempo Selects the modulation source for the output gain Amt 63 63 Sets the modulation amount of the output gain Side PEQ Insert Off On Toggles between on off of the trigger signal s EQ Trigger Monitor Off On Switches between effect output monitor and trigger signal monitor Side PEQ Cutoff Hz
352. eg EQ Trim LEO HEQ Limiter NH DC Exciter _ Comp Gain Adjust High Damp 1 MEDI FX Ai i oun Level Righto i Right o i gt o L Envelope Control pu R 8 FX Amt TER EXCITER L t X Exciter Sets the intensity depth of the L Ratio 50 0 1 Inf 1 Sets the signal compression ratio Blend 100 100 Exciter effect Sets the level above which the X Emphasis Sets the frequency range to be Threshold dB 40 0 compressor is applied Frequency 0 70 emphasized L Attack 1 100 Sets the attack time X EQ Trim 0 100 Sets the EQ input level Release 1 100 Sets the release time EL 215 415 Sets the gain of Low EQ L Gain Adjust Inf Sets the limiter output gain a n dB 238 424 2 Gain _15 415 Sets the gain of High EQ MULTITAP DELAY COMPRESSOR me Time 0 0 1360 0 Sets the Tap1 delay time d Sensitivit 1 100 Sets the sensitivity Tap1 Level 0 100 Sets the Tap1 output level EE 8 C Attack 1 100 Sets the attack level Tap2 Time sec 9 0 1360 0 senthe Ip delay time Output Level 0 100 Sets the compressor output level Feedback 100 100 Sets the Tap2 feedback amount Routing Exciter Comp Switches the order of the exciter and D High Damp 9 199 Sets the damping amount in the Comp _Exciter_ compressor si high range Wet Dry Dry 1 99 99 1 Balance between the wet and dry D Mt Delay Dry 1 99 99 1 Sets the multitap delay effect Wet signal Wet Dry Wet balance Src Op Tempo Table Dynamic Modula
353. elect the track to record Its status icon will turn to Record For more details see Tracks volume status area on page 9 Note When entering the Record mode a track is already in Record status When you press START STOP after entering the Record mode you can immediately start recording If you like you can try your part before recording Mute the track by repeatedly touching its icon status until the n Mute status icon appears e Press START STOP to let any recorded track play back and practice on the keyboard When you have finished practicing press START STOP to stop the arranger and unmute the track by repeatedly touching its icon status until the Record status icon appears again While the shown status icon is Record press START STOP to begin recording Depending on the Metro metro nome option you selected a 1 or 2 bars precount may play before the recording actually begins When it begins play freely The pattern will last for some measures accord ing to the Rec Length value then restart Since the recording will happen in overdub you can add notes on any following passage This is very useful to record different percussive instruments at any cycle on a Drum or Percussion track Note While recording tracks Keyboard Range see page 26 is ignored and the track can play over the whole keyboard range The Local parameter see Local Control On on page 220 of the Users Manual is also
354. emble 121 8 57 Posaune Vel 1 121 3 60 Klass FrenchHorn 121 9 57 Posaune Vel 2 121 5 62 Synth Blaeser 1 121 10 57 Posaune Vel 3 121 4 62 Electrik Blaeser 121 13 56 Fluegelhorn Pro 121 31 61 Blaeser Sekt 2 121 19 56 Konz Trompete 121 26 61 Blaeser Fall 121 20 56 Konz Trompete Pr 121 4 55 Blaeser Hit 121 6 56 2 Trompeten 121 25 61 Blaeser Hit 121 3 57 Posaune hart Factory Sax Pal di ee Posaune Vele Pio 121 13 66 TenSaxGliss DNC 121 1 Se Trompete 121 15 65 BigBand Sax Ens 121 18 56 Trompete Shake Y 121 13 65 JazzAltoSax1DNC 2 5 20 Trompete stimm 121 14 65 Jazz Altosax2DNC 121 1 58 Oberkr Tuba 2 121 12 65 AltoSax DNC Factory Blech Ensemb 121 12 66 TenorSax DNC 121 40 61 Blaeser Ensemb 1 121 9 65 AltoSax Expr 121 41 61 Blaeser Ensemb 2 121 10 65 AltoSax RX Advanced 194 Factory data Sounds Bank order ccoo CC32 PC Sound Name ccoo CC32 PC Sound Name 121 1 66 Live TenorSax 1 121 1 71 Jazz Klarinette 121 6 66 TenorSax Noise2 121 8 71 Klarinette Pro 1 121 1 64 Sopransax 1 121 9 71 Klarinette Pro 2 121 3 64 Sopransax 2 121 1 78 Pfeifen 121 4 64 Sopransax 3 121 3 78 Pfeifen RX1 121
355. emitones and you will hear how smoother legato notes will become Play legato with wider intervals and legato smoothing will be lost 1 127 st Max range in semitones Sound operating mode 53 Basic OSC Basic Basic OSC Basic The multisample s on which the Sound will be based can be selected here for each of the sixteen oscillators Each oscillator can use 1 or 2 multisamples each one assigned to the High or Low layer SOUND Basic Basic Lk FF OSC Multisample High Low Bank Num Use these parameters to select a different multisample for each of the High and Low layers You can use velocity to switch between the two multisamples Offset and Level can be adjusted indepen dently for the High and Low multisamples The High and Low pop up menus is where you select the bank ROM or RAM while the numeric field under it is for selecting the multisample inside the selected bank The Sound name appears on its right The multisample you select for the High layer will be triggered by velocities higher than the value of the Velocity Multisample Switch Low High parameter see page 54 If you do not wish to use velocity switching set the switch to a value of 001 and select only the High multisample ROM The Factory bank The Factory area of the inter nal memory contains 829 different multisamples preset multisamples supplied by Korg as stan dard RAM RAM multisample read from the RAM Thes
356. end portion At this time the waveform level of the portion immediately before the end the length specified by Crossfade Length will gradually decrease and the waveform level immediately before the beginning of the loop will gradually increase as the two are mixed When the Loop On parameter is checked and the Start and Loop S parameters have different values the Crossfde button becomes available When you touch the Crossfade button the Crossfade Loop dia log box appears Crossfade Loop 546 Crossfade Length In Crossfade Length specify the length of the sample that you wish to crossfade You can enter it either as the number of sam ples 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 Curve Set Curve to specify how the volume will change in the cross faded region Linear The volume will change linearly The volume will change non linearly Sometimes a setting of Linear will produce the impression that the volume has dropped in the middle of the crossfade curve In such cases use Power Power Sampling Sampling Info Use this page to
357. ent from a track For example to delete a snare keep the D2 note corresponding to the snare pressed 1 Select a track 2 Touch the Delete Note button and keep it pressed 3 Press START STOP to start the Style 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 5 When finished release the Delete button and the note to be deleted and press START STOP again to stop the Style Note If the note is at the beginning of the pattern press the note before starting the Style Tracks volume status area Virtual sliders Each virtual slider in the display corresponds to an Assignable Slider on the control panel Use the Assignable Sliders to change each value provided the VOLUME LED over the SLIDER MODE button is turned on This LED status depends on the last selected Performance but can be changed anytime by using the SLIDER MODE button UPPER2 UPPER 1 ACC4 ACC5 Cows ZUGRIEGEL O ASSIGN A O ASSIGN B O C 8 SLIDER 7 mE em MODUS As an alternative touch the tracks area to select a track and use VALUE controls to change the value or touch and drag it in the display Track status icons gt STYLE kon Status of tracks Touch this icon to change the status Tf Play status The track can be heard Mute status Th
358. equency to which the Wet Manual 0 100 effect is applied Wet Dry 1 99 Dry 99 1 in between the wet and dry Src Off Tempo Selects the modulation source for Wet emp the LFO modulation 9 Sre Op Tempo Table Dynamic Modulation Amt 100 100 Sets the modulation amount of the sources on page 106 we LFO modulation Amt 100 100 Amount of modulation source Modulation and Pitch Shift Mod P Shift 46 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 Stereo In Stereo Out Left o FX Amt Vibrato H E Vibrato ni Right a i err LFO Tri Sine LFO Shape Enni AutoFadeg Fade In Delay gt LFO Frequency Selects the modulation source that AUTOFADE Src Off Tempo Starts AutoFade Fade In Delay msec op 2000 Sets the fade in delay time Sets the rate of fade in Fade In Rate 1 100 LFO Waveform Triangle Sine Selects the LFO Waveform Changes the curvature of the LFO LFO Shape Waveform 100 100 Switches between D mod and AUTOFADE for the LFO frequency LFO Frequency D mod Mod modulation AUTOFADE LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO Selects a modulation source for LFO Off Tempo speed 20 00 Sets the modulatio
359. equency 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 dif ference 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 produces a ring modulation effect in the correct key Effects 139 Modulation and Pitch Shift Mod P Shift 58 Detune 59 Pitch Shifter Using this effect you can obtain a detune effect that offsets the This effect changes the pitch of the input signal You can select pitch of the effect sound slightly from the pitch of the input sig from three types Fast quick response Medium and Slow pre nal Compared to the chorus effect a more natural sound thick serves tonal quality You can also create an effect in which the ness will be created pitch is gradually raised or dropped using the delay with feed back FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out tette FX Amt FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out rene Feci Input Level High Damp gt Detune Delay N input Level High Damp Pitch Shifter Delay w Input Level urs Pr MC Rig
360. er 38 Classic Flanger 127 This models a classic analog flanger It is highly effective for chording on clavi type keyboards or electric piano Wet Mono In Mono Out Dry Stereo In Stereo Out Left c Wet Dry Feedback Flanger Right o Se TT ee Right d gt Flanger H i A Feedback i High Damp Flanger X CX Pci Ef FO Phase LFO Tri Sine gt _LFO Shape 4 Delay Time msec 0 0 50 0 Sets the delay time from the original sound LFO Waveform Triangle Sine Selects the LFO Waveform LFO Shape LFO Phase degree 100 100 180 180 Changes the curvature of the LFO Waveform Sets the LFO phase difference between the left and right LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO Src Off Tempo Selects a modulation source for LFO speed Amt 20 00 20 00 Sets the modulation amount of LFO speed 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 40 300 sets the tempo manually for this individual effect Base Note LAN Selects the type of notes that specify the LFO speed Times x1 x32 Sets the number of notes that specify the LFO speed Depth 0 100 Sets the depth of L
361. er to set the Volume CC 07 value for the Pad track This value is not saved with the Pad and is only used to test the Pad s volume during editing or recording Keyboard Range YPAD The Keyboard Range automatically transposes any pattern note that would otherwise play too high or too low in pitch com pared to the original acoustic instrument when transposed by the arranger This will result in a more natural sound for the Pad instrument Note The Keyboard Range is ignored while recording The Pad track can play on the full range of the keyboard Trigger Mode YPAD Not available if Track Type Drum This setting lets you define how Bass and Acc type tracks are retriggered when the chord is changed 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 and Bass tracks Track Type gt PAD Use this parameter to set the type of the Pad track Drum Drum track This type of track is not transposed by the arranger and is used for Drum Kits or for tracks that you don t want to be transposed when playing a different chord Bass Bass track This t
362. ernal sequencer The MIDI channel In Sound mode Pa3X receives and transmits on the same chan nel of the Upper 1 track If the Global channel is assigned notes can be received also on this channel See MIDI MIDI In Chan nels on page 221 and MIDI MIDI Out Channels on page 222 of the User s Manual for more information How to select oscillators While in an edit page requiring an oscillator to be selected for editing use the vertical row of buttons on the right 1 24 max to select one of the available oscillators The number of available oscillators depends on the Oscillators Count parameter see page 52 If you cannot see the desired oscillator touch the scroll arrow until the hidden 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 greyed out and cannot selected 5 o 9 e 9 E b e Sounds Drum Kits Digital Drawbars Pa3X features three different kinds of Sounds e Ordinary Sounds These are normal instrument Sounds like pianos strings basses Drum Kits These are drum and percussion kits where each note of the keyboard is a different percussive instru ment You can find Drum Kits in the Drum amp SFX and User Dk banks Digital Drawbars These are Sounds with a very complex structure and a special usage See Digital Drawbars page on page
363. ery similar to recording a Style Please see the relevant chapter in the User s manual Pad Record mode 39 Main page Guitar Mode Edit menu When pressing the MENU button while in Pad Record mode the Pad Record Edit Menu will appear STYLE RECORD Menu Note The Pad Edit pages are a simplified version of the Style Edit pages See the Users manual for information on the various parameters Note While the Pad is in play you cannot access the Edit section pages from the main page see page 36 Stop the playback before pressing MENU Note When switching from the Edit section pages Quantize Transpose Velocity Delete to the other pages or vice versa the Pad if in play is automatically stopped Edit page structure Most edit pages share some basic elements Operating mode Edit section Page menu icon PAD REC Track Controls Pad Track Konzert Gitarre F Gitarre 121 817 92 Pad track info Pad Type Keyboard Range Bottom Top TrackType Gtr Expression Trigger Mode Tension Parameters e si E area RX Noise Humanize wrap round e Tabs mo 7 v E gt Ki x 40 Pad Record mode Event Edit Event Edit Other pages exhibit a slightly different structure Operating mode Edit section Page menu icon PAD REC Pad Edit Parameters area Tabs Operating mode This indicates that the instrument is in Pad Record mode Edit section This identifies the c
364. essor Preset Mixer FX Voice Processor Preset Mixer FX This page contains master level controls for the Voice Processor as a whole Lead to Mod Hrm D to Mod lay Reverb Del Rev Losses Jte ne ESA on revere uMod Mod Level gt GBL Master Level of the uMod block Lead to Mod gt GBLYPP Master Level of the Lead voice going to the uMod block Hrm D to Mod gt GBLYPP Master Level of the Harmony and Double effects going to the Mod block Delay Delay Level gt GBLYPP Master Level of the Delay block Lead to Delay gt GBL Master Level of the Lead voice going to the Delay block Hrm D to Dly gt GBLYPP Master Level of the Harmonyand Double effects going to the Delay block Mod to Delay gt GBL Master Level of the uMod effect going to the Delay block Reverb Reverb Level gt GBLYPP Master Level of the Reverb block Lead to Rev gt GBL Master Level of the Lead voice going to the Reverb block Hrm D to Rev gt GBLYPP Master Level of the Harmony and Double effects going to the Reverb block Delay to Rev gt GBLYPP Master Level of the Delay effect going to the Reverb block Del Rev Dly Rev Level Master Level of the Delay and Reverb blocks This corresponds to the DELAY REVERB knob in the MIC SETTINGS section This control is not memorized in the Voice Processor Preset Voice Processor Preset Harmony In this page you can define general parame
365. et Claps Natural Set L Claps Natural Set R Claps Natural Set L Claps Natural Set2 R Claps Natural Set3 L Claps Natural Set3 R Snare Ghost Stereo Snares1 amp 2 L Stereo Snares1 amp 2 R 817 818 819 820 821 822 823 824 825 826 827 828 829 830 Stereo Snarel L Stereo Snarel R Stereo Snare2 L Stereo Snare2 R FX SD Large Halll L FX SD Large Halll R FX SD Large Hall2 L FX SD Large Hall2 R FX Rim Large Halll L FX Rim Large Halll R FX Rim Large Hall2 L FX Rim Large Hall2 R Click Empty Factory data 225 Drum Samples Drum Samples The following table lists all Pa3X Factory x n Family e ies Family Drum Samples 47 BD Dry1 Bass Drum 97 BD Electribe01 Bass Drum N R 48 BD Dry2 Bass Drum 98 BD Electribe02 Bass Drum ame Family 49 BD Dry3 Bass Drum 99 BD Electribe03 Bass Drum 0 BD 22 Inch Std1 Bass Drum 50 BD Normal Bass Drum 100 BDElectribe04 Bass Drum 1 BD 22 Inch Std2 Bass Drum 51 BD SoftRoom Bass Drum 101 BD Electribe05 Bass Drum 2 BD 22 Inch Std3 Bass Drum 52 BD Jazz open p Bass Drum 10
366. eten 18 19 Bld E Git 6 8 1 19 Orgel Melodie 19 Mute Shfl Riff 19 Mundharmonika 19 20 Bld E Git 6 8 2 20 8Beat Schlagzeug 20 Eooh Gitarre 20 Shakuhachi 20 Factory data Pads 239 21 Bld E Git 6 8 3 21 Weihn Schellen 21 Mute Git 21 Musette 21 22 Balladen Streich 22 Boogie Piano 1 22 Gtr Blues Lick 22 Mute Trompeten 2 22 23 80er PopSynth 23 Boogie Piano 2 23 16tl Synth 23 Mute Trompeten 3 23 24 Synth Flaeche 24 Boogie Piano 3 24 Hi Energy Chords 24 ChaCha Akzente 24 25 Glock Synth 1 25 Boogie Piano 4 25 Bells 2stimmig 25 Rentier 25 26 Glock Synth 2 26 Boogie Piano 5 26 Bells Arpeggio 26 VibraWalz 26 27 Glock Synth 3 27 Boogie Piano 6 27 Rose Chords 27 Akk Chrom 3 4 27 28 Glock Synth 4 28 Boogie Piano 7 28 Orgel Offs 28 Akk Chrom 4 4 28 29 Glock Synth 5 29 Orgel Quinten 29 16tl Akkordeon 3 29 Handclap 2 29 30 Weihn Glocken 1 30 Orgel Akzente 1 30 E Piano 3 4 30 Handclap 4 30 31 Weihn Glocken 2 31 Orgel Akzente 2 31 E Piano Groove 31 31 32 Weihn Glocken 3 32 Banjo 1 4 32 Donau Xylo 32 32 USER Bank1 USER Bank 2 USER Bank3 USER Bank4 1 Aahh 1 Arriba 1 Tusch kurz C 1 2 Oohh 2 Andale 2 Tusch kurz D 2 3 Hossa 3 Comeon 3 Tusch kurz Eb
367. eter 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 if AMS is set to Velocity increasing the absolute value of Intensity will allow strongly played notes to increase the changes in pitch EG Time values 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 99 99 Parameter value At Attack Time Swing This parameter specifies the direction in which AMS will affect the Attack Time parameter With positive values of Inten sity a setting of will cause the 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 Dc Decay Time Swing Specify the direction in which AMS will affect the Decay Time 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 setting of 0 there will be no change Filter Filter Type Here you can make settings for the filters that will be used by the oscillators You can select either a 24 dB octave low pass filter with resonance or a series connection o
368. etermined 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 Modu lation will also be less For example if AMS is set to After Touch positive values of this parameter will cause the volume to increase when pressure is applied to the keyboard However if the EG settings etc have already raised the volume to its maximum level the volume can not be increased further With negative values of this parameter the volume will decrease when pressure is applied to the keyboard 99 99 Intensity value Amp Amp EG These parameters let you create time varying changes in the vol ume of the selected oscillator Diagram The diagram on top of the page shows the Amplitude envelope line Level These parameters are the level of the envelope segment Amplifier EG Attack Level Note off Note on Break Point Volume Sustain Level Time f Attack Decay Slope Release Time Time Time Time Start This parameter specifies the volume level at note on If you want the note to begin at a loud level set this to a high value 0 99 Level value Attack This parameter specifies the volume level that will be reached after the attack time has elapsed 0 99 Level value Break This parameter specifies the volume level that will be reached after the decay
369. eved great popularity It gives a sense of movement to electric piano sounds adding a rich sounding phase shift effect 43 Small Phaser This models a classic phaser that was born in New York during the 1970s With a warm rich tone it is also loved by many elec tric piano players Wet Mono In Mono Out Dry Stereo In Stereo Out Left o gt Wet Dry v Phaser A Right TB e LFO m 0 10 10 0 Sets the speed of the LFO Switches the tone of the phaser sound page 129 Off On Wet 1 99 Dry 1 99 Wet Balance between the wet and dry signal page 115 page 129 Table Selects a modulation source for Wet Dry on page 107 Off Tempo Table Sets the modulation amount for Wet 100 100 Dry on page 107 Color This lets you choose between two types of phaser sound Turn ing this On produces a deeper phase shift effect with a distinc tive modulation Advanced Effects Chorus Flanger and Phaser Cho Fln Phaser 130 45 St Env Phaser Stereo Envelope Phaser 44 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 This stereo phaser uses an envelope generator for modulation You will obtain the same pattern of phasing each time you play You can also control the Phaser directly using the modul
370. evel Sets the EQ input level Pre LEQ Fc Selects the cutoff frequency high or mid high of the high range equalizer High Pre HEQ Fc Mid High Pre LEQ Gain dB Pre HEQ Gain dB 15 0 15 0 Sets the gain of the Low EQ 15 0 15 0 Sets the gain of the High EQ Sets the output level of the 0 100 compressor Output Level Selects the modulation source for Src Off Tempo the compressor output level Sets the modulation amount for the compressor output level Dry 1 99 99 1 Sets the Balance between the wet Wet Dry Wet and dry signal Amt 100 100 Selects amodulation source for Wet Dry Sets the modulation amount for Wet Dry Src Off Tempo 100 100 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 compres sor 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 Effects Dynamics Dynamic 107 Compressor Sensitivity Louder c Attack This parameter controls the attack level Compressor Attack Attack 80 j N Attack 20
371. evel mismatches Sampling Loop Edit The loop is a cycling portion of a sampled sound It is a tech nique used to reduce the sampling time cycling a portion of the sound to create the sustain phase of the sound After the attack stage most sounds repeat the same waveform during their sus tain stage You may adjust the Loop Start point with the Loop Start parameter and the Loop End point always matching the Sample End point using the End parameter This page lets you fine tune the loop points by watching at the Loop End and Loop Start points matching at the center of the diagram A good sounding loop is shown as a continuous non breaking line SAMPLING r Info SM Sample Selected sample See SM Sample on page 81 Loop diagram This diagram shows the End Loop End point on the left half and the Loop Start point on the right half of the screen Use the End and Loop Start parameters to adjust the loop Parameters Start See Start Sample Start on page 82 Loop Start See Loop Start on page 82 End See End Sample Loop End on page 83 9 7 v E gt Ki x 84 Sampling operating mode Sampling Sampling Info Use Zero See Use Zero on page 83 Loop Lock This fixes the length of the loop being edited Off The Loop S and End parameters can be edited separately On When the Loop S or
372. evel of the direct sound Off Tempo Sets the modulation amount for controlling the mix level of the direct sound Sets the vibrato depth Amt 100 100 Custom Depth 0 100 Selects the modulation source that Effects Modulation and Pitch Shift Mod P Shift 141 63 Rotary Speaker This effect simulates a rotary speaker and obtains a more realis tic sound by simulating the rotor in the low range and the horn in the high range separately The effect also simulates the stereo microphone settings FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left o x FX Amt y Horn 3 A Rotary Speaker Horn Rotor gt Mic Distance a H Speaker Simulation Right i o FX Amt D Z227 Mode Switch Rotate Stop D ze37 Speed Switch Slow Fast Dzi Manual Speed Control one Switches between speaker rotation Mode Switch and stop Rotate Stop Selects a modulation source for Rotate Stop Sets the switch mode for Rotate Stop modulation Src Off Tempo Toggle Moment Switches the speaker rotation speed Slow Fast between slow and fast Speed Switch Selects a modulation source for Slow Fast Sets the switch mode for Slow Fast modulation Src Off Tempo Toggle Mode Moment Sets a modulation source for direct control of rotation speed Manual Speed Ctrl Hore Accelera
373. f a 12 dB octave low pass filter and a 12 dB octave high pass filter Ca Os six Geh Filter Type This parameter selects the type of filter Low Pass Resonant Low Pass amp High Pass for the selected oscillator Low Pass Resonance When the Low Pass filter type is selected only fil ter A will be activated Low Pass amp High Pass When the Low Pass amp High Pass filter type is selected the filter B will be activated Trim Use this parameter to adjust the level at which the audio signal output from the selected oscillator is input to filter A Note If this value is raised the sound may distort if Resonance is set to a high value or when you play a chord 00 99 Trim level Filter A Frequency Cutoff Frequency A This parameter specifies the cutoff frequency of filter A This is a filter that cuts the i high frequency region above the cutoff i frequency n This is the most common type of filter 1 12dB oct and is used to cut part of the overtone 1 components making an originally bright 1 1 1 1 Low Pass Level 24dB oct timbre sound more mellow darker When the Filter Type is Low Pass Frequency Resonance the cutoff will have a steeper slope 00 99 Cutoff frequency value Resonance Resonance A The resonance emphasizes the overtone components that lie in the region of the cutoff frequency specified by Frequency pro ducing a more distinctive sound In
374. f data is automatically removed during recording Pitch Bend Pitch Bend events Prog Change Program Change events ezcluding the bundled Control Change 00 Bank Select MSB and 32 Bank Select LSB Note 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 bun dles Note Some CC data are automatically removed during recording See the table on page 5 for more information on the allowed data Start End Tick Use these parameters to set the starting and ending points of the range to delete Bottom Top Note Use these parameters to set the bottom and top of the keyboard range to delete Note These parameters are available only when the All or Note option is selected Execute Touch this button to execute the operation set in this page Pad Edit Delete All This function lets you quickly delete a single Chord Variation or the whole Pad PAD REC Pad Edit After setting the various parameters touch Execute CV Chord Variation Use this parameter to select the Chord Variation to be deleted All All Chord Variations i e the whole Pad After deletion all parameters are set to the default sta tus CV1 CV6 Single Chord Variation Execute Touch this button to execute the oper
375. f description We typically sing dynamically like this capitals are used to show louder dynamics 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 without killing the interesting dynamics in your perfor mance DeEss Level gt GBLYPS There is a side effect that comes from adding high frequencies and compression 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 It s when you amplify and combine with boosted highs and com pression that they can become piercing The DeEss Level control monitors the level of sibilance and when it is detected will quickly and transparently reduce it Typ ically its only briefly required and it then gets out of the way allowing the silky brightness to remain on the voiced portion of your singing as U KI gt lt 98 Voice P
376. f the added tail must decay in a linear way or sustain for a longer time and then fall suddenly Normal This option is most suitable for percussive sound with a short but not immediate decay The tail envelope is linear and the level decays fast Advanced 88 Sampling operating mode The Time Slice procedure Long This option is most suitable for cymbals whose sound should be sustained up until the next note The tail envelope is sustained and falls slowly then falls suddenly next to the end Touch this button to execute the Extend command After you select it it will return ghosted meaning that you cant select it again If you change any of the parameters in this page it will be available again Extend The Time Slice procedure Before executing a Slice operation you must record or load a sample Then you may edit the sample on Sampling Edit then execute the Slice operation on this sample After recording or loading a sample go to the Time Slice page 2 Pa3X automatically calculates the BPM parameter based on the given Meter and Measures values If you know these data set the Meter Measures and BPM Beats Per Minute parameters This would make the slicing more accurate 3 Select the Slice command The original sample will be sliced and each generated sam ple assigned to a different key C2 B2 Full pattern at a slower speed
377. f the left channel is raised and the pitch of the right channel is lowered Advanced Effects Double Size 176 132 St PitchShift BPM Stereo Pitch Shifter BPM This stereo pitch shifter enables you to set the delay time to match the song tempo 133 Rotary SpeakerOD Rotary Speaker Overdrive This is a stereo rotary speaker effect It has an internal speaker simulator that simulates overdrive recreating the amp distor tion and characteristics of the rotary speaker producing a very Stereo In Stereo Out realistic rotary speaker sound ui FX Amt High Damp Pitch Shifter Delay V FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Input Level V pint Pre AP E Left o Bo Feedback Position A Feedback Spread Input Level i Pr ffos Ms a Pitch Shifter DelayH N i E High Damp Overdrive _ Rotary Speaker Balance gt ES Righto BS Amt f Rotor l Tempo ET i en BPM PEU Gase Note x Times 777 Speaker Simulation gt Base Note x Times Rights i EX Amt D22 Cowon D ZEE Mode Switch Rotate Stop Mode Slow Medium Switches Pitch Shifter mode D n7 gt Speed Switch Slow Fast Fast D22 gt Manual Speed
378. fect has more precise early reflections with twice the mazimum length of a normal size effect See Early Reflections on page 153 You can create a very smooth and dense sound FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left FX Amt EQ Trim LEQ HEQ gt H lt Pre Delay Early Reflections EQ Trim Righto o FX Amt Sharp Loose Type Modulated Reverse Selects the decay curve for the early reflection Sets the time length of early ER Time msec 10 1600 reflection Sets the time taken from the original sound to the first early reflection Pre Delay Imsec 0 200 Sets the input level of EQ applied to EQ Trim 0 100 the effect sound Low Selects the cutoff frequency low or Pre LEQ Fc Mid Low mid low of the low range equalizer Selects the cutoff frequency high or mid high of the high range equalizer High Pre HEQ Fc Mid High Pre LEQ Gain dB Pre HEQ Gain dB 15 0 15 0 Sets the gain of Low EO 15 0 15 0 Sets the gain of High EQ Dry 1 99 99 1 Balance between the wet and dry Wet signal Wet Dry Table Dynamic Modulation Off Tempo sources on page 106 100 100 Amount of modulation source Vocoder The Vocoder can only be assigned to the FX B Master 2 proces sor usually the modulating effect for the keyboard tracks When this ef
379. fect is selected the microphone input no longer goes to the Voice Processor but is routed to this FX processor 140 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 micro phone A special effect is also achieved by using rhythm or effect sounds Strings or distortion guitar sounds with a lot of harmon ics are suitable as Carrier signals FX Amt 100 Stereo In Mono Out FX Amt 0 Stereo In Stereo Out Left o E an 7 m i d Carrier Trim i pn gt A N _ Emelope EK Modulator Trim 5 o i i land Pass Filter Le Modulator Source Modulator High Mix Right o FX Control BUS 1 o FX Control BUS 2 Noise Level Noise Generator a Carrier Trim 0 100 Sets the Carrier input level b Modulator 0 100 Sets the Modulator input level rim Input c Modulator Audio In 1 Selects the modulator input Audio In 2 L R Mix Selects whether to use the left right d SEET LOnly mix only left or only right of the elect R Only modulator input Sets the height of the frequency for e FormantShift 2 2 the vorodereff ct Sets the speed of the response to f Response 0 100 the modul
380. ferent Style Element See Copy Sounds dialog box on page 32 for more information Copy Expression Only available in some edit pages While the Style Element Track Control edit section is selected use this command to open the Copy Expression dialog box and copy all Expression values assigned to the current Style Element tracks to a different Style Element See Copy Expression dialog box on page 32 for more informa tion Copy Keyboard Range Only available in some edit pages While the Style Element Track Control edit section is selected use this command to open the Copy Keyboard Range dialog box and copy all Keyboard Range values for the current Style Element tracks to a different Style Element See Copy Key Range dialog box on page 33 for more informa tion Style Record mode 31 Page menu Copy Chord Table Only available while in the Style Element Chord Table page Select this command to open the Copy Chord Table dialog box see Copy Chord Table dialog box on page 33 Delete Current Track Only available in the Main Record pages Select this command to delete the selected track Overdub Step Recording Only available in the Main Record pages Select this command to open the Overdub Step recording window see Overdub Step Recording window on page 33 Solo Track Select the track to be soloed then check this item You will hear only the selected track and the Solo warn
381. ff Tempo Selects the Wet Dry modulation z d source for the multitap delay Amt 100 100 Sets the Wet Dry modulation T amount for the phaser Amt 100 100 Sets the Wet Dry modulation di amount for the multitap delay PlOutput Normal Selects the phaser output mode Mode Wet Invert p p Wet Dry Doi 1 99 99 1 oe between the wet and dry t Wet Dr Dry 1 99 99 1 Balance between the wet and dry signa y Wet signal i loc Off Tempo Table Dynamic Modulation m S 5 sources on page 106 Off Tempo Table Dynamic Modulation i sources on page 106 Amt 100 100 Amount of modulation source 100 100 Amount of modulation source Effects Mono Mono Serial Mono Mono 165 109 OD HG Amp Sim Overdrive Hi Gain Amp Simulation 110 OD HG Cho Flng Overdrive Hi Gain Chorus Flanger This effect combines a mono overdrive high gain distortion and This effect combines a mono overdrive high gain distortion and a chorus flanger You can change the order of the effects OD HI GAIN an amp simulation You can change the order of the effects FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left A o FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Routing FX Amt Left xg o Overdrive Hi Gain KY wx horus Flanger Routini FX Amt ia ea a ia 9 i 2 Overdrive Hi Gain Y wx A
382. fone cent Ong Off dm Output level is switched from on to off depend Sets the modulation amount of Amt 100 100 ing on the modulation source pitch shift amount Sets the delay time for the left L Delay msec 0 2000 Offc On dm Output level is switched from off to on depend channel ing on the modulation source R Delay msec 0 2000 ved ihe delay time for the right Combining these parameters you can change from 4 phase cho Feedback _100 100 Setsthe feedback amount rus to two tap delay by crossfading them gradually via the mod ulation source during a performance Sets the damping amount in the High Damp 0 100 high range Feedback h Panning Preset Position Pre Post Switches the feedback connection A 2 S A Sets the width ofthe stereo image This parameter selects combinations of stereo images of the tap Spread 100 100 ofthe effect sound outputs Input Level 100 100 Sets the modulation amount of the Dmod 96 u input level Selects the modulation source for Src Off Tempo the input level Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Op Tempo Table Dynamic Modulation sources on page 106 100 100 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 o
383. form Triangle Sine Phase degree 180 180 Selects the LFO Waveform Sets the LFO phase difference between the left and right Depth 0 100 Sets the depth to which the LFO will modulate the cutoff frequency LFO Frequency Hz 0 02 20 00 Src Off Tempo Sets the speed of the LFO Selects amodulation source for LFO speed 20 00 Amt 20 00 Sets the modulation amount of LFO speed MIDI Sync Off On When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency MIDI 40 00 300 00 BPM MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect Base Note LA Selects the type of notes that specify the LFO speed Times x1 x32 Sets the number of notes that specify the LFO speed Drive SW Off On Switches distortion on off within the filter 0 100 Output Level Sets the output level Drive Gain 0 100 Sets the distortion amount Low Boost 0 100 Sets the amount of low range boost Dry 1 99 99 1 Wet Dry Wet Balance between the wet and dry signal Src Off Tempo Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source Advanced Effects EQ and Filters EQ Filter 116 16 St Sub Oscillator Stereo Sub Oscillator This effect adds very low frequencies to the input signal It is
384. frequency see Int to A Intensity to A 99 99 Parameter value AMS EG Alternate Modulation Source Selects the source that will control the depth and direction of the effect that the time varying changes produced by the filter EG will have on the cutoff frequency of filters A and B See AMS Alternate Modulation Source list on page 77 Int to A Intensity to A Specifies the depth and direction of the effect that AMS will have on filter A For details on how this will apply refer to Int to A Intensity to A Int to B Intensity to B Specifies the depth and direction of the effect that AMS will have on filter B For details on how this will apply refer to Int to A Intensity to A Note 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 produced by the filter EG Filter A B Modulation AMS1 Alternate Modulation Source 1 for filter A B Selects the source that will control modulation of the filter A cutoff frequency See AMS Alternate Modulation Source list on page 77 Note The filter B parameters will be displayed when Filter Type on page 64 is Low Pass amp High Pass Intensity Intensity to AMS1 Specifies the depth and direction of the effect that AMS1 will have When AMS1 is JS X a positive value for this parameter w
385. ful Effect Processors for the internal MIDI tracks Upper Lower Style Song Pads Dynamic Modulation sources When the pzs symbol is encoutered a Dynamic Modulation can be applied to the corresponding parameter Dynamic Modu lation allows for realtime control of the effect The following table shows the available modulation sources Modulation source Note Off No modulation Gate Gate1 Dmpr Gate2 Gate2 Dmpr Note Nr Note Number Velocity Note Velocity Expo Velocity Exponential Note Velocity AfterTouch After Touch EK Joystick Left Right JS Y CC 01 JS Y CC 02 Joystick Forward Joystick Backward MIDI CC 04 MIDI CC 12 MIDI CC 13 Ribb CC 16 MIDI CC 18 MIDI CC 17 MIDI CC 19 MIDI CC 20 MIDI CC 21 MIDI CC 17 MIDI CC 19 MIDI CC 20 MIDI CC 21 Ribbon Controller Modulation source Note 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 Some notes on the Gate parameters follow Gate1 Gate1 Dmpr Gate1 Damper The effect is at maximum during note on and will stop when all keys are released With Gatel Dmpr the effect will remain at maximum even after the keys are released as long as the damper sustain pedal is pressed Gate GateT Dmpr 1 21 3 23 Mnoe ra H Or Damper Pedal Y Dmpr hon Gate1 va
386. g are setto AMS Alternate Modulation Source This parameter specifies the source that will control the Level parameters of the amp EG See AMS Alternate Modulation Source list on page 77 Intensity This parameter specifies the depth and direction of the effect that AMS will have For example if AMS is Velocity setting St Start Level Swing At Attack Level Swing and Br Break Point Level Swing to and setting Intensity to a posi tive value will cause the amp EG volume levels to increase as you play more strongly Setting Intensity to a negative val ues 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 99 99 Intensity value St Start Level Swing This parameter specifies the direction in which AMS will change Start If Intensity is set to a positive value setting this parameter to will allow AMS to increase the EG level and setting this parameter to will allow AMS to decrease the EG level With a setting of 0 no change will occur At Attack Level Swing This parameter specifies the direction in which AMS will change Attack If Intensity is set to a positive value set ting this parameter to will allow AMS to increase the EG level and setting this parameter to will allow AMS to decrease the
387. g points of the range to delete 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 Bottom Top Note Use these parameters to set the bottom and top of the keyboard range to delete If you select the same note as the Bottom and Top parameters you can select a single percussive instrument in a Drum or Percussion track Note These parameters are available only when the All or Note option is selected Execute Touch this button to execute the operation set in this page Track status icon Status of tracks Touch this icon to change the status Pay Mute Mute status The track cannot be heard Play status The track can be heard Track names Under the buttons a label for each track is shown Style Edit Delete All This function lets you quickly delete a selected Style Element or Chord Variation or the whole Style STYLE REC Style Edit PERC BASS RCC2 RCC bon ere en cu ones After setting the various parameters touch Execute Track 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 E CV Style Element Chord Variation Use these parameters to select the Style Element and Chord Variation for editing All All Style Elements i e the whole Style When E Track All and CV All the whole
388. g recording Onl Metronome on with a one bar precount before starting recording On2 Metronome on with a two bar precount before starting recording Tempo Select this parameter to use TEMPO controls to set the tempo Hint You can always change the Tempo when other parameters are selected by keeping the SHIFT button pressed and rotating the DIAL Note When recording Tempo old data is always replaced by the new data Note The actual Tempo of the Style will be the one shown when saving the Style Performance in Style Play mode see Aktuelles Tempo on page 116 of the User s Manual Meter STYLE This is the meter time signature of the Style Element You can edit this parameter only when the Style Element is empty i e before you begin recording anything Style Record mode 7 Main page Record 1 Selected track info area This line lets you see the Sound assigned to the selected track z rum Brush Kit RX1 F Drum amp SFX 128 888 042 Track name Sound bank Sound name Program Change Track name Name of the selected track Drum Acc5 Style track Sound name gt STYLE Sound assigned to the selected track The triangle means you can touch the name to open the Sound Select window and select a different Sound Sound bank Bank the selected Sound belongs to Program Change Program Change number seguence Bank Select MSB Bank Select LSB Program Change Key Chord area Key Chord gt
389. g the Sound based on the sliced samples to the same track you can play the original audio groove and freely change its tempo STYLE REC Import Note After importing a groove generated by a melody line not by a percussive groove the imported groove and samples will not be transposed together with the other Style tracks Audio data cannot be transposed by the arranger Note Please execute the Import Groove operation before turning the instrument off All GRV files generated by a Time Slice oper ation are deleted when turning the instrument off From Use this parameter to select one of the MIDI Groove patterns GRV files generated when saving data after a Time Slice operation To E CV Style Element Chord Variation Use this parameter to select the target Style Element and Chord Variation To Track Use this parameter to select the target track inside the selected Chord Variation The Percussion track is usually suggested since the Drum track is still suitable for standard Drum Kit sounds count in break etc After importing the MIDI Groove pattern assign the Sound to which the sliced samples are assigned to the track playing the MIDI Groove pattern o 7 v E gt 9 x 28 Style Record mode Import Import SMF Import Import SMF The Import SME function allows you to import MIDI data from a Standard MIDI File SME created on your preferred external sequen
390. gain of Band 1 50 5 00k Sets the center frequency of Band 2 0 5 10 0 Sets the bandwidth of Band 2 18 18 Sets the gain of Band 2 300 10 00k Sets the center frequency of Band 3 0 5 10 0 Sets the bandwidth of Band 3 Gain 18 18 Sets the gain of Band 3 EIDA Hz 500 20 00k Sets the center frequency of Band 4 Q 0 5 10 0 Sets the bandwidth of Band 4 Gain dB 18 18 Sets the gain of Band 4 Limiter P4EQ Switches the order of the limiter and Routing P4EQ Limiter parametric EQ Dry 1 99 99 1 Balance between the wet and dry Wet signal Wet Dry Table Dynamic Modulation Src Off Tempo sources on page 106 100 100 Amount of modulation source a L Ratio a Threshold dB c L Gain Adjust dB This parameter sets the signal compression L Ratio Compres sion is applied only when the signal level exceeds the Thresh old value Adjust the output level using the Gain Adjust parameter since compression causes the entire level to be reduced Limiter Threshold Ratio n Ratioz1 0 1 Output Level i Ratioz2 0 1 Threshold Ratioz4 0 1 Ration inf 1 Louder Louder gt Input Level Level Dry Ratio 1 0 1 erm Ratioz2 0 1 atio 4 0 1 Threshold Ratio Int 1 Effects 161 Mono Mono Serial Mono Mono 101 Limiter
391. ge cut amount of Pre Low cut the distortion input Output Level Sets the output level Selects the modulation source for Src the output level Sets the modulation amount of the Amt 50 50 es oval Low Cutoff Sets the center frequency for Low Hz EQ shelving type Gain dB 18 18 Sets the gain of Low EQ Mid1 Cutoff Sets the center frequency for Mid Hz 20021000K High EQ 1 peaking type Sets the band width of Mid High EQ 1 Gain dB 18 18 Sets the gain of Mid High EQ 1 Mid2 Cutoff Sets the center frequency for Mid Hz 020 008 High EQ 2 peaking type Sets the band width of Mid High EQ 2 20 1 00k Q 0 5 10 0 Q 0 5 10 0 Gain dB 18 18 Sets the gain of Mid High EQ 2 Sets the amount ofthe dry sound mixed to the distortion Direct Mix 0 50 Speaker Off On Switches the speaker simulation on Simulation off Wet Dr Dry 1 99 99 1 Balance between the wet and dry y Wet signal Table Dynamic Modulation SC Off Tempo sources on page 106 100 100 Amount of modulation source 123 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 on page 119 you can obtain an even more real
392. ge to another Style Element use the Copy Keyboard Range command from the page menu see Copy Key Range dialog box on page 33 Top Bottom STYLE Use these parameters to set the bottom and top of the keyboard range for the corresponding track of the current Style Element Volume area Use these controls to set the volume and status of each track See page 9 for more information Style Element Track Controls Noise Guitar The Noise Guitar page is where you can set the RX Noise level and the human feel of Guitar tracks STYLE REC SE Track Ctris C Trk Acc1 Konz Git 2 DNC F Gitarre oo m m ga Mo mo 99 RX Noise eeccec eece vi e TOL A 2 2 e DRUM PERC BASS rst RCC2 RCC3 ACCA ACCS Este rane JI RX Noise STYLE Use these controls to adjust the volume of RX Noises in the cor responding tracks This control applies to all types of tracks provided the Sound includes RX Noises Humanize GTR STYLE Use these controls to apply a random value to the position velocity and length of notes of Guitar tracks see Track Type on page 27 This control has no effect on other types of track Style Element Chord Table Chord Table This is the page where you can assign a Chord Variation to each ofthe most important recognized chord When a chord is recog nized the assigned Chord Variation will be automatically selected by the arranger to play the accompaniment Whe
393. go 1 26 25 Rock ChaCha 7 6 Musette 1 27 26 Slow Latin Rock 8 7 Musette 2 28 27 Samba Enredo 9 8 Sax Evergreens 29 28 Meditation Bossa 10 9 Langsamer Walzer 2 30 29 Salsa 11 10 Dinner BigBand 1 31 30 Cool Bossa 12 11 Dinner BigBand 2 32 31 Fast Bossa 13 12 Pop Walzer 33 32 Latin Pop 14 13 Quick Step 34 33 Latin Vocal 15 14 Engl Waltz 1 35 34 Samba trad 16 15 Engl Waltz 2 36 35 Brazilian Samba 17 16 Foxtrott 1 37 36 Habanera 18 17 Foxtrott 2 38 37 Mambo 19 18 Argentina Tango 39 38 Mambo Party 20 19 Modern Tango 40 39 Latin Rock Hit 21 20 BigBand Fox Bank Pop Rock 22 21 Fox Shuffle 1 0 8 0 Hammer Pop 23 E ap sono 2 1 Rolling Blues 24 23 Walzer Ballade Factory data Styles 185 cco CC32 PC Name cco CC32 PC Name 3 2 Angus Rock 19 18 Unplugged Ballad 4 3 70er Guitar Pop 20 19 Movie Ballad 5 4 Jump Rock 21 20 Love Ballad 6 5 Tiger Rock 22 21 Rock Ballad 7 6 Classic Rock 1 23 22 Swing Ballad 1 8 7 Classic Rock 2 24 23 Swing Ballad 2 9 8 Rock Boogie 25 24 60er Ballade 10 9 Rock Blues 26 25 Slow Swing Brush 11 10 Pop Shuffle 1 27 26 Orchestral Swing 12 11 Pop Shuffle 2 28 27 Soft Jazz 13 12 8Beat Rock 29 28 6 8 Ballad 1 14 13 Deuts
394. h center frequency W Sweep Mode Auto D mod LFO Selects the control from auto wah modulation source and LFO Sre Off Tempo Selects the modulation source for the wah when Sweep Mode D mod WILFO Frequency Hz 0 02 20 00 Sets the speed ofthe LFO Resonance 0 100 Sets the resonance amount LPF Off On Switches the wah low pass filter on and off W Wet Dry Dry 1 99 99 1 Wet Sets the wah effect balance Off Tempo Selects the Wet Dry modulation source for the wah AMP SIM 100 100 Sets the Wet Dry modulation amount for the wah AlAmplifier E Type SS EL84 6L6 Selects the type of guitar amplifier Routing Wet Dry Wah Amp Amp Wah Dry 1 99 99 1 Wet Switches the order of the wah and amp simulation Balance between the wet and dry signal Src Off Tempo Table Dynamic Modulation Sources on page 106 100 100 Amount of modulation source FX Amt 100 Mono In Mono Out Fr Amt 0 Stereo In Stereo Out FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o Routing FX Amt m pos Amt 4 Routing mi Wah Auto Wah KY wx Amp Simulation KN Am SE x x Resolution Output Level d Wen gt Amp Simulation Filter NI PlDecimatori N Amp Simulation Filter i A ER Amt i Pre LPF High Damp plante Sweep
395. haker1 Push b Hi Perc 1178 Udu Half Open c Low Perc 1231 M E 1 Bandir Closed Low Perc 1126 Shaker Pull a Hi Perc 1179 UduBella Low Perc 1232 M E 1 Bongo Roll Low Perc 1127 Shaker Pull b Hi Perc 1180 UduBellb Low Perc 1233 MEI Darbuka1 Tek1 Low Perc 1128 Shaker1 Accenta Hi Perc 1181 WD Brazillia1 Snare Drum 1234 M E 1 Darbuka1 Tek2 Low Perc 1129 Shaker1 Accent b Hi Perc 1182 WD Brazillia2 Snare Drum 1235 M E 1 Darbukal Open Low Perc 1130 Shaker Slow a Hi Perc 1183 WD Ethno SD1 Snare Drum 1236 MEI Darbuka1 Closed Low Perc 1131 Shaker Slow b Hi Perc 1184 WD Ethno SD2 Snare Drum 1237 M E 1 Darbuka2 Low Perc 1132 Shaker Slow c Hi Perc 1185 WD Ethno SD3 Snare Drum 1238 M E 1 Darbuka3 Low Perc 1133 Shaker Roll a Hi Perc 1186 WD Ethno SD4 Snare Drum 1239 M E 1 Darbuka4 Low Perc 1134 Shaker Roll b Hi Perc 1187 WD Ethno SD5 Snare Drum 1240 M E 1 Darbuka5 D1 Low Perc 1135 Shaker Roll c Hi Perc 1188 WD Ethno SD6 Snare Drum 1241 M E 1 Darbuka5 D2 Low Perc 1136 Shaker2 Hi Perc 1189 WD Kangaroo Snare Drum 1242 M E 1 Darbuka5 D3 Low Perc 1137 Shaker3 Hi Perc 1190 WD Kangaroo2 SFX 1243 M E 1 Darbuka6 Mute Low Perc 1138 Maracas Push Hi Perc 1191 WD Kangaroo3 SFX 1244 M E 1 Darbuka6 Open Low Perc 1139 Maracas Pull Hi Perc 1192 WD Kangaroo4 SFX 1245 M E 1 Darbuka6 Rim Low Perc 1140 Dumbeka Low Perc 1193 WD Kangaroo5 SFX 1246 M E 1Darbuka6DomAk
396. hannel 9 P1_Tr9 P1_Tr9 P2_Tr9 Bass P1_Tr9 10 P1_Tr 10 P1_Tr 10 P2_Tr 10 Drum Drum Drum P1_Tr 10 11 P1_Tr11 P1 Tr11 P2 Tr 11 Perc Perc Perc P1 Tr 11 12 P1 Tr 12 P1 Tr 12 P2 Tr 12 Acci Acci Acci P1 Tr 12 13 P1 Tr 13 P1 Tr 13 P2 Tr 13 Acc2 Acc2 Acc2 P1 Tr 13 14 P1 Tr14 P1 Tr 14 P2 Tr 14 Acc3 Acc3 Acc3 P1 Tr 14 15 P1 Tr 15 P1 Tr 15 P2 Tr 15 Acc4 Acc4 Acc4 P1_Tr15 16 P1_Tr 16 P1_Tr 16 P2_Tr 16 Acc5 Acc5 Acc5 P1_Tr 16 1 1 Upp1 Upp1 P1 Tr 1 P2 Tr 1 Upp1 P1 Tr 1 P2 Tr1 Upp 1 2 Upp2 Upp2 P1 Tr2 P2 Tr2 Upp2 P1 Tr2 P2 Tr2 3 Upp3 Upp3 P1 Tr3 P2 Tr3 Upp3 P1 Tr3 P2 Tr3 4 Lower Lower P1 Tr4 P2 Tr4 Lower P1 Tr4 P2 Tr4 5 P1 Tr5 P2 Tr5 P1 Tr5 P2 Tr5 6 P1 Tr6 P2 Tr6 P1 Tr6 P2 Tr6 7 P1 Tri P2 Tr7 P1 Tr7 P2 Tr7 MIDI OUT 8 P1 Tr8 P2 Tr8 P1 Tr8 P2 Tr8 Channel 9 z P1_Tr9 P2_Tr9 Bass PI_Tr9 P2_Tr9 10 P1 Tr 10 P2 Tr 10 Drum P1 Tr 10 P2 Tr 10 11 P1 Tr 11 P2 Tr 11 Perc P1 Tr 11 P2 Tr 11 12 P1 Tr 12 P2 Tr 12 Acci P1 Tr 12 P2 Tr 12 13 P1 Tr 13 P2 Tr 13 Acc2 P1 Tr 13 P2 Tr 13 14 P1 Tr 14 P2 Tr 14 Acc3 P1 Tr 14 P2 Tr 14 15 S P1_Tr15 P2_Tr 15 Acc4 P1_Tr15 P2 Tr 15 gt 16 P1_Tr 16 P2_Tr 16 Acc5 P1_Tr 16 P2_Tr 16 Chord 1 Chann Off 1 Off Off 2 2 2 Off Chord 2 Chann Off Off Off Off 3 3 Off Off Harm Chann 5 5 5 5 2 2 2 Off Harm Octave 0 0 0 0 1 1 1 1 Harm Range HI G9 G9 G9 G9 G9 G9 G9 G9 Harm Range LO C 1 C 1 C 1 C 1 C 1 C 1 C 1 C 1 MIDI IN Velocity Nor
397. has a positive value Voice 2 will res onate at a pitch an octave below Resonance 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 96 i High Damp This sets the amount of damping amount for the high frequen cies of the resonant sound Lower values create a metallic sound with a higher range of harmonics Effects Modulation and Pitch Shift Mod P Shift 133 49 Doppler This effect simulates the Doppler effect of a moving sound with a changing pitch similar to the siren of an passing ambu lance Mixing the effect sound with the dry sound will create a unique chorus effect FX Amt 100 Mono In Stereo Out FK Amt 0 Stereo In Stereo Out Left o gt FX r7 Doppler ER an Depth Right i S Pci LFO Ds Trigger 2 0 LFO Mode 1 Shot LFO Mode Loop 1 Shot Switches LFO operation mode Selects the modulation source of LFO reset Switches between LFO reset on and off when LFO Mode is set to Loop Src Off Tempo LFO Sync Off On LFO Frequency Hz 0 02 20 00 Sets the speed ofthe LFO Selects amodulation source for LFO Src OI Tempo speed 20 00 Sets the modulation amount of LFO 20 00 speed When this is on the LFO speed is se
398. haser output and the dry sound OUTPUT Wet Dry sets the balance between the final phaser and tremolo output level and the dry sound 57 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 modu late the oscillator to create a radical modulation Matching the oscillator frequency with a note number will produce a ring modulation effect in specific key ranges f o FX Amt Ring Modulator i Pre LPF N gt Ring Modulator E Right i Fixed Frequengy Erd Sine Oscillator de veel Note Offset Fine le Stereo In Stereo Out Left o Pre LPF Switching between specifying the oscillator frequency and using a note number Fixed Note OSC Mode Key Follow Sets the damping amount of the high range input to the ring modulator Pre LPF 0 100 Fixed Frequency Hz Sets the oscillator frequency when OSC Mode is set to Fixed Selects the modulation source for the oscillator frequency when OSC Mode is set to Fixed 0 12 00k Src Off Tempo Sets the modulation amount of the oscillator frequency when OSC Mode is set to Fixed 12 00k 12 00k Sets the pitch difference from the original note when OSC Mode is setto Note Key Follow Note Offset 48 48 Note Fine 100 100 Fine adjusts the
399. he gain of a narrow parametric band is typically reduced to over come room or voice resonances and smooth the sound although experienced users may boost a band felt to be missing in a par ticular voice as well The 3 Gain upper controls allow 12 dB of adjustment The 3 Frequency lower controls range from 20 Hz to 20 kHz Low Gain gt GBLYPS Boosts or cuts the range of frequencies below the frequency set by the Low Frequency control Low Frequency gt GBLYPS Allows you to define the frequency range for the low shelf by choosing the highest frequency below which boosting or cutting is possible High Gain gt GBLYPS Boosts or cuts the range of frequencies above the frequency set by the High Frequency control High Frequency GBLPS Defines the frequency range for the high shelf with the selection of the lowest frequency above which boosting or cutting is possi ble Mid Gain gt GBL PS Boosts or cuts the band of frequencies centered at the setting of the Mid Frequency control and its associated Mid Width Mid Frequency gt GBLYPS Defines the center of the parametric band Mid Width Q gt GBLYPs Defines how narrow or wide the parametric band is to be The ends of the control range are labelled Narrow and Wide to add meaning to the numbers in the middle of the control range Compress DeEss Adaptive gt GBLYPS This activates the automatic Compressor DeEsser algorithm and changes the cont
400. he LFO Waveform Changes the curvature of the LFO LFO Shape 100 100 Sets the amount of resonance Waveform Mod Depth 100 100 intensity control via LFO D mod M 180 180 nn ee Trim 0 100 Sets the input level at the resonator LFO Frequency Voice1 Pitch C0 B8 Sets the voice1 Pitch for resonance Hz 0102 20 00 Sets the speed olt LFO Fine cents 50 450 Fine adjusts the voice 1 pitch for Src Off Tempo Selects a modulation source for LFO resonance EB speed Level 0 100 Sets the Voice output level Amt 20 00 Sets the modulation amount of LFO Voice _100 100 Sets the intensity of resonance 20 00 speed Resonance when Control Mode Manual L Delay Time P Sets the damping amount of Imsec 0 0 500 0 Sets the left channel delay time High Damp 0 100 resonant sound in the high range SCH Time 0 0 500 0 Sets the right channel delay time Pan Ge S Sets the Voice stereo image Depth 0 200 Sets the depth of LFO modulation Voice2 Pitch C0 B8 Sets the voice 2 Pitch for resonance Sets the feedback amount Fine adjusts the voice 2 pitch for Feedback 100 100 Fine cents 50 50 faconance Sets the feedback damping amount Level 0 100 Sets the Voice2 output level High Damp 0 100 in the high range Voice2 100 4100 Sets the intensity of resonance Resonance e when Control Mode Manual Wet i Wet Dry 1 99 Dry 99 1 Palan
401. he Style is not playing and you are in Split mode you can play the Lower track with your left hand while the Bass still plays the chord root See Bass amp Lower Backing on page 142 of the User s Manual Manual Bass Style Up Selects the next Style Style Down Selects the previous Style Ensemble On Off QuarterTone Turns Quarter Tone on off Global Scale When the switch or footswitch is pressed the Global gt General Controls gt Scale is recalled in the display Advanced 244 Assignable parameters List of Assignable Footswitch Pedal functions Function Meaning Function Meaning SubScale Preset 1 SC1 SC4 Same functions of the SC Preset buttons in the display Sound Controller 1 Chord Latch Holds the recognized chord until the pedal is released Chord Latch Damper Holds the recognized chord until the pedal is released and sustains the tracks where the Damper has been turned on Glide When the pedal is pressed affected notes on Upper tracks are bent down according to set tings for the Pitch Bend on the same tracks When the pedal is released notes return to the normal pitch at the speed defined by the Time parameter see Glide on page 211 of the User s Manual Sound Controller 2 To be used as triggers for two DNC parameter transmit CC 80 or CC 81 When these func tions are assigned to the
402. he main page you can also select the Main Page menu item When in an edit page press the EXIT button to return to the main page of the Style Record mode STYLE RECORD Menu Note While the Style is in play you cannot access the Edit section pages from the main page see page 6 of the Users Manual Stop the playback before pressing MENU Note When switching from the Edit section pages Quantize Transpose Velocity Delete to the other pages or vice versa the Style if in play is automatically stopped Edit page structure Most edit pages share some basic elements Chord Selected Style Element Operating mode Edit section Page menu icon STYLE REC SE Track Ctris Ca E Y1 Trk Acc Konz Git 2 DNC F 121 820 071 Selected EE track info MO ID 0 Wo Ezpr Monitor Expression Parameters area Tabs Other pages have a slightly different structure Operating mode Edit section Chord Page menu icon Parameters area Track status Tabs Operating mode This indicates that the instrument is in Style Record mode Edit section This identifies the current edit section corresponding to one of the items of the edit menu see Edit menu on page 16 Chord Chord in edit Selected Style Element In Style Record mode edits always happen on the selected Style Element Page menu icon Touch this icon to open the page menu see Page menu on page 31 Parameters area Each
403. he six keys corresponding to the six guitar strings and the special keys corresponding to the root and fifth notes c play RX Noises to add realism to the pattern d add regular patterns for short melodic passages without wast ing an Acc track e use the finest MIDI programing to select Chord Shapes and recreate any nuance of a guitar performance The following sections describe the various control keys avail able for this guitar simulation Recording strumming types The octave from CI to B1 is devoted to selecting a strumming type By pressing these keys you play fast strumming samples Pa3X 76 Pa3X 61 Full Down Slow Mute Full Up Mute Up Mute 4 Strings J Down Mute 4 Strings Full Down Mute Full Down Up 4 Strings Full Down Full Up Slow Down 4 Strings Full Down Mute Body Full Up Slow Recording single strings The octave from C2 to B2 is devoted to selecting a single string or more than one for playing arpeggios or power chords You can either play a free arpeggio with the six guitar chords assigned to the C A keys or play one of the faster sampled 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 Style Record mode 11 Main page Guitar Mode key with them you can always play the lowest notes of an arpeg gio This octave also includes an all mute key F Pa3X 76 Pa3X 61
404. he slider and use the VALUE controls to change the value or touch and drag it in the display This value is not saved with the Pad and is only used to test the Pad s volume during editing or recording Track status icons Status of the track Touch this icon to change the status E Play status The track can be heard r1 J Mute status The track cannot be heard Bu Record status After starting recording the track will receive notes from the keyboard and the MIDI IN connector Key Chord area Key Chord YPAD This parameter pair allows you to define the tracks original key and chord type for the current Chord Variation When playing the pattern back this chord will be played back exactly as it was recorded without any NTT processing see below Advanced 38 Pad Record mode Main page Record 1 NTT Area NTT Type Table YPAD NTTs Note Transposition Tables are the sophisticated algo rithms that allow Korg arrangers to convert recognized chords into musical patterns The Note Transposition Table NTT determines how the arranger will transpose pattern notes when a chord is recognized 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 recog nized on the keyboard the arranger must transpose some notes to create the missing 7th Note These parameters cannot be selected with Drum Percussion or Gui
405. he source that will adjust the frequency of the selected oscillator LFO1 see AMS Alternate Modulation Source list on page 77 LFO1 can be modulated by LFO2 Intensity AMS1 Intensity This parameter specifies the depth and direction of the effect that AMS1 F 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 respec tively or decreased by 1 2 1 4 1 8 1 16 1 32 or 1 64 respec tively For example if AMS1 F 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 AMSI F is set to JS Y raising the value of this parameter will cause the oscillator LFO1 speed to increase as the joystick is moved away from yourself With a setting of 499 moving the joystick all the way away from yourself will increase the LFO speed by approximately 64 times 99 99 Intensity value AMS2 Alternate Modulation Source2 Intensity AMS2 Intensity Make settings for a second alternate modulation source that will adjust the frequency of the oscillator LFO1 see above AMS1 Alter nate Modulation Source1 and Intensity AMS1 Intensity Frequency MIDI Tempo Sync MIDI Tempo Sync This parameter e
406. hest 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 Transpose Range Top Bottom Key Use these parameters to set a range for transposition Inside this range notes are transposed Outside this range they are not transposed This is useful to avoid RX Sounds being transposed when transposing a Sound Note Set these general values so that all RX Noises assigned to any Oscillator fall out ofthe Transpose Range For example if you assigned an RX Noise to a G7 on OSCI 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 Voice Assign Mode Poly Mono This is the polyphonic mode of the Sound Poly The Sound will play polyphonically allowing you to play chords Mono The Sound will play monophonically producing only one note at a time Single Trigger This parameter is available when the selected mode is Poly On When the same note is played repeatedly the pre vious 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 pre vious note will not be silenced before the next note is sounded Legato This parameter is only available when the selected mode is Mono It is the same found o
407. high of the high range erg equalizer Sets the input level of EQ applied to EQ Trim 0 100 the effect sound Pre LEO Gain dB Pre HEQ Gain dB 15 0 15 0 Setsthe gain of Low EQ Low Selects the cutoff frequency low or Pre LEQ Fc Mid Low mid low of the low range equalizer 15 0 15 0 Sets the gain of High EQ Selects the cutoff frequency high or mid high of the high range equalizer High Pre HEQ Fc Mid High Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Pre LEQ Gain dB Pre HEQ Gain dB Off Tempo Table Dynamic Modulation 15 0 15 0 Gain of the Low EQ sources on page 106 100 100 Amount of modulation source 15 0 15 0 Gain of the High EQ Wet Dry Dry 1 99 99 1 Balance between the wet and dry c ER Level Wet signal d Reverb Level Sre Off Tempo Table Dynamic Modulation sources on page 106 These parameters set the early reflection level and reverb level 100 100 Amount of modulation source Changing these parameter values allows you to simulate the type a 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 This parameter selects the decay curve for the early reflection Early Reflections Type Reverb Room Type y yp Level Dry ER Early Reflections Reverb Pre Dela
408. his 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 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 Stereo In Stereo Out Left o o FX Amt High Damp Low Damp Delay LO Dn Stereo In Stereo Out Lefto Righto es bt Stereo Cross y gt Stereo Cross Stereo Cross o FX Amt Switches between stereo delay and cross feedback delay L Delay Time msec 0 0 1360 0 Sets the delay time for the left channel R Delay Time msec 0 0 1360 0 Sets the delay time for the right channel L Feedback 100 100 Sets the feedback amount for the left channel Sre Off Tempo Selects the modulation source of feedback amount Amt L 100 100 Sets the modulation amount of the left channel feedback R Feedback Amt R 100 100 100 100 s the feedback amount for the ight channel Sets the modulation amount of the right channel feedback High Damp 0 100 Sets the damping amount in the high range Low Damp Input Level Dmod 0 100 100 100 Sets the damping amount in the low range Sets the modulation a
409. hord Zapl Zap2 Stadium Applause Birds1 Birds2 Crickets Church Bell Thunder Stream Bubble Dog Gallop Laughing Telephone Ring Scream Punch Heart Beat Footstep1 744 745 746 747 748 749 750 751 752 753 754 755 756 757 758 759 760 761 762 763 764 765 766 767 768 769 770 771 772 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788 Factory data 223 Multisamples Footstep2 Door Creak Door Slam Car Engine Car EngineLP Car Stop Car Pass Car Crash Train Helicopter Gun Shot Machine Gun Laser Gun Explosion Wind Chinese Gong Crash Crash Reverse Crash Reverse GM Orchestra Crash Ride Jazz Ride Edgel Ride Edge2 HiHat Closed 88 HiHat Open 88 Cowbell 88 Tom 88 Conga 88 Crash Tom Tom Brush Tom Process Electric Tom Melodic Tom GM Flexatone Tambourine Agogo Bell Meditation Tree Marc Tree Marc TreeLP Rain Stick Cowbell Castanet Temple Blocks Orchestra BD Kl U u S gt Kl lt x 224 Factory data 789 790 791 792 793 794 795 796 797 798 799 800 801 802 Multisamples Timpani Taiko Djembe Open Djembe Mute Conga Quinto amp Bongo Okonkolo Timbales Cowbell amp Clave Cabasa Shaker Cabasa amp Shaker Dumbek Djambe Udu Caxixi 803 804 805 806 807 808 809 810 811 812 813 814 815 816 Tabla amp Baya WoodBlock amp Castanet Mix Latin Percussion Kangaroo DJ Eddie S
410. ht A lt input Lavel Feedback Position Feedback Right o Za Pitch Shift _100 100 Sets the pitch difference from the cents input signal Mod Slow Medium Switches Pitch Shifter mode Selects a modulation source for ode Fast Off Tempo pitch shift Pitch Shift 1 24 424 Sets the pitch shift amount by steps 100 100 Sets the modulation amount for 2tone meh of a semitone pitch shift Src Off Tempo Selects the modulation source of Delay Time 0 1000 Sets the delay time a pitch shift amount msec r Amt 24 424 Sets the modulation amount of Feedback 100 100 Sets the feedback amount pitch shift amount Sets the d i t in th i i High Damp 96 0 100 high an amount in the Fine cents 100 1100 Sets the pitch shift amount by steps Input Level Sets the modulation amount of the Sets the modulation amount of Dmod 100 100 input level Amt 100 100 bitch shift amount Selects the modulation source for Delay Time Src Off Tempo the input level Imse 0 2000 Sets the delay time Wet Dry Dy 1 99 99 1 SE belweenthe wer gnadry aa Pre Post Switches the feedback connection Table Dynamic Modulation Sets the feedback amount Off Tempo sources on page 106 Feedback 100 100 100 100 Amount of modulation source High Damp 0 100 n the damping amount in the igh range d Input Level Dmod 96 Input Level E Sets the modulation amount of the ds P Pol Dmod 96 100 4100 input level sore Selects the modulation source f
411. iation This parameter lets you select one of the six available Chord Variations CV1 CV6 for editing or recording Note When this parameter and the assigned value is in small let ters cv1 cv6 the Chord Variation is empty when it is in capi tals CV1 CV6 it is already recorded Resolution Use this parameter to set the quantization during record ing Pad Sync YPAD This parameter allows you to set a synchronization mode for the Pad s pattern Off No synchronization The sequence will start as soon as you press the PAD button Continued The pattern will start immediately in sync with the arranger s or active players tempo Depend ing on the current position of the beat counter it might not start from its very beginning instead it will continue from the current position For example if the arranger s or players beat counter shows the third beat and is playing tick 91 the Pad will start from its third beat at tick 91 The beat counter STYLE PLAY 124 This works exactly as if it was a Fill Beat The sequence will start at the next beat in sync with the arranger s or player s tempo It will start from its very beginning i e tick 1 or measure 1 Rec Length Recording Length YPAD This parameter sets the recording length in measures of the sequence Its value is always equal to or a divider of the Chord Variation Length see next parameter Warning If you assign CV
412. ic f Bass Drum 88 BD Kick2 Bass Drum 138 SDCrvOpRim f Snare Drum 39 BD Acoustic2 mf Bass Drum 89 Electro Kick Bass Drum 139 SD Crv Roll p Snare Drum 40 BD Acoustic2 mf GM Bass Drum 90 BD Ambient Bass Drum 140 SD Crv Roll mf Snare Drum 41 BD Acoustic2 f Bass Drum 91 BD Ambient Crackle Bass Drum 141 SD Crv Roll f Snare Drum no 42 BD Acoustic2 f GM Bass Drum o 92 BD Ambient Rocker Bass Drum 142 SD Crv Stage p Snare Drum v 43 BD open p Bass Drum 2 93 BD Pop Bass Drum 143 SD Crv Stage mf Snare Drum 44 BDopen mf Bass Drum gt 94 BD Deep Bass Drum 144 SDCrv Stage f Snare Drum Kl 45 BDopenf Bass Drum x 95 BD Deep GM Bass Drum 145 SD Crv Rim Stage p Snare Drum 46 BD Peak Bass Drum 96 BD Klanger Bass Drum 146 SD Crv Rim Stage mf Snare Drum 226 Factory data Drum Samples Name Family Name Family Name Family 147 SDCrv Rim Stage f Snare Drum 200 SDLdwBB1ACIA Snare Drum 253 SDLdwVint Room p Snare Drum 148 SDCrv Open Stage pp Snare Drum 201 SD LdwBB1A OpRim1 Snare Drum 254 SDLdwVint Room mf Snare Drum 149 SDCrv Open Stagep Snare Drum 202 SDLdwBB1A OpRim2 Snare Drum 255 SDLdwVint Room f Snare Drum 150 SDCrv Open Stage mf Snare Drum 203 SD LdwBB1A OpRim3 Snare Drum 256 SD LdwVint Room ff Snare Drum 151 SD Crv Open Stage f
413. ietschen GM2 XG SFX 121 1 108 Kalimba 2 Factory Mallet amp Bells 121 3 124 Tuer zuschlagen GM2 XG SFX 121 2 108 Kalimba 1 Factory Mallet amp Bells 121 4 124 Scratch GM2 XG SFX 121 0 109 Dudelsack GM GM2 XG Welt 121 5 124 Windspiel GM2 XG SFX 121 1 109 Dudelsack Legacy Welt 121 0 125 Helikopter GM GM2 XG SFX 121 2 109 Irisch Dudelsack Factory Welt 121 1 125 Auto Motor GM2 XG SFX 121 3 109 Hochl Dudelsack Factory Welt 121 2 125 Auto bremst GM2 XG SFX 121 0 110 Fiedel GM GM2 XG Welt 121 3 125 Fahrendes Auto GM2 XG SFX 121 1 110 Fiedel Factory Welt 121 4 125 Auto Unfall GM2 XG SFX 121 0 111 Shanai GM GM2 KG Welt 121 5 125 Sirene GM2 XG SFX 121 1 111 Zurna2 Factory Welt 121 6 125 Fahrender Zug GM2 XG SFX 121 2 111 Hichiriki Factory Welt 121 7 125 Duesenflugzeug GM2 XG SFX 121 3 111 Zurna 1 Factory Welt 121 8 125 Raumschiff GM2 XG SFX 121 0 112 Gloeckchen GM GM2 XG Perkussion 121 9 125 Ladungsimpuls GM2 XG SFX 121 1 112 Gamelan Factory Welt 121 0 126 Applaus GM GM2 XG SFX 121 2 112 Bali Gamelan Legacy Welt 121 1 126 Lachen GM2 XG SFX 121 3 112 Metallfass Factory Welt 121 2 126 Schreien GM2 XG SFX 121 0 113 Agogo GM GM2 XG Perkussion 121 3 126 Schlag GM2 XG SFX 121 0 114 Steel Drums GM GM2 XG Perkussion 121 4 126 Herzklopfen GM2 XG SFX 121 1 114 Steel Drums Factory Mallet amp Bells 121 5 126 Schritte GM2 XG SFX 121 0 115 Woodblock
414. igh Selects the cutoff frequency high or Pre HEQ Fc Mid Lr h mid high of the high range 9 egualizer a Gain 15 0 15 0 Gain of the Low EQ sm Gain 590 4150 Gainofthe High EQ Wet Balance between the wet and dr Wet Dry 1 99 Dry 991 Signal y Wet Src Op Tempo Table Dynamic Modulation sources on page 106 100 100 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 Table Sets the modulation amount for 109 100 Wet Dry on page 107 Wet Dry Output Mode For the master effects Wet Dry adjusts the output level of the effect sound When Output Mode is Mono L and R will output the same vibrato effect Normally you ll produce a chorus effect by adjust ing the return level to mix the processed sound with the direct sound If you turn Bus Off and adjust the settings so that none of the direct sound is mixed in a vibrato effect will be produced If Output Mode is ST L D amp R W the direct sound will be panned to L and the effect sound will be panned to R for output Normally youll mix the direct sound and effect sound by adjusting the return level applying chorus only to the R channel and producing a stereo effect that s spread to the left and right If you turn Bus Off pan the direct sound and effect sound to the left and right and output them from stere
415. ight modulation direction Effects 145 Delay a Control Target 69 St AutoPanningDly This parameter selects no level control delay output control Stereo Auto Panning Delay a balance poa eta le arad pt cones This stereo delay effect pans the delay sound left and right using a Polarity the LFO b Threshold Stereo In Stereo Out b Offset Left o c Attack Ihe CS TEST d Release X 1 25 Feedback The Offset parameter specifies the value for the Control Tar Delay N Z gt get parameter that is set to None expressed as the ratio rela tive to the parameter value the Wet Dry value with Control Rights Target Output level or the Feedback value with Control Target Feedback High Damp Low Damp LFO Tri Sin gt LEO Shape When Polarity is positive the Control Target value is L Delay Time obtained by multiplying the parameter value by the Offset msec value if the input level is below the threshold or equals the LFeedback 100 100 parameter value if the input level exceeds the threshold Sets the delay time for the left channel Sets the feedback amount for the left channel 0 0 1360 0 R Delay Time msec Sets the delay time for the right 0 0 1360 0 channel When Polarity is negative Control Target value equals the para
416. ill 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 added to the setting of the Filter A Frequency AMS2 Alternate Modulation Source 2 for filter A B Selects the source that will control modulation of the filter A cutoff frequency see AMS Alternate Modulation Source list on page 77 Intensity Intensity to AMS2 Specifies the depth and direction of the effect that the selected source will have see Intensity Intensity to AMS1 on page 66 Filter Filter LFO Here you can use the filter LFO to apply cyclic modulation to the cutoff frequency of the filter for the selected oscillator to create cyclical changes in tone SOUND Filter LFO 1 Intensity to A Specifies the depth and direction of the modulation that LFO1 set on LFO LFO1 will have on the cutoff frequency of filter A Negative settings will invert the phase Change in cutoff Low setting High setting 99 99 Parameter value Intensity to B Specify the depth and direction of the modulation that LFO1 will have on the cutoff frequency of filter B see Intensity to A 99 99 Parameter value JS Joystick Y Intensity to A By moving the joystick in the Y direction toward yourself you can control the depth at which LFO1 mod
417. ill have For example if you set AMS to Velocity 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 Pitch change level Note on Note on Note on Note off Note off Note off Softly played Strongly played with Intensity Pitch EG setting a positive value Strongly played with a negative value Note Intensity Pitch EG and AMS will be added to determine the depth and direction of the pitch modulation applied by the pitch EG Portamento Enabled This parameter turns the portamento effect smooth change in pitch from one note to the next on off and specifies how it will be applied Note Portamento will also be switched when CC 65 Portamento SW is received On Portamento will be applied Off Portamento will not be applied Fingered This parameter specifies whether the portamento effect restarts or not with each note played On Portamento will restart with each note Off Portamento will not restart with each note Time This parameter sets the portamento time Increasing the value will produce a slower change in pitch 000 127 Portamento time in MIDI value LFO 1 2 LFO1 2 Int Intensity of the corresponding LFO 12 0 12 Parameter value Negative values invert the LEO shape JS Y Intensity of the corre
418. im4 m Hall Snare Drum 589 Tom Jazz Hi Rim Tom 484 SD Brush1 swirl2 Snare Drum 537 Rim1 st Hall Snare Drum 590 Tom Jazz Low center Tom 485 SD Brush1 swirl3 Snare Drum 538 Rim2 st Hall Snare Drum 591 Tom Jazz Low center GM Tom 486 SD Brush1 swirl4 Snare Drum 539 Rim3 st Hall Snare Drum 592 Tom Jazz Low edge Tom 487 SDBrush1 Snare Drum 540 Rim4 st Hall Snare Drum 593 Tom Jazz Low Rim Tom 488 SD Brush2 ghost1 Snare Drum 541 Rim1 Amb Snare Drum 594 Tom1 Open Hip Tom 489 SD Brush2 ghost2 Snare Drum 542 Rim2 Amb Snare Drum 595 Tom Open Hip flam Tom 490 SD Brush2 ghost3 Snare Drum 543 Rim3 Amb Snare Drum 596 Tom Open Hif Tom 491 SD Brush2 Snare Drum 544 Rim4 Amb Snare Drum 597 Tom Open Hif flam Tom 492 SD Brush fill 4 shots Snare Drum 545 Rim Signature Hi Snare Drum 598 Tom Open Mid p Tom 493 SD Brush fill 3 shots Snare Drum 546 Rim Signature Mid Snare Drum 599 Tom Open Mid p flam Tom 494 SDBrush2 fill 2 shots Snare Drum 547 Rim Signature Low Snare Drum 600 Tom Open Mid f Tom 495 SDBrush3 Hit Snare Drum 548 RimShotp Snare Drum 601 Tom Open Mid f flam Tom 496 SDBrush3 Tap1 Snare Drum 549 Rim Shot f Snare Drum 602 Tom1 Open Low p Tom 497 SDBrush3 Tap2 Snare Drum 550 Rim House1 Snare Drum 603 Tom Open Low p flam Tom 498 SD Brush3 Swirl Snare Drum 551 Rim House2 Snare Drum 604 Tomi Open Low f Tom 499 SDFX Large Hall1 Snare Drum 552 Rim Synth Snare Drum 605 Tom1 Open
419. imit of the wah Freq 0 70 emphasized Frequency Top 0 100 center frequency rie 1 99 99 1 a between the wet and dry W Sweep SE Selects the control from auto wah 9 Mode LFO d modulation source and LFO Off Tempo Table Dynamic Modulation 9 eu sources on page 106 Selects the modulation source for Sre Off Tempo the wah when Sweep Mode D mod 100 100 Amount of modulation source H E WILFO 0 02 20 00 Sets the speed of the LFO Frequency Hz h Resonance 0 100 Sets the resonance amount Switches the wah low pass filter on LPF Off On and off W Wet Dry et a Sets the wah effect balance Selects the Wet Dry modulation i Sre Off Tempo source for the wah Sets the Wet Dry modulation Amt 100 100 amount for the wah Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal j Table Dynamic Modulation Sre Off Tempo sources on page 106 Amt 100 100 Amount of modulation source Effects Mono Mono Serial Mono Mono 155 90 P4EQ Cho Flng Parametric 4 Band EQ Chorus Flanger This effect combines a mono four band parametric equalizer and a chorus flanger 91 P4EO Phaser Parametric 4 Band EQ Phaser This effect combines a mono four band parametric equalizer and a phaser FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out
420. in of Low EQ e Gain Sets the gain of High EQ PHASER MULTITAP DELAY P LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO LFO Waveform Triangle Sine Selects the LFO Waveform P Manual 0 100 Sets the frequency to which the effect is applied Depth 0 100 Sets the depth of LFO modulation Resonance 100 100 Sets the resonance amount Wet PJPhaser Wet 1 99 Dry 99 1 Dry Wet Sets the phaser effect balance Src Off Tempo Selects the Wet Dry modulation source for the phaser Amt 100 100 Sets the Wet Dry modulation amount for the phaser FlOutput Normal Mode Wet Invert Selects the phaser output mode r Comp Phaser Routing Phaser Comp Dry 1 99 99 1 Wet Dry Wet Switches the order of the compressor and phaser Balance between the wet and dry signal Src Off Tempo 100 100 Table Dynamic Modulation sources on page 106 Amount of modulation source D Tap1 Time 0 0 1360 0 msec Sets the Tap1 delay time Tap Level 0 100 Sets the Tap1 output level D Tap2 Time msec 0 0 1360 0 Sets the Tap2 delay time Feedback Tap2 100 100 Sets the Tap2 feedback amount Sets the damping amount in the 0 100 high range D High Damp 906 D Mt Delay Des 99 1 Sets the multitap delay effect Wet Dry Wet balance Selects the Wet Dry modulation
421. ing is complete you may select a different track to edit go to step 7 When finished editing the selected Chord Variation press EXIT to go back to the main page of the Style Record mode then go to step 2 to select and edit a different Chord Variation When finished editing the whole Style select the Write Style command from the page menu to open the Write Style dialog box see Write Style dialog box on page 31 or select the Exit from Record command to cancel all changes e Touch the Ku Text Edit button to enter the Text Edit dialog box Enter a name and confirm by selecting OK e Select a target memory location where to save the Style The name of the Style already existing at the selected loca tion is shown after the Style Bank Location number Warning If you select an existing Style and confirm writing the older Style is deleted and replaced by the new one Save the Styles you dont want to lose to a storage device before overwriting them Touch OK to save the Style to the internal memory or Can cel to delete any changes made in Style Record mode When the Are you sure message appears touch OK to confirm or Cancel to go back to the Write Style dialog box Event Edit Filter This page is where you can select the event types to be shown in the Event Edit page STYLE REC Event Edit Turn On the filter for all event types you do not wish to see in the Event Edit page Note
422. ing will flash on the page header Uncheck this item to exit the Solo function Keep the SHIFT button pressed and touch one of the tracks to solo it Do the same on a soloed track to deactivate the Solo function Exit from Record Select this command to exit from Record without saving changes to the Style Write Style dialog box Open this window by choosing the Write Style item from the page menu Here you can save the recorded or edited Style to memory by choosing either a User or Favorite Style bank Write Style 67 Gitarren Pop Parameters saved in the Style are marked with the STYLE symbol through the user s manual Name STYLE Name of the Style to be saved Touch the T Text Edit button next to the name to open the Text Edit window Style Bank Target bank of Styles Each bank corresponds to one of the STYLE SELECT buttons Use VALUE controls to select a differ ent bank Style Target Style location in the selected bank Use VALUE controls to select a different location as E u c 2 Ki lt 32 Style Record mode Copy Key Chord dialog bor Note A User or Favorite Style is usually prompted when writing a Style However you can overwrite a Factory Style when the Fac tory Style and Pad Protect parameter is left unchecked see page 247 Select button Touch this button to open the Style Select window and select a target location STYLE SELECT Akus
423. ion amount of Amt 100 100 pitch shift amount MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this 300 00 individual effect Time Over OVER Displays an error message when the delay time exceeds the upper limit Delay Base DAN Selects the type of notes to specify Note the delay time Sets the number of notes to specify Times x1 x32 the delay time Feedback P Switches the feedback Dons re Post osition connection Feedback _100 100 Sets the feedback amount Sets the damping amount in the High Damp 0 100 high range nput Level E Sets the modulation amount of the Dmod 96 100 100 input level Src Op Tempo Selects the modulation source for the input level Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Src Off Tempo Table Dynamic Modulation sources on page 106 100 100 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 These parameters set the amount of pitch shift and amount of modulation by
424. ion source Wet Dry 1 99 99 1 en thewet and Wet Table Dynamic Modulation Src Off Tempo sources on page 106 100 100 Amount of modulation source 94 Comp Amp Sim This effect combines a mono compressor and an amp simula Compressor Amp Simulation tion You can change the order of the effects FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left gt Routing FX Amt Compressor Xv Amp Simulation EQTrim LEQ HEQ gt H CHComp La gt Amp Simulation Filter t Output Level Right ot A xXx i gt Envelope Control Effects Mono Mono Serial Mono Mono 95 Comp OD HiGain Compressor Overdrive Hi Gain This effect combines a mono compressor and an overdrive high gain distortion You can change the order of the effects COMPRESSOR FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left Routin Ex Amt Compressor FN g Overdrive Hi Gain 3 Band PEQ t Comp Z Driver NA Output Level Output Level FX Amt ff Mode Overdrive Hi Gain Drive Rightos igi f H Be Amt gt Envelope Control COMPRESSOR C Sensitivity Sets the sensitivity C Sensitivity Sets the sensitivity ClAttack Sets the
425. it DNC 121 15 27 Clean E Git Pro em E ee 121 1 30 Dist Clean Git 121 28 25 Real West Git ST BRE 232 or eee 121 26 24 Konz Git3DNC 121 2 26 Pedal Steel 2 121 16 24 Konz Gitarre ST 121 24 27 1954er E Gitarre 121 17 24 Konzert Gitarre 121 2 2f SingleCoil E Git 121 38 25 Klass 12sait DNC NEE EE 121 39 25 Klass 12sait RX 2 7 27 Strat E Gitai a e RE er 121 2 29 Ovdr E Git 2 DNC 121 46 25 12sait FolkI DNC d 2 27 NOUSE GANE Advanced 192 Factory data Sounds Bank order ccoo CC32 PC Sound Name ccoo CC32 PC Sound Name 121 4 27 Vintage E Git 2 121 23 48 Sinf StreicherRX 121 5 27 Processed E Git 121 2 49 Volle Streicher 121 9 27 L amp R E Gitarre 1 121 11 48 Ensemble amp Solo 121 4 28 Rock n Roll Git 121 1 44 TremoloStreicher 121 4 30 E Git Akkorde 121 1 43 Klass Kontrabass 121 5 30 Mute Monster Git 121 1 42 Cello 121 9 28 Dist Mute E Git 121 1 41 Viola Expr 121 44 25 Western Git DNC 121 2 41 Violine amp Viola 121 12 24 Nylon Git RX1 121 4 40 Violine Expr 3 121 13 24 Nylon Git RX2 121 3 40 langs Violine 2 121 15 25 Western Git RX1 121 9 48 Strei
426. ith a Song or Song Book entry see Textda teien die mit Standard MIDI Files oder MP3 Datei geladen wurden on page 177 of the User s Manual SongBook Next Moves to the next SongBook entry in the selected Custom List Pad 1 Pad 2 Same functions of the control panel buttons Pad 3 with the same name Pad4 Pad Stop Sound Controller 1 Ensemble On Off QuarterTone Turns Quarter Tone on off Global Scale When the switch or footswitch is pressed the Global gt General Controls gt Scale is recalled in the display SubScale Preset 1 SC1 4 SC4 Same functions of the SC Preset buttons in the display Sound Controller 2 To be used as triggers for two DNC parameter transmit CC 80 or CC 81 When these func tions are assigned to the selected physical controller this latter becomes the correspond ing Sound Controller Sound Controller 1 or Sound Controller 2 You can then use this Sound Controller to control any of the DNC parameters Advanced 248 Assignable parameters Scales Scales The following is a list of scales or tunings you can select in var ious operating Equal Pure Major Pure Minor Arabic Pythagorean modes Equal tuning the standard scale for modern Western music It is made of 12 identical semi tones Major chords in the selected key are perfectly tuned Minor chords in the selected key are perfected tuned
427. k RX onky Ton 121 42 4 Wurly RX Noise 121 3 3 Ragtime Pi agtime Fiano 121 35 4 E Piano RX Noise 121 9 0 Fluegel amp Flaeche1 uegelsklaeche 121 25 4 E P Dampfer1 DNC 121 9 2 Fluegel amp Flaeche2 uegel amp Flaeche 121 26 4 E P D mpfer2DNC 121 10 2 E Fluegel Ph uegel Phaser 121 18 4 Live E Piano RX 121 7 0 Piano amp Streich iano amp Streicher 121 11 4 Club E Piano 121 5 0 Jazz Pi SS 121 16 4 Tremolo Wurly 121 6 6 Cembalo RX embalo 121 8 4 R amp BE Piano 121 5 7 Clavinet RK avine 121 15 5 FM E Piano 1 121 6 7 Synth ClavinetRX yn avine 121 13 5 Synth E Piano 1 121 2 7 Wah Clavinet RX an Glavine 121 9 4 Zartes E Piano 121 4 0 Klassik Piano 121 7 4 Studio E Piano 121 8 0 Rock Piano 121 5 4 Buehnen E Piano 121 5 1 Piano BrillantRX 121 6 4 Buehnen E Piano 121 4 1 Piano amp Flaeche3 Factory Mallet amp Bells 121 7 2 Fluegel amp Flaeche1 er 7 5 EEE FRICA 121 5 14 Weihn Glocke 1 ner a Pianak Vibra shop 121 6 14 Weihn Glocke 2 er 5 Fluegel AX DEMO 121 7 14 Synth Gloeckchen 121 2 11 Vibraphon 1 Factory E Piano 121 7 12 Marimba 121 47 4 Studio EPiano 1 udio E Piano 121 2 12 Marimba Key Off 121 48 4 Studio E Piano 2 udio E Piano 121 1 13 Xylophon 121 31 4 Brillant E Pi rillant E Flano 121 2 9 Glockenspiel 121 28 4 Dyno E Piano 121 1 8 Celesta 121 33 4 Suitcase88 E P 1 121 2 10 Music Box 121 19 4 Live E Pi Ive E Fiano 121 6 12 Balaphon mo 121 10 4 Glock E Piano 1 ock E Piano 121 2 108 Kali
428. king With positive values of the Ramp Low parameter the vol ume 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 vol ume will increase as you play notes above the Key High note number With negative values the volume will decrease 99 99 Angle value Here is an example of volume changes produced by keyboard location and Ramp settings Volume Ramp Low 99 Ramp High 99 Ramp Low 0 e Ramp High 0 Ramp Low 9 1 i Ramp High 99 L L Key Key Low Key High Amp Modulation These parameters specify how the volume of the selected oscilla tor will be affected by velocity Velocity Intensity 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 Note on Note on Note off Note off Softly played Strongly played 99 99 Intensity value AMS Alternate Modulation Source Selects the source that will control the volume of the amp for the selected oscillator See AMS Alternate Modulation Source list on page 77 Velocity cannot be selected Intensity This parameter specifies the depth and direction of the effect that AMS will have The actual volume will be d
429. l affect the release time With positive values of Intensity setting this parameter to will allow AMS to lengthen the time Sound operating mode 69 Amp Amp Level Pan and setting this parameter to will allow AMS to shorten the time With a setting of 0 there will be no change Amp Amp Level Pan These parameters control the volume and pan of the selected oscillator Amp Level Volume of the selected oscillator Note The volume of a Sound can be controlled by CC 7 volume and 11 expression The resulting level is determined by multi plying the values of CC 7 and 11 The Global MIDI channel is used for control 0 127 Volume level Pan Pan stereo position of the selected oscillator This parameter is not available when editing a Drum Kit Use the individual Pan control for each key see Pan on page 60 Random The sound will be heard from a different location at each note on L001 Places the sound at far left C064 Places the sound in the center R127 Places the sound to far right Note This can be controlled by CC 10 panpot 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 oscilla tor and a value of 127 will place the sound at the far right This is controlled on the global MIDI channel Pan modulation AMS Alternate Modulation Source Selects the source
430. l Arp 3 10 Orch Harp 4 10 Solo Harpsi 3 4 10 Synth Seq 10 10 Lullaby 2 11 GtrSteel Arp 6 8 11 Orch Harp 5 11 Solo Harpsi 4 4 11 Synth Seq 11 11 Nature River 12 Gtr Steel Mute 1 12 French Horns 1 12 Solo Gtr Funk 12 Synth Portam 1 12 Nature Storm 13 Gtr Steel Mute 2 13 French Horns 2 13 Solo Piano 1 13 Synth Portam 2 13 Metronome 3 4 14 Guitar Country 14 Strings 1 14 Solo Piano 2 14 Synth Portam 3 14 PreCount 3 4 15 Gtr Nylon Strum1 15 Strings 2 15 Solo Piano 3 15 Synth Portam 4 15 Metronome 4 4 16 Gtr Nylon Strum2 16 Strings 3 16 Solo Piano 4 16 Synth Filter 1 16 PreCount 4 4 17 Gtr Nylon Strum3 17 Strings 4 17 Solo Synth 1 17 Synth Filter 2 17 PreCount 4 4 Dbl 18 Gtr Nylon Strum4 18 Strings 5 18 Solo Synth 2 18 Synth Pad Panned 18 Toccata 19 Gtr Nylon Strum5 19 Strings 6 19 Solo Synth 3 19 Synth Master Pad 19 5th Intro 20 Gtr Nylon Strum6 20 Strings 7 20 Solo Synth 4 20 Synth Dark Pad 20 Primavera 21 Gtr Nylon Arp 1 21 21 Solo Synth 5 21 21 Circus 1 22 Gtr Nylon Arp 2 22 22 Solo Synth 6 22 22 Circus 2 23 Gtr Nylon Arp 3 23 23 Solo Guitar 1 23 23 24 GtrNylon Arp 3 4 24 24 Solo Guitar 2 24 24 25 25 25 Solo Guitar 3 25 25 26 26 26 26 26 27 27 27 27 27 28 28 28 28 28 29 29 29 29 29 30 30 30 30 30 31 31 31 31 31 32 32 32 32 32 4 LOCAL Bank 1 LOCAL Bank2 LOCAL Bank3 4 LOCAL Bank4 LOCAL Bank 5
431. l R Ac Gtr Dwn2 L Ac Gtr Dwn2 R Ac Gtr Dwn3 L Ac Gtr Dwn3 R Ac Gtr SlideHT Up p L Ac Gtr SlideHT Up pR Ac Gtr SlideHT Up fL Ac Gtr SlideHT Up fR Ac Gtr Harmonics L Ac Gtr Harmonics R Ac Gtr RX noises L Ac Gtr RX noises R Ac Gtr finger off L Ac Gtr finger off R Steel Gtr 1 Pick p Steel Gtr 1 Pick mf Steel Gtr 1 Pick f Steel Gtr 1 Mute Steel Gtr 1 Slide Steel Gtr 2 p Steel Gtr 2 mf Steel Gtr 2 f Steel Gtr 2 Slap Steel Gtr 2 Slide Steel Gtr 12 Strings Steel Gtr Harmonics 1 Steel Gtr Harmonics 2 Steel Gtr Noise Guitar Fret Noise Off Guitar Noise Off Guitar Body Guitar Noise Attack Off Nylon Gtr1 pL Nylon Gtrl p R Nylon Gtrl mfl L Nylon Gtrl mfl R Nylon Gtrl mf2 L Nylon Gtrl mf2 R Nylon Gtrl mf3 L Nylon Gtrl mf3 R Nylon Gtrl fL Nylon Gi f R Nylon Gtr1 Slide pL 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 Nylon Gtrl Slide p R Nylon Gtr1 Slide fL Nylon Gtr1 Slide fR Nylon Gtrl Harmonics L Nylon Gtrl Harmonics R Nylon Gtr2 p Nylon Gtr2 mf Nylon Gtr2 f Nylon Gtr2 Atk Nylon Guitar GM Stra Pos2 MtS1 Stra Pos2 MtS2 Stra Pos2 MtS3 Stra Pos2 MtS4 Stra Pos2 MtS5 Stra Pos2 MtS6 Stra Pos2 MtL1 Stra Pos2 MtL2 Stra Pos2 MtL3 Stra Pos2 MtL4 Stra Pos2 dwl Stra Pos2 dw2 Stra Pos2 dw3 Stra Pos2 dw4 Stra Pos2 dw5 Stra
432. l the delay time using a modulation source If LFO Sync is On the LFO will be reset by the modulation source that is received en The Src parameter sets the modulation source that resets the FX Amt h LFO For example you can assign Gate as a modulation source 7 so that the sweep always starts from the specified point Z L LFO Phase and R LFO Phase set the phase obtained when Delay N the left and right LFOs are reset In this way you can create Right ME changes in pitch sweep for the left and right channels individu ally D ze22 Response L R X vo sydll LFO Tri Sine gt LFO Shape eg LFO Phase Modulation Mode 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 LEO is triggered and reset to the L LFO Phase and R LFO Phase settings when the value changes from 63 Switches between LFO modulation Modulation LFO D mod control and modulation source or smaller to 64 or higher control D mod L R Reversed L R control by modulation Modulation L R source 68 St Dynamic Delay Selects the modulation source that H Src Off
433. laeche 121 4 89 The Pad Flaeche Factory Synth Flaeche 121 3 93 TechnoSynth DNC Factory Synth Flaeche 121 5 89 Money Flaeche Factory Synth Flaeche 121 0 94 Halo Flaeche GM GM2 XG Synth 121 6 89 Dunkle Flaeche1 Factory Synth Flaeche 121 0 95 SweepFlaeche GM GM2 XG Synth 121 7 89 Freedom Flaeche Legacy Synth Flaeche 121 1 95 Dream Flaeche Legacy Synth Flaeche 121 8 89 Analog Flaeche1 Factory Synth Flaeche 121 2 95 Meditat Flaeche Factory Synth Flaeche 121 9 89 Analog Flaeche2 Factory Synth Flaeche 121 3 95 Dark Flaeche Factory Synth Solo 121 10 89 Analog Flaeche3 Factory Synth Flaeche 121 4 95 Mellow Flaeche Legacy Synth Flaeche 121 11 89 Vintage Flaeche Legacy Synth Flaeche 121 5 95 Cinema Flaeche Factory Synth Flaeche 121 12 89 OB Flaeche Factory Synth Flaeche 121 6 95 Astra Flaeche Legacy Synth Flaeche 121 13 89 Dunkle Flaeche2 Factory Synth Flaeche 121 7 95 Sweep Flaeche Factory Synth Flaeche 121 14 89 Symphon Flaeche Factory Synth Flaeche 121 8 95 Decide Flaeche Legacy Synth Flaeche 121 15 89 Warme Flaeche 1 Factory Synth Flaeche 121 0 96 Eisregen GM GM2 XG Synth SFX 121 0 90 Poly Synth GM GM2 XG Synth 121 1 96 MotionOcean Synt Factory Synth Flaeche 121 1 90 Reso Sweep Synth Legacy Synth Solo 121 2 96 Karbik Synth Factory Synth Solo 121 2 90 SkyWatcher Synth Legacy Synth Flaeche 121 3 96 Zyklus Synth DNC Factory Synth Flaeche
434. lapBass2 120 0 22 Rock Kit Amb PE WE 238 SINCE Bas DNE 120 o 124 Vintage EL Kit 121 12 33 Finger Slap Bass 120 0 94 Vintage Kit Amb TH 37 Ja humbiBass 120 o 23 Gate Kit Amb 121 si 37 Slap Bass 4 120 o 39 Cool Kit Amb 121 6 32 Ak Bass amp Ride 1 120 0 36 Jazz Kit 1 Amb 121 2 32 Ak Bass amp Ride 2 120 D 37 Jazz Kit 2 Amb 121 8 33 Chorus Fing Bass 120 0 45 Brush Kit 1 Amb 121 gt 34 Dickes Mute 120 0 46 Brush Kit 2 Amb LUN NON EE 120 o 38 Lounge Kit Amb 121 15 39 5ynth Bass 2 120 o 95 Studio Kit 2 121 6 34 Bass amp E Gitarre 120 0 88 Pop Kit Amb 121 14 33 FingerBass amp Git 120 0 77 Groove Kit RK 121 4 34 PickBass amp Git 120 0 59 Synth Kit 1 121 5 38 30303 Bass 120 0 58 Synth Kit 2 121 3 34 Picked SteinBass 120 0 5 Standard Kit RX1 12 3 39 JungisiRez 120 o 1 Standard Kit RX2 a B Su Synth Bass Hes 120 o 2 Standard Kit RX3 121 13 38 dangle Bass 120 o 6 Standard Kit RX4 120 e p 38 i Hybrid Bass 120 o 3 Ambient Kit RX Factory data 197 Sounds Bank order ccoo CC32 PC Sound Name ccoo CC32 PC Sound Name 120 0 75 Electro Kit RX1 121 14 4 Hartes Wurly 120 0 76 Electro Kit RX
435. le high range level Presence 0 100 Sets the presence high frequency tone Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Src Off Tempo Table Dynamic Modulation sources on page 106 Amt 100 100 Amount of modulation source Effects 121 Overdrive Amp models and Mic models OD Amp Mic 25 Bass Amp Cabinet 26 Tube PreAmp Model Bass Amp Model Cabinet Tube PreAmp Modeling This simulates a bass amp and speaker cabinet This effect simulates a two stage vacuum tube preamp You can make individual settings for two vacuum tubes connected in Ee series This lets you create the warm sound typical of vacuum frame tubes Bass Amp Modeli Cabinet Simulator FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o o FX Amt Right o FX Amt Tube Pre Amp1 t gt Tube Pre Amp2 Output Level LA STUDIO Righto JAZZ Amp Type oo Selects the type of the amplifier VALVE2 VALVE Tube1 Low Cut Sets the cutoff frequency for the low CLASSIC Hz Thru 21 8 00k cut filter of stage 1 Volume 0 100 Sets the output level 1 53 20 00k Sets the cutoff frequency for the High Cut Hz Thru high cut filter of stage 1 Selects the modulation source for the output level mper Gain 24 0 240 Sets the input gain for stage 1 Src Off Tempo Sets the modulation amount
436. le in a Pad This is very similar to the Style Records Event Edit Filter page See Event Edit Filter on page 19 for more information on the filter page Pad Edit Quantize The quantize function may be used to correct any timing mis take after recording or to give the pattern a groovy feeling PAD REC Pad Edit Le velocity cut f vete Pa er Paa After setting the various parameters touch Execute CV Chord Variation Use this parameter to select the Chord Variation for editing Resolution This parameter sets the quantization after recording Start End Tick Use these parameters to set the starting and ending points of the range to quantize Bottom Top Note Use these parameters to set the bottom and top of the keyboard range to quantize Execute Touch this button to execute the operation set in this page Pad Edit Transpose In this page you can transpose the selected track s Note After transposing please dont forget to readjust the Key Chord parameter in the main page of the Pad Record mode see page 37 PAD REC Pad Edit EE EH cut oue KC Ee ec After setting the various parameters touch Execute CV Chord Variation Use this parameter to select the Chord Variation for editing Value Transpose value 127 semitones Start End Tick Use these parameters to set the starting and ending points of the range to be transposed B
437. le to create a new Sound or the single samples to create a new Drum Kit e To access the new multisample first select an ordinary Sound Press MENU and go to the Basic OSC Basic page see page 53 Select one of the available layers then select the RAM bank of multisamples Finally select the new multisample To access the new sample s you must assign them to a Drum Kit First select a Drum Kit Press MENU and go to the DrumKit Sample Setup Drum Kits page see page 58 Select a key and a layer then select the RAM bank of samples Finally select the new samples Select the Write Sound command from the page menu and save the Sound to an empty User location If you want so assign the new Sound to a track then select the Write Performance Write Current Style Settings or Write STS command from the page menu to save the Sound to a Performance Style Settings or STS Hint Drum Kits are better suited for the Drum or Percussion track Assign them to the Style Settings B Saving an Audio Groove After recording an audio groove you must slice it to create a series of separate percussive samples a multisample and a MIDI Groove 1 Go to the Time Slice page After creating a series of slices use the Extend function to refine your groove Select the Write command from the page menu to save the sliced samples a multisample a Sound and the MIDI Groove Choose one of the User So
438. length You may change the velocity and relative duration of the note by editing the Duration and Velocity parameters see page 34 e To insert a rest just touch the Rest button in the display Its length will match the step value To tie the note to be inserted to the previous one touch the Tie button in the display A note will be inserted tied to the previous one with exactly the same name You dont need to play it on the keyboard again To insert a chord or a second voice see Akkorde und Zweitstimmen im Step Record Modus on page 189 of the User s Manual After inserting a new event you may go back by touching the Back button in the display This will delete the previ ously inserted event and set the step in edit again 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 At this point you may go on inserting new events in over dub mode the previously inserted events will not be deleted This is very useful when recording a drum or per cussion track where you may want to record the bass drum on a first cycle the snare drum on the second cycle and the hi hat and cymbals during the following cycles Style Record mode 15 Style Record procedure 7 When finished recording touch the Done butto
439. llows you to export a Chord Varia tion as a Standard MIDI File SME and edit it on your preferred external sequencer STYLE REC Export To Song This non editable parameter shows the name of the Standard MIDI File to be generated The automatically assigned name will be the same of the exported Chord Variation From E CV Use this pop up menu to select one of the available Chord Varia tions from the current Style Execute After selecting a Chord Variation touch this button to export it as a Standard MIDI File A standard file selector will appear Select the target device and directory then touch Save After you touch Save a dialog box appears letting you assign a name to the file Exporting a Style as an SMF separated by Markers As an alternative to exporting single Chord Variations to indi vidual Standard MIDI Files you can export a whole Style as an SME separated by Markers i e a single SMF containing all the Chord Variations Variation 1 Variation 2 etc each one sepa rated by a Marker the same events used in Song Play mode 1 While in this page keep the SHIFT button pressed 2 Without releasing the SHIFT button touch the Execute button in the display 3 Release the SHIFT button 4 Assign a name to the Standard Midi File where to save the Style in edit This operation creates in the selected device an SMF format 0 Zero containing all the MIDI data included in the select
440. m This parameter selects the LFO waveform The numbers that appear at the right of some of the LFO waveforms indicate the phase at which the waveform will begin Triangle 0 Step Triangle 4 ig Triangle 90 AV Triangle wave Step Triangle 6 ej i o Phase will change langle ER randomly at each ern Step Saw 4 Saw 0 N Step Saw 6 Tu Sawtooth down Saw 180 Random S H Conventional sample amp hold S H in which the Square A Square wave iwe changes randomly at fixed intervals of 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 Sine Ag Sine wave Guitar N Guitar vibrato Exponential Triangle N Exponential n Saw Down Exponential 4 Saw Up EM Random Vector Randoms Vector Random6 Vector These types cause Random 1 3 to change smoothly They can be used to simulate the instability of acoustic instruments etc Frequency Set the LFO frequency A setting of 99 is the fastest 00 99 Frequency rate Offset This parameter specifies the central value of the LFO waveform For example with a setting of 0 as shown in the following dia gram the vibrato 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 whi
441. m other sources Trinity Tri ton Akai Wav Aiff files 4 Save the SET folder over the same or a new SET folder Voice Processor The Voice Processor applies effects doubling and four part har mony to your voice Some dedicated controllers on the control panel MIC SETUP section allows you to quickly access the most often used functions In addition you can edit the Voice Processor Setup general set tings for the singer s voice and Presets programming of various effects in the dedicated pages of the Global edit mode described in this chapter Accessing the Voice Processor edit pages While in the Global edit mode press the MENU button to access the edit section menu GLOBAL Menu When this page appears touch either the Voice Processor Setup or the Voice Processor Preset item to access the relevant edit pages An alternative way to access these pages is to keep the SHIFT button pressed and press either the MIC Setup page HAR MONY Harmony page or DOUBLE Double page button on the control panel Voice Processor 95 Accessing the Voice Processor edit pages Voice Processor Setup Setup In this page you can set some general parameters for the Setup Global Setting Lead Mute gt GBL PS This checkbox allows you to turn the lead voice on or off Voice Vibrato Boost gt GBL s Specifies how the Mod Wheel message affects vibrato if it is enabled in a preset The Boost setting
442. mal Normal Normal Normal 110 110 Normal Normal MIDI IN Oct Trp On On On On On On On On MIDI IN Mute Un On On On Upper Oct Trp 0 0 0 0 0 0 0 0 Lower Oct Trp 0 0 0 0 0 0 0 0 Assignable parameters List of Assignable Footswitch Pedal functions The following functions can be assigned to a footswitch or a con tinuous pedal Assignable parameters 243 List of Assignable Footswitch Pedal functions Go to Beginning Ply 1 Go to Beginning Ply 2 Chord Seg Record Chord Seg Play Synchro Start Synchro Stop Tap Tempo Reset Tempo Lock Ritardando Function Meaning Off No function assigned Style Start Stop Play Stop Player 1 Play Stop Player 2 Same functions of the control panel buttons with the same name Progressively decreases the Tempo value Function Meaning STS Mode STS1 Same functions of the control panel buttons STS2 with the same name STS3 STS4 STS Up Selects the next STS STS Down Selects the previous STS Perform Up Selects the next Performance Perform Down Selects the previous Performance Style Change Style number Sound Up Selects the next Sound Sound Down Transpose Down Transpose Up Upper Octave Up Upper Octave Down Punch In Out Selects the previous Sound Same functions of the control panel buttons with the same name Turns P
443. mba 1 3 121 22 4 Glock E Piano 2 oc iano 121 1 108 Kalimba2 S 121 45 4 Phaser E Piano 1 aser E Piano 121 1 9 Sistro 121 43 4 Phaser E Piano 2 121 1 10 Orgel 121 27 4 Phaser E Piano 3 121 1 114 Steel Drums 0 Factory data Sounds Bank order ccoo CC32 PC Sound Name ccoo CC32 PC Sound Name 121 2 98 BellBoy Gloeck 121 39 16 Entert Orgel 3 121 4 14 R hrenglocke 121 40 16 50er Orgel warm 121 3 14 Kirchenglocke 2 121 13 17 50er Orgel Perk 121 1 15 Santur 121 13 18 Jimmy s Org DNC 121 5 12 Mallet Clock 121 12 17 Klass Perk Orgel Factory Akkordeon 121 33 16 Fusslag Tief 1 121 31 21 Solo Musette 1 Tel 10 17 kerk Orgel Ve 121 5 21 Solo Musette 2 121 S u Perk Orgel 2 V 121 32 21 Solist Akkordeon 121 REL 17 Perk Orgel 3 V TA e les 121 36 16 Orgel 16 51 3 121 9 21 Cassotto 121 10 16 BX3 Rock 1 V 121 7 22 Chrm Harm DNC a 187 BAS Rock a 121 5 22 Harmonika DNC Zee 18 BET Rock 3V um 8 22 Melodica DNC Ter du 3925 Bas Roce aN 121 25 21 Steirisch Akk 1 D Bi E 121 26 21 steirisch Akk 2 Tet SAFE BE ta 121 27 21 steirisch Akk 3 LN NI 18
444. me Over 1 OVER Displays an error message when the delay time for Tap1 exceeds the upper limit OVER Displays an error message when the delay time for Tap2 exceeds the upper limit Tap 1 Base Note Selects the type of notes to specify the delay time for Tap1 Times Sets the number of notes to specify the delay time for Tap1 Tap 2 Base Note Selects the type of notes to specify the delay time for Tap2 Times x1 x32 Sets the number of notes to specify the delay time for Tap2 Tap1 Level 0 100 Sets the Tap1 output level Feedback Tap2 100 100 Sets the Tap2 feedback amount Src Off Tempo Selects the modulation source of the Tap2 feedback amount Amt 100 100 Sets the modulation amount of the Tap2 feedback amount High Damp 0 100 Sets the damping amount in the high range Low Damp 0 100 Sets the damping amount in the low range Input Level Dmod 100 100 Sets the modulation amount of the input level Src Off Tempo Selects the modulation source for the input level Spread Src 100 100 Off Tempo Sets the width of the stereo image of the effect sound Selects the modulation source of the effect sound s stereo image width Amt 100 100 Sets the modulation amount of the effect sound s stereo image width Wet Dry Dry 1 99 99 1 Wet
445. me level of the input signal The effect is stereo and offsetting the LFO of the left and right phases from each other produces a tremolo effect between left and right Stereo In Stereo Out Left o gt FX Amt Tremolo 7 Tremolo E Righto i A LFO Phase LFO Tri Sin Vintage Up Down gt LFO Shape Triangle Sine LFO Waveform Vintage Up Down Selects the LFO Waveform Changes the curvature of the LFO Waveform Sets the LFO phase difference between the left and right LFO Shape 100 100 LFO Phase degree 180 180 LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO Selects amodulation source for LFO speed 20 00 Sets the modulation amount of LFO 20 00 speed When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency Src OI Tempo Amt MIDI Sync Off On MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this 300 00 individual effect Selects the type of notes that specify the LFO speed Times Sets the number of notes that specify the LFO speed Depth Sets the depth of LFO modulation Selects the modulation source of the depth of modulation Base Note r W Src OI Tempo Sets the modulation amount of the Amt 100 100 depth of modulation Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet sign
446. means of the LFO Pitch Shift Mod Pitch Shift Depth LFO Waveform Triangle Depth value Pitch Shift value Original Pitch LFO Waveform Square Depth value Lower 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 62 Organ Vib Chorus Organ Vibrato Chorus This effect simulates the chorus and vibrato circuitry ofa vintage organ The modulation speed and depth can be customized FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o FX Amt Vibrato Chorus Preset Setting oo i m Custom Parameters Mode Right o FX Amt Input Trim 0 100 Sets the input level Selects either preset or custom Control Mode S settings Preset Custom Selects the effect type when Mode Preset V1 V2 V3 are variations of vibrato and C1 C2 C3 are variations of chorus V1 C1 V2 C2 Preset Type v3 C3 Selects the modulation source that Off Tempo will change the effect type Sets the modulation amount for St changing the effect type Vibrato 1 99 99 1 Chorus Sets the mix level of the direct Custom Mix sound when Mode Preset Selects the modulation source that will control the mix l
447. menu See Page menu on page 31 Page sub header This area shows some performing info on the Style Pad Beat counter Measure number Style Pad in record edit Style in record edit Name of the Style currently in edit or record Beat counter This indicator shows the current beat inside the current mea sure Measure number Current measure you are recording Recording parameters area Element Style Element This parameter lets you select a Style Element for editing Each Style Element corresponds to a button on the control panel car rying the same name After selecting a Style Element select a Chord Variation for actual editing see below Varl End3 This is the selected Style Element Chord Var Chord Variation This parameter lets you select a Chord Variation for editing after selecting the Style Element this Chord Variation belongs to Note When this parameter and the assigned value is in small let ters cv1 cv6 the Chord Variation is empty when it is in capi tals CV1 C V6 it is already recorded e If the Style Element is Varl Var2 Var 3 or Var4 you can select one of 6 Chord Variations to edit e If the Style Element is Introl Intro2 Intro3 Filll Fill2 Fill3 Fill4 Endingl Ending2 or Ending3 you can select one of 2 Chord Variations to edit Resolution Use this parameter to set the quantization during recording Quantization is a way of correcting timing errors notes pla
448. mes 300 00 individual effect Base Note x Times Display the error message if the left Time Over L OVER channel delay time exceeds the MIDI MIDI syncs to the system tempo 40 upper limit BPM 40 00 300 sets the tempo manually for this Display the error message if the 300 00 individual effect R OVER right channel delay time exceeds y Displays an error message when the the upper limit Time Over OVER A ABA delay time exceeds the upper limit L Delay Base w Selects the type of notes to specify ag L Delay Base Selects the type of notes to specify Note T the left channel delay time Note the delay time for TapL Times 21 32 Sets the number of notes to specify Times Sets the number of notes to specify T the left channel delay time the delay time for TapL Adjust 96 _2 50 2 50 Fine adjust the left channel delay Level Sets the output level of TapL sand time C Delay Base elects the type of notes to specify R Delay Base w Selects the type of notes to specify aa Note the delay time for TapC Note the right channel delay time Sets th ber of notes t 1 i Sets the number of notes to specify Times the delay timeforTapc o specify Times x1 x32 the right channel delay time Level Sets the output level of TapC Adjust _2 50 2 50 a the right channel delay R Delay Base Selects the type of notes to specify Note the delay time for TapR LFeedback 100 100 en amount for the Sets the number of notes to specify Times X1 x32 i Selects
449. meter value if the input level is below the threshold or is obtained by multiplying the parameter value by the Offset High Damp 96 0 100 Sets the damping amount in the 2 9 P i high range value if the level exceeds the threshold Sets the feedback amount for the R Feedback 100 100 right channel Setsthe damping amount in the low Low Damp 0 100 range The Attack and Release parameters specify attack time and LFO Waveform Triangle Sine Selects the LFO Waveform release time of delay level control LFO Shape _100 100 Changes the curvature of the LFO Dynamic Delay Waveform TN Sets the LFO phase difference Phase degree 180 180 between the left and right Panning Freq Threshold Hz 0 02 20 00 Sets the panning speed Switches between using the H Release MIDI Sync Off On frequency of the panning speed and Envelope 1 using the tempo and notes MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this 300 00 individual effect Selects the type of notes to specify li li Wet Ducking Delay Base Note Sc the delay time for the panning Target Output Level i I In Mn N speed Polarity t Delay Time Sets the number of notes to specify the delay time for the panning Net speed Target Output Level i Polarity i VM li Hu Panni
450. monika GM 121 0 46 Harfe GM 121 0 23 Tango Akkord GM 121 1 46 Yang Chin GM2 XG Gitarre 121 0 47 Orch Pauke GM 121 0 24 Nylon Git GM GM2 XG Streich Ensemb 121 1 24 Ukulele 121 0 48 Streich Ens 1 GM 121 2 24 Nylon Git KeyOFF 121 1 48 Streicher amp Blaes 121 3 24 Nylon Gitarre 2 121 2 48 60er Streicher 121 0 25 Western Git GM 121 0 49 Streich Ens 2 GM 121 1 25 12sait West Git 121 0 50 SynthStreich1 GM 121 2 25 Mandoline 121 1 50 Synth Streich 3 121 3 25 Western amp Korpus 121 0 51 SynthStreich2 GM 121 0 26 Jazz Gitarre GM 121 0 52 Aah Chor GM 121 1 26 Pedal Steel 1 121 1 52 Aah Chor 1 121 0 27 Clean E Git GM 121 0 53 Uuh Chor GM 121 1 27 Verst E Gitarre 121 1 53 Summen 121 2 27 Vint E Git Mid 121 0 54 Synth Stimmen GM Factory data 201 Sounds Bank order ccoo CC32 PC Sound Name ccoo CC32 PC Sound Name 121 1 54 Analog Stimmen 121 0 82 Calliope GM 121 0 55 Orchester Hit GM 121 0 83 Chiff GM 121 1 55 Bass Hit Plus 121 0 84 Charang GM 121 2 55 6th Hit 121 1 84 Wire Lead Synth 121 3 55 Euro Hit 121 0 85 Voice Lead GM GM2 XG Blaeser 121 0 86 Fifths Lead GM 121 0 56 Trompete GM 121 0 87 Bass amp Lead GM 121 1 56 Trompete warm 121 1 87 Soft Wrl Lead 121 0 57 Posaune GM 1
451. mount of the input level Sre Off Tempo Selects the modulation source for the input level Spread 50 50 Sets the width ofthe stereo image of the effect sound Wet Dry Dry 1 99 99 1 Wet Balance between the wet and dry signal Src Off Tempo Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source Input Level D mod Righto High Damp Low Damp 1 A Input Level D mod iss d Amt Stereo Cross X e Feedback Spread IN 77 Delay 15 Input Level D mod High Damp Low Damp 1 Input Level D mod High Damp Low Damp Moi c p ie evel Mode Spread Tap1 1 Delay A Tap2 2 AX Ze Delay Feedback y o FX Amt Mode Normal Cross Feedback Cross Pan1 Cross Pan2 Switches the left and right delay routing Tap1 Time msec 0 0 1360 0 Sets the Tap1 delay time Tap2 Time msec 0 0 1360 0 Sets the Tap2 delay time Tap1 Level 0 100 Sets the Tap1 output level Feedback Tap2 100 100 Sets the Tap2 feedback amount OI Tempo Selects the modulation source of the Tap2 feedback amount High Damp 100 100 0 100 Sets the modulation amount of the Tap2 feedback amount Sets the damping amount in the high range Low Damp 0 100 Sets the damping amount in the low range Inpu
452. mp Simulation 3 Band PEQ Driver IN AA Chorus Flanger 3 Band PEQ Output Level D Normal Driver HANA Amp Simulation Filter i E inven Output Mode A fet Inver 1 Output Level 2 Made Qverarivel HEGN T ae Cho Fing FX Amt JA Mode Overdrive Hi Gain Right i RR m Drive Essen EN Amt Righto 9 I Amt OD HI GAIN O Drive Mode Overdrive Hi Gain Switches between overdrive and high gain distortion Drive 1 100 Sets the degree of distortion O Drive Mode Overdrive Hi Gain Switches between overdrive and high gain distortion Drive 1 100 Sets the degree of distortion O Output Level 0 50 Sets the overdrive output level Src Off Tempo Selects the modulation source for the overdrive output level 50 50 Sets the modulation amount ofthe overdrive output level O Output Level 0 50 Sets the overdrive output level Src Off Tempo Selects the modulation source for the overdrive output level Amt 50 50 Sets the modulation amount ofthe overdrive output level OlLow Cutoff Hz 20 1 00k Sets the center frequency for Low EQ shelving type Gain dB 18 418 Sets the gain of Low EQ O Mid1 Cutoff Hz Q 300 10 00k 0 5 10 0 Sets the center frequency for Mid High EQ 1 peaking type Sets the band width of Mid High EQ 1 Gain dB 18 18 Sets the gain of Mid High EQ 1
453. mper Off sample is located Velocity Fixed velocity of the special Damper Off sample Sound operating mode 57 Basic Damper Trigger Basic EQ In this page you can set the semi parametric three band equal izer for the selected oscillator SOUND Basic g Pe Low Gain dB Mid Gain CdB1 Freq Hz Hi Gain dB 3 8 Sound OSC Vel Keu Damper Damper Enable Check this box to activate the equalizer on the selected oscillator TRIM This knob allows you to limit the level of the signal passing through the equalizer Extreme equalization values can overload the audio circuits and lead to distorsion This control lets you set equalization as desired and at the same time avoid overloading 0 99 Limiting value The higher the most effective it is Low Gain Low frequencies equalization This is a shelving curve filter Val ues are shown in decibels dB 18 18dB Low gain value in decibels Mid Middle Gain Middle frequencies equalization This is a bell curve filter Values are shown in decibels dB 18 18dB Middle gain value in decibels Mid Middle Freq Centre frequency of the middle frequencies equalization 0 100 10 kHz Centre frequency in kHz Hi High Gain High frequencies equalization This is a shelving curve filter Values are shown in decibels dB 18 18dB High gain value in decibels o 7 v E gt 9 x 58 Sound operating mod
454. mple The Note Off message is ignored Mixer Pan This parameter sets the position in the stereo panorama of the selected key Send to MFX1 MFX3 These parameters set the MFX1 MFX2 or MFX3 send level for the selected key Pitch Pitch Mod Here you can make pitch settings for each oscillator These set tings specify how keyboard location will affect the pitch of each oscillator and select the controllers that will affect the oscillator pitch and specify the depth of control You can also specify the amount of pitch change produced by the Pitch EG and by LFO1 and LFO2 switch portamento on off and specify how it will apply SOUND Pitch Pitch Pitch Slope Normally you will leave this parameter at 1 0 Positive val ues will cause the pitch to rise as you play higher notes and neg ative 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 The diagram shows how the Pitch Slope and pitch are related Pitch 2oct E m 1 oct 1 0 2 0 Pitch slope value Pitch Bend Mode The Pitch Bend can work in different ways depending on the selected option Normal Fixed Scale Linear bending When this parameter is turned on on an oscilla tor Pitch Bend and Sub Scale have no effect on its tuning The relevant parameters are greyed out
455. mpo elects the modulation source that Q 0 5 10 0 Sets the EO band width Drive Mode Overdrive Hi Switches between overdrive and hi i i Gain ain distortion Gain dB 18 0 418 0 Sets the EQ gain 9 Sets the degree of distortion Wet Dry Dry 1 99 99 1 id between the wet and dry Drive 1 100 g Table Dynamic Modulation Sets the low range cut amount of Src Off Tempo sources an page 106 Pre Low cut 0 10 the distortion input 100 100 Amount of modulation source Output Level 0 50 Sets the output level Src Op Tempo Selects the modulation source for the output level b Flutter Sets the modulation amount of the Amt 50 50 output level This parameter enables you to set the depth of the modulation caused by a warped turntable Sets the center frequency for Low EQ shelving type Gain dB 18 18 Sets the gain of Low EQ Low Cutoff Hz 20 1 00k e Click Level Mid1Cutoff Sets the center frequency for Mid i 1 i Hz 300 10 00k High EQ 1 peaking type This parameter enables you to set the level of the click noise that Set ihe Band ie SEDGE F s s tst idt i i occurs once every rotation of the turntable This simulation Q 0 5 10 0 Den 9 reproduces record noise and the noise generated after the music Gain dB 18 418 Sets the gain of Mid High EQ 1 on a vinyl record finishes Mid2 Cutoff 500 20 00k Setsthe center frequency for Mid Hz SEN High EQ 2 peaki
456. n If you set Ramp Low to 43 and Ramp High to 43 the cut off frequency will not be affected by keyboard location Use this setting when you do not want the cutoff frequency to change for each note 99 99 Angle value Here is how cutoff frequency is affected by keyboard location and the Ramp setting Intensity to A and Intensity to B 50 Cutoff frequency A High Ramp 99 High Ramp 62 High Ramp 0 High Ramp 43 Low Ramp 99 Low Ramp 43 High Ramp 99 Low Ramp 0 Low Ramp 62 gt Ke Low Key High Key y Low Ramp 99 o 7 v E gt Ki x 66 Sound operating mode Filter Filter Mod Tracking to A B These parameters specify the note numbers at which keyboard tracking will begin to apply and set the Intensity to A and Intensity to B parameters to specify the depth and direction of the change 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 99 99 Parameter value Filter EG nanges in cutott trequency Note on Note on Note on Note off Note off Note off Y oftly played Strongly played Strongly played Setting to Setting to Velocity to A This parameter specifies the depth and direction of the effect that velocity will have on the time varying changes created by the filter EG as set on Filter
457. n amount of LFO 20 00 speed When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency MIDI Sync Off On MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this 300 00 individual effect Selects the type of notes that specify the LFO speed Times Sets the number of notes that specify the LFO speed Depth Sets the depth of LFO modulation Base Note Selects the modulation source of the LFO modulation depth Sets the modulation amount of the LFO modulation depth Dry 1 99 99 1 Balance between the wet and dry Wet signal Src Amt 100 100 Wet Dry Table Dynamic Modulation sources on page 106 Off Tempo 100 100 Amount of modulation source Effects Modulation and Pitch Shift Mod P Shift 131 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 modulation 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 Delay 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
458. n amount when OSC Mode Fixed Sets the upper limit of the frequency Enyelope Pre 1 100 range for which very low harmonics are added Envelope Sens 0 100 Sets the sensitivity with which very low harmonics are added Envelope Sets the oscillator s volume Shape 100 100 envelope curve Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Off Tempo Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source 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 oscillator s fre quency 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 FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left gt o FX Amt Talking Modulator A I U E O Tam EN Amt pic Sweep Mode ES LFO Switches between modulation Sweep Mode D mod LFO source control and LFO control Manual Voice Bottom 1 49 Center
459. n in the display to exit the Step Record mode A dialog box appears asking you to either cancel discard or save the changes Exit From Step Record If you touch Cancel exit is canceled and you can continue editing If you choose No changes are not saved and the Step Record window is closed If you choose Yes changes are saved and the Step Record window is closed 8 When back to the main page of the Style Record mode you may turn all tracks to the play status then press START STOP to listen to the Style Press START STOP again to stop the playback 9 From the main page of the Style Record mode select either the Write Style or the Exit from Record command to exit from the Style record mode respectively by saving the Style to memory see Write Style dialog box on page 31 or by canceling any change Chords and second voices With Pa3X you are not limited to inserting single notes in a track There are several ways to also insert chords and double voices For more information see Akkorde und Zweitstimmen im Step Record Modus on page 189 of the Users Manual Advanced 16 Style Record mode Edit menu Edit menu From any page apart for Step Record press the MENU button to open the Style Record edit menu This menu gives access to the various Style Record edit sections When in the menu select an edit section or press EXIT to exit the menu and return to the main page To return to t
460. n in this page press the corresponding button on the control panel to select a Style Element VARIATION ENDING3 Chord Chord Variation gt STYLE Use these parameters to assign a Chord Variation to each of the most important chords Style Track Controls Type Trigger Tension In this page you can set the Mode Retrigger mode for the Style tracks and activate deactivate the Tension for the Accompani ment tracks STYLE REC Track Controls F m7 6 Trk Drum Brush Kit RX1 F Dru 120 000 042 T o IT oj oj YT o mo mol IT o or Track Type Trigger Mode Tension DRUM PERC BASS ACC1 RCC2 ACCS ACCA ACCS When in this page press the corresponding button on the control panel to select a Style Element VARIATION ENDING3 Track Type gt STYLE Use this parameter to set the type of the corresponding track 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 the Drum Mapping of the Style Play mode see Drum Mapping Var 1 Var 4 on page 139 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 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 melodic or harmonic accompani ment patterns Gtr Guitar track
461. n 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 6299 CC a to i u i then a Talking Modulator Control Voice Bottom Voice Center Voice Top A A A E ae i U K i mode JS X B Ribbon Max JS Y JS Y Zero etc 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 pat tern A larger value will add more character to the sound Effects EQ and Filters EQ Filter 117 18 Stereo Decimator This effect creates a rough sound like a cheap sampler by lower ing the sampling frequency and data bit length You can also simulate noise unique to a sampler aliasing Stereo In Stereo Out Left ES Pre LPF Resolution Fa Y FX Amt High Damp Output Level N A Decimator 4 x Decimator N jg High Damp Output SC FX Amt Selects whether the harmonic noise caused by a decrease in sampling frequency is generated or not Sets the ratio of cut of
462. n 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 41 Stereo Phaser This effect creates a swell by shifting the phase It is very effective on electric piano sounds You can add spread to the sound by offsetting the phase of the left and right LFOs from each other Stereo In Stereo Out Lefto o FX Amt Phaser ri i r Resonance High Damp Phaser A TE Righte Be Amt ZILFO Phase LFO Tri7Sine gt LFO Shape Selects the LFO Waveform Changes the curvature of the LFO Waveform Sets the LFO phase difference between the left and right LFO Waveform Triangle Sine LFO Shape 100 100 LFO Phase degree 180 180 LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO Selects a modulation source for LFO Src Off Tempo speed 20 00 Sets the modulation amount of LFO 20 00 speed When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency Amt MIDI Sync Off On MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this 300 00 individual effect Selects the type of notes that Base Note FW specify the LFO speed Sets the number of notes that
463. n the key board one at a time with no need to play on time This is very useful when transcribing an existing score or needing a higher grade of detail and is particularly suitable to create drum and percussion tracks To access this page select the Overdub Step Recording com mand from the page menu STYLE RECORD Overdub Step Track Selected track Name of the selected track in record DRUM ACC5 Style track SE Selected Style Element See Element Style Element on page 6 CV Selected Chord Variation See Chord Var Chord Variation on page 6 Pos Position This is the position of the event note rest or chord to be inserted Event list Previously inserted events You may delete this event and set it in edit again by touching the Back button Step Time values Length of the event to be inserted FIND Note value Standard Standard value of the selected note Dot Augments the selected note by one half of its value Triplet 3 Triplet value of the selected note Meter Meter time signature of the current measure This parameter cannot be edited You can set the Meter in the main page of the Style Record mode before actually starting recording see step 6 on page 14 for more information TS 7 v E gt 9 x 34 Style Record mode Overdub Step Recording window Free Memory Remaining memory for recording Duration Relative duration
464. n the main page of the Sound mode See Legato on page 49 for information on this parameter Priority This parameter is available when the selected mode is Mono It specifies which note will be given priority to play when two or more notes are played simultaneously Low Lowest note will take priority High Highest note will take priority Last Last note will take priority Hold Use this parameter to keep the notes sustained even after releas ing the keys Legato as OSC Trigger The parameters included in this section are to be considered when a note is played legato i e with no gap with the previous note These parameters are valid for the whole Sound all oscilla tors Max Time This delay allows notes to be considered Legato even if there is a small gap before them This is useful to avoid some notes in a chord are played Legato and some others Staccato 1 999 ms Notes played with a small gap are still considered Legato notes A value of approx 15 ms is usually considered effective when playing chords Max Range This is the range in semitones within the Legato is considered If you play a wider interval the note is considered Staccato This is typical of some acoustic instruments where legato is only pos sible within a small interval but not on wider ones As an example please try the Sound Nylon Guitar DNC where the Max Range is 5 semitones Play legato with intervals smaller than 5 s
465. n 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 LoEQ gt GBL PP Low frequency equalization Lead Level gt GBL Level of the Lead voice mixed with the effect Voice Processor Preset Double The Double effect uses the same type of Humanization technol ogy 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 techniques available with the uMod effect Double simulates the sound of a vocalist overdubbing their vocal part multiple times Many of the edit parameters for the Doubling page are the same as for Harmony page GE kal ine wed Delay Leen Double On Off gt GBL This button allows enabling disabling of the Double block It is the same control found in the Easy Preset page Set gt GBL Use this menu to choose a pre programmed Double Set you like This allows you to quickly choose an effect close to what you want instead of having to go directly into the individual parame ters each time This corresponds to the option selected in the Easy Preset page Level gt GBL PP Sets the level for the overall Double effect in the current preset Portamento gt GBLYPP
466. nables disables the LFO synchronization with Sequencer 1 Tempo On The LFO frequency will synchronize to the tempo MIDI Clock of Sequencer 1 In this case the values you specified for Frequency see page 73 and Frequency Modulation see page 73 will be ignored Base Note When MIDI Tempo Sync is On these parameters set a note length relative to q Tempo and the multiple Times that will be applied to it These parameters will determine the fre quency of the LFO1 For example if Base Note is q quarter note and Times is 04 the LFO will perform one cycle every four beats Even if you change the q Tempo setting of Sequencer 1 the LFO will always perform one cycle every four beats ET This parameter is not available when editing a Drum Kit x e e q q h h w Note value Times ER This parameter is not available when editing a Drum Kit 1 16 Beats before restarting the cycle Advanced 74 Sound operating mode LFO LFO2 LFO LFO2 Here you can make settings for the LFO2 which is the second LFO that can be applied to the selected oscillator See LFO LFO1 for more information on the parameters value However in Frequency Modulation the LFO cannot be selected as a modulation source in AMS1 or AMS2 Effects B FX Config This page allows you to select the effects for the Sound B Group The effect types and the F
467. nally set to reverse it will playback without change On The sample will playback in reverse Off The sample will play back normally Ofs Offset These parameters specify the point where the sample will begin to play For some samples this parameter will not be available Off The sound will start from the beginning of the sample 1st 6th 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 multisample Randomly selects one of the available Offset points including Attack and Off AMS Int ensity Only available when the AMS option is selected in the Offset parameter Alternate Modulation Source for the Offset See AMS Alternate Modulation Source list on page 77 When the Intensity parameter has a positive value the selected Offset point will depend on the AMS value For example if the selected AMS is the Velocity when playing softly you will select the Off or 1st Offset when playing loudly you will select the 6th or No Attack Offset When the Intensity parameter has a negative value the selec tion will happen in reverse higher numbered Offsets will be selected before the lowest numbered ones Level This parameter specifies the level of the sample For more infor mation see
468. nd at 5 01 000 Bottom Top Note Use these parameters to set the bottom and top of the keyboard range to be modified If you select the same note as the Bottom and Top parameters you can select a single percussive instru ment in a Drum or Percussion track Advanced When this checkbox is checked the Intensity Curve Start Velocity Value and End Velocity Value parameters can be edited Intensity Only available in Advanced mode Use this parameter to specify the degree to which the velocity data will be adjusted toward the curve you specify in Curve 0 100 Intensity value With a setting of 0 96 the veloc ity will not change With a setting of 100 the velocity will be changed the most Curve Only available in Advanced mode Use this parameter to select one of the six curves and to specify how the velocity will change over time Start Value 0 End Value 100 Curve 1 Curve 2 Curve 3 127 127 127 Velocity Velocity Velocity 1 1 1 Start End Start End Start End Value Value Value Value Value Value Curve 4 Curve 5 Curve 6 127 127 127 Velocity Velocity Velocity RANDOM 1 1 1 Start End Start End Start End Value Value Value Value Value Value Start End Vel Value Only available in Advanced mode Velocity change at the start ing and ending ticks of the selected range 0 100 Execute Velocity change in percentage Touch this button to execute the opera
469. nd Backing Sequence mode only a Digital Drawbar Sound is available for the Keyboard tracks and one for the Style tracks Save them to a Performance see Write Perfor mance Dialogfenster on page 143 of the Users Manual Note In Song Play mode there is a Digital Drawbars Sound for the Keyboard tracks one for Song tracks 1 8 another one for Song tracks 9 16 Note In Sequencer mode there is a Digital Drawbars Sound for Song tracks 1 8 one for Song tracks 9 16 When you select the DIGITAL DRAWBARS bank the Digital Drawbar page appears and the current setting is assigned to the selected track DRAWBARS SETTING Rotor On Brake Speed 8 8 7 D 6 6 5 5 4 4 3 3 2 2 1 1 When entering this page the SLIDER MODE button is automat ically set to DRAWBARS so you can use the sliders to change each foot volume As an alternative touch a footage and drag it on the display or use the VALUE DIAL controls to change its value Each foot refers to the pipe length in a pipe organ in which the sound is produced by pipes of different length Longer pipes mean a lower sound therefore the 16 drawbar produces the lowest pitched sound while the 1 drawbar produces the highest pitched sound Percussion Rotary tab Percussion adds a percussive sound to the attack segment of the organ sound Rotary adds the effect of a rotating speaker fe Rotor pum E EJ O n Brake Speed Slow Fast On Off
470. nds we hear on CDs and the radio are not typically what you hear when you listen to a singer acoustically Commercial vocal sounds are more of a hyper real ity designed to flatter the voice or voices and make them cut through a group of instruments and thus make a larger impres sion on the listener The Shape feature used at moderate set tings emulates 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 Warmth gt GBLYPS This control returns a narrow band of low frequencies for singers who prefer this sound The majority of the mud frequencies are still reduced automatically when using this control EQ with Adaptive Off Turning Adaptive off presents manual parametric EQ controls for users who understand this type of equalization There are 3 bands of control Low band shelving e All band fully parametric peak dip control High band shelving The 2 Shelving EQs boost or cut all frequencies below or above the the frequencies set by the Low and High controls respec tively 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 t
471. nfo area see the Record 1 page above Touch it a second time to open the Sound Select window Note These Sounds can be replaced by Sounds selected by a Per formance provided the Original Style Sounds parameter is left unchecked in Style Play mode see page 118 of the User s Manual 5 U u c 2 Kl lt x 10 Style Record mode Main page Guitar Mode Cue area Cue mode for Style element gt STYLE This parameter lets you decide how the current Style Element will enter after it has been selected This setting is only available for the Variation and Fill Style Elements 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 Nezt measure first measure The Style Element enters at the beginning of the nezt measure and begins from the first measure of the new pattern Available on both Fills and Variations Nezt measure current measure The Style Element enters at the beginning of the nezt measure and begins from the current mea sure Only available on Variations Main page Guitar Mode While in the main page and a Guitar track has been selected touch the Guitar Mode tab to see this page This is where you can access Guitar Mode programming STYLE RECORD M
472. ng With a setting of 0 the times specified by Frequency Cutoff Frequency A will be used If AMS1 2 is set to Velocity positive values of this parame ter 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 99 99 Intensity value At Attack Time Swing This parameter specifies the direction in which AMS1 2 will affect the attack time With positive values of Intensity set ting this parameter to will allow AMS to lengthen the time and setting this parameter to will allow AMS to shorten the time With a setting of 0 there will be no change Dc Decay Time Swing This parameter specifies the direction in which AMS1 2 will affect the decay time With positive values of Intensity set ting this parameter to will allow AMS to lengthen the time and setting this parameter to will allow AMS to shorten the time With a setting of 0 there will be no change SI Slope Time Swing This parameter specifies the direction in which AMS1 2 will affect the slope time With positive values of Intensity set ting this parameter to will allow AMS to lengthen the time and setting this parameter to will allow AMS to shorten the time With a setting of 0 there will be no change RI Release Time Swing This parameter specifies the direction in which AMS1 2 wil
473. ng Depth 0 100 Sets the panning width Selects the modulation source for the panning width Src Off Tempo Set the modulation amount of the Amt 100 100 panning width Wet Dr Dry 1 99 99 1 Balance between the wet and dry y Wet signal Table Dynamic Modulation Src Off Tempo sources on page 106 100 100 Amount of modulation source Advanced 146 Effects Delay 70 Tape Echo d FB Amt M e FB Amt This effect simulates a tape echo unit with three playback heads f FB Amt The distortion and tonal change typical of magnetic tape are also 8e typ 8 P g Feedback reproduced The feedback output from Tap 1 2 and 3 is mixed according to FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out the FB Amt and then the final amount of feedback is specified fs Ami by Feedback Feedback iP 3 ZA t i 7 d S aM DNE 71 Classic Tape Echo N P ai HI NAHA Delay This models a famous analog tape echo unit On the original device echo Trim Pre Tone High Low Damp 1 17 A YA ATR was created by a playback head and the delay time was specified by wana AA position En Right Mu adjusting the speed of the motor The warmth and subtlety of the echoes it jm i FX
474. ng type Q 05 100 SCH the band width of Mid High EQ Gain dB 18 18 Sets the gain of Mid High EQ2 Sets the amount of the dry sound Direct Mix 0 20 mixed to the distortion Speaker Off On Switches the speaker simulation on Simulation off Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Src Op Tempo Table Dynamic Modulation sources on page 106 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 modulation 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 negative 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 d Pre Low cut Cutting the signal in the low range before it is input to the Dis
475. nge in semitones AMS Alternate Modulation Source This parameter selects the source that will modulate the pitch of the selected oscillator See AMS Alternate Modulation Source list on page 77 Intensity This parameter specifies the depth and direction of the effect produced by 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 set AMS to After Touch and apply pressure to the keyboard 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 12 00 12 00 Parameter value Pitch EG The Pitch EG Envelope Generator is unique to all oscillators Velocity Intensity This parameter specifies the depth and direction of the modula tion that the pitch EG specified on Pitch Pitch EG will apply to the pitch With a setting of 12 00 the pitch will change a maxi mum of 1 octave 12 00 12 00 Parameter value 9 7 v E gt Ki x 62 Sound operating mode Pitch Pitch Mod Pitch EG AMS Alternate Modulation Source This parameter selects the source that will modulate the pitch EG of the selected oscillator See AMS Alternate Modulation Source list on page 77 Pitch EG Intensity This parameter specifies the depth and direction of the effect that AMS w
476. nnel Src Off Tempo Selects the modulation source of feedback amount LAmt 100 100 Sets the modulation amount of the left channel feedback R Feedback 100 100 Sets the feedback amount for the right channel R Amt 100 100 High Damp 0 100 Sets the modulation amount of the right channel feedback Sets the damping amount in the high range Low Damp 96 0 100 Sets the damping amount in the low range Input Level Dmod 96 100 100 Src Off Tempo Sets the modulation amount of the input level Selects the modulation source for the input level Dry 1 99 99 1 Wet Dry Wet Balance between the wet and dry signal Src Off Tempo 100 100 Table Dynamic Modulation sources on page 106 Amount of modulation source You can set the delay time up to 10 920msec If the delay time exceeds this limit the error message OVER appears in the dis play Set the delay time parameters so that this message will not appear Time Over is only a display parameter 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 dis play Set the delay time parameters so that this message will not appear Time Over is only a display parameter Advanced 180 Effects Vocoder 139 Early Reflections This early reflection ef
477. note on message is received AUTOFADE Src Gatel LFO Frequency Mod AUTOFADE LFO Frequency Hz 1 0 Amt 3 0 The effect is off when a value for the dynamic modulation source specified 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 AutoFadeg Source Gate1 LFO Freq Mod AUTOFADE Gate1 Signal LFO Frequency Hz 1 0 Amount 3 0 ZE All Note Off Fade In Rate JA Fade In Dealy d t Note On LFO Frequency AUTOFADE 1 0 3 0 4 0Hz LFO Frequency 1 0Hz Advanced 132 Effects Modulation and Pitch Shift Mod P Shift 47 St Auto Fade Mod 48 2Voice Resonator Stereo Auto Fade Modulatiom This effect resonates the input signal at a specified pitch You can This stereo chorus flanger effect enables you to control the LFO al the pitch output level and pan settings for INA resonators speed and effect balance using auto fade and you can spread the individually You can control the resonance intensity via an LFO sound by offsetting the phase of the left and right LFOs from each other FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left FX Amt High Damp Resonator Stereo In Stereo Out Trim s Level an Lefto a Ke Amt Resonance 4 i gt Delay 1 a Tri Resonator Level Pan H rim T nm ve
478. nt way from the EQ FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o gt o Band Pass Filters FX Amt Low imr RT Limiter gt Envelope Control A A Mid Low Offset ry 3 Limiter A f Envelope Control J Gain Adjust High Mid Offset M Limiter Vg Envelope Control 7 High Offset gt Ar Righte Bey Amt Ratio iie erc Vl Sets the signal compression ratio Sets the level above which the Threshold dB 40 0 compressor is applied Attack 1 100 Sets the attack time Effects Dynamics Dynamic 109 Gain Adjust Inf dB Jus XT Sets the output gain Src Off Tempo Selects the modulation source for the output gain Amt en Aen Sets the modulation amount of the output gain Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Src Off Tempo Table Dynamic Modulation sources on page 106 100 100 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 reduce the High Offset value down below the Thresh old level In this way the high range limiter will not respond and compression will not be applied 5 St MasteringLimtr Stereo
479. nu This menu gives access to the various Sound edit sections When in the menu select an edit section or press EXIT or SOUND to exit the menu and return to the main page To return to the main page you can also select the Main Page menu item When in an edit page press EXIT or the SOUND button to return to the main page of the Sound operating mode Wave Diawhar Wave e When an ordinary Sound is selected Tone SOUND Menu Waveshape of the drawbars producing the base timbre Mellow A mellow sounding synthetic wave Hard A harder sounding synthetic wave Leakage Leakage from adjacent tonewheels making the sound richer Key On Noise of the keypress YP e When a Drum Kit is selected the Basic section is Key Off replaced by the DrumKit section Noise of the key release pante u Each item in this menu corresponds to an edit section Each edit section groups various edit pages that may be selected by touch ing the corresponding tab on the lower part of the display 9 9 u c 2 Oo lt 52 Sound operating mode Edit page structure Edit page structure All edit pages share some basic elements Operating mode Edit section Page menu icon SOUND Basic i Selected oscillator D Parameters area gt d DC Vel Keu D D IS sese See e J Tabs EE Operating mode This indicates that the instrument is in Sound mode Edit section This identifies th
480. ny Oscillator in a Style or the sustained sound could cause unwanted disso nances The Grand Piano RX Sound is an exam ple of this kind of Sounds to be avoided in a Style track Resonance Halo Here 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 Attack Time Time needed to the Resonance Halo to reach the maximum level after the Damper pedal has been pressed 0 99 Attack time as a value relative to the current Amp Env Attack value Release Time Time needed to the Resonance Halo to extinguish after the Damper pedal has been released Release time as a value relative to the current Amp Env Release value 0 99 Volume Scaling Volume of the Resonance Halo effect relative to the current level of the sound as determined by the sum of the Multisample Volume Velocity value and current Amp Env value 0 No volume at all 1 100 Volume expressed as a percentage of the current sound level No Note Off Range From Note Like in an acoustic piano the dampers can only dampen strings up to a certain pitch Starting from that pitch it is as if the Damper was always pressed down Note This parameter only affects the Normal Damper mode It has no effect on the Resonance Halo mode C 1 G9 Note starting from which
481. o samples or 21 8 seconds Sampled Non editable Used memory in samples seconds for sampling Sampling Buffer Non editable Available memory in samples seconds for sample editing Record Touch this button to start recording Touch it again to stop recording Recording will automatically stop when the maxi mum available space will end Note Pa3X always samples at the maximum quality 16 bit 48 000Hz Samples of a different quality may be loaded 8 or 16 bit 11 025Hz to 48 000Hz Sampling Edit This page allows you to cut trim or normalize a sample as well as edit the loop points The sample can played on the full key board SAMPLING Piano_mf Start a Loop 298489 End OrigNote _F 2 Loop Sampling Est SM Sample Selected sample See SM Sample above Waveform display This is the graphical display of the selected sample waveform i e the one you can hear when playing the keyboard The area included between the Start and End points is highlighted dark background Parameters Start Sample Start This is the sample start point in samples You may edit this point as well as the End point to shorten the sample Changing the Sample Start cuts out the attack portion of the sound Note When moving the Start point forward and reach the Loop Start point this latter is also moved forward Warning When saving the edited sample Write Sample
482. o Boca Open f Low Perc 1013 Timbales1 Lo Edge f Low Perc 1066 Marc Tree Hi Perc 961 Okonkolo Boca Open ff Low Perc 1014 Timbales1 Lo RimShot Low Perc 1067 Marc Tree GM Hi Perc 962 Okonkolo Chacha Openmp Low Perc 1015 Timbales1 Lo Abanico Low Perc 1068 Marc TreeLP Hi Perc 963 Okonkolo Chacha Open mf Low Perc 1016 Timbales1 Lo Roll Low Perc 1069 Rainstick SFX 964 Okonkolo Chacha Open f Low Perc 1017 Timbales1 Lo Mute mf Low Perc 1070 Flexatone Hi Perc 965 OkonkoloChachaOpenff Low Perc 1018 Timbales1 Lo Mute f Low Perc 1071 Chinese Gong Cymbal 966 OkonkoloChachaSlapmp Low Perc 1019 Timbales1 Lo Paila mf Hi Perc 1072 Claves1 Loa Low Perc 967 Okonkolo Chacha Slap mf Low Perc 1020 Timbales1 Lo Paila f Hi Perc 1073 Claves1 Lob Low Perc 968 Okonkolo Chacha Slap f Low Perc 1021 Timbales1 Hi Open Low Perc 1074 Claves1 Hia Low Perc 969 Baya Open Low Perc 1022 Timbales1 Hi Edge Low Perc 1075 Claves1 Hib Low Perc 970 BayaGhe Low Perc 1023 Timbales1 Hi Edge GM Low Perc 1076 Claves2 Low Perc 971 BayaGheUpa Low Perc 1024 Timbales1 HiRimShot mf Low Perc 1077 Wood Block 1 a Low Perc 972 Baya GheUp b Low Perc 1025 Timbales1 Hi RimShotf Low Perc 1078 Wood Block 1 b Low Perc 973 Baya KaPalm Low Perc 1026 Timbales1 Hi RimShotff Low Perc 1079 Wood Block 2 a Low Perc 974 Baya KaToe a Low Perc 1027 Timbales1 Hi Abanico1 Low Perc 1080 Woo
483. o speakers the effect sound and direct sound will be panned in stereo producing a clear and spacious chorus effect Advanced 124 Effects Chorus Flanger and Phaser Cho Fln Phaser 31 Black Chorus Flanger This models a Danish made stereo chorus pitch modulator amp flanger Although this effect was originally intended for guitar it was also used by numerous keyboard players Used with electric piano it produces a distinctive tone Wet Mono In Stereo Out Dry Stereo In Stereo Out Left t o Wet Dry Mode amp Intensity Chorus 1 H Mono Input G H SE i E Output Mode gx sii Right o tin e LEO y Speed Hz 0 10 10 0 Sets the LFO speed Intensity 1 100 Sets the intensity of LFO modulation Select a mode 0 Chorus Mode 0 1 2 1 Pitch Modulation 32 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 Stereo In Stereo Out Fes x Low vy EE Amt A Chorus Flanger LA x High Level h gu High Damp High Low Split Point A Feedback 1 High Damp Mi Chorus Flanger N Ta SSC me Right LFO Tri Sine High Level Low Level KH o FX Amt
484. o the current Style Element tracks to a different Style Element Copy Expression From Style Element Non editable Currently selected Style Element To Style Element Target Style Element All Settings will be copied to all Style Element of the Style in edit Varl CountIn Single Style Element where to copy settings to Copy Key Range dialog box Open this window by choosing the Copy Keyboard Range item from the page menu Here you can copy all Keyboard Range val ues for the current Style Element tracks to a different Style Ele ment Copy Key Range From Style Element Non editable Currently selected Style Element To Style Element Target Style Element All Settings will be copied to all Style Element of the Style in edit Var1 Countln Single Style Element where to copy settings to Copy Chord Table dialog box Open this window by choosing the Copy Chord Table item from the page menu Here you can copy the Chord Table of the cur rent Style Element to a different Style Element Copy Chord Table To Style Element Target Style Element All Settings will be copied to all Style Element of the Style in edit Varl CountIn Single Style Element where to copy settings to Style Record mode 33 Copy Key Range dialog box Overdub Step Recording window The Step Record allows you to create a new Style by entering sin gle notes or chords to each track by playing them o
485. oduce a powerful and punchy overdrive sound 127 Amp Modded OD This models a 100W boutique amp head produced in North Hollywood An overdrive tone with a rich harmonic structure is combined with a relaxed sustain making for an enjoyable play 124 Amp Clean Combo This models the clean channel of a amp that went on sale in 1975 and contained two 12 speakers As the name suggests it pro duces a clean tone with a tight sounding character and a deep and compact low end ing experience Amp Type Cabinet Type 8 exp VOX AC15 VOX AC15 1x12 Wet Mono In Mono Out Dry Stereo In Stereo Out Left o gt VOX AC15TB VOX AC15 1x12 iras VOX AC30 VOX AC30 2x12 Volume VOX AC30TB VOX AC30 2x12 Guitar Amp Model UK BLUES UK H30 4x12 UK 70 S UK H30 4x12 Right Wt Dy UK 80 S UKT75 4x12 UK 90 S UKT75 4x12 UK MODERN UK T75 4x12 US V30 4x12 Driye bs See th input dain Volume Sets the output level US MODERN US V30 4x12 Bass La Sets the bass low range level US HIGAIN US V30 4x12 UK T75 4x12 Middle Sets the middle mid range level BOUTIQUE OD UK H30 4x12 Treble Sets the treble high range level BOUTIQUE CL UK H30 4x12 Presence Sets the presence high frequency tone Ty BLACK 2x12 BLACK 2x12 1 99 99 1 Balance between the wet and dry signal Wet TWEED 1x12 TWEED 1x12 Table Selects a modulation source for Wet Off Tempo Dry on page 107 T
486. of the output level Amt 100 100 Sets the input output response for i D Saturation 0 100 stage 1 Bass Middle Mid Range Treble 100 Sets the bass low range level 100 Sets the middle mid range level Tube Bias 0 100 Sets the bias voltage for stage 1 Normal A Sets the mid frequency range Tube1 Phase Wet Invert 100 Sets the treble high range level Turns phase reversal on off 0 0 0 0 Tube2 Low Cut Thru 21 8 00k Sets the cutoff frequency for the low Presence 0 100 Sets SR presence high frequency Hz cut filter of stage 2 WW tone 53 20 00k Sets the cutoff frequency for the Cabinet Off On Switches the cabinet simulator on High Cut Hz Thru high cut filter of stage 2 Simulater d off Tube2 Gai LA 4x10 dB em 24 0 240 Setsthe input gain for stage 2 MODERN 4x10 Saturation 6 0 100 Sets the input output response for METAL 4x10 stage 2 hee Tube Bias 0 100 Sets the bias voltage for stage 2 UK 4x12 u Tube2 Output Cabinet Type ae 5 Selects the cabinet type Level dB 020 Sets the output level VOX ACTOU Wet Dry M 1 99 99 1 a between the wet and dry ya FA i Off Tempo Table Dynamic Modulation LA 1x18 sources on page 106 GO MBI 1x12 100 100 Amount of modulation source x Wet Dry Dry 1 99 99 1 Balance between the wet and dry et signal Table
487. of the input Wow Flutter 0 02 1 00 Sets the frequency at which pitch Hz Tt oe variation will occur Wow Flutter depth 0 100 Sets the depth of pitch variation Wet Dr Dry 1 99 99 1 Balance between the wet and dry y Wet signal Table Dynamic Modulation Off Tempo sources on page 106 100 100 Amount of modulation source Advanced 152 Effects Reverb and Early Reflections Reverb ER Reverb and Early Reflections Reverb ER 80 Reverb Hall This hall type reverb simulates the reverberation of mid size concert halls or ensemble halls 81 Reverb SmoothHall This hall type reverb simulates the reverberation of larger halls and stadiums and creates a smooth release 82 Reverb Wet Plate This plate reverb simulates warm dense reverberation 83 Reverb Dry Plate This plate reverb simulates dry light reverberation FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left gt o FX Amt Pre Delay Thru EQ Trim LEQ HEQ gt lt Pre Delay Reverb EQ Trim Righto gt o FX Amt Reverb Time sec Sets the reverberation time Sets the damping amount in the High Damp 96 0 100 high range Pre Delay msec Pre Delay Thru 0 100 Sets the mix ratio of non delay s i sound EQ Trim 0 100 Sets the EQ input level Low Selects the cutoff frequency low or Mid Lo
488. of the inserted note The percentage is always referred to the step value 2590 Staccatissimo 50 Staccato 85 Ordinary articulation 100 Legato Velocity Set this parameter before entering a note or chord This will be the playing strength i e velocity value of the event to be inserted Kbd Keyboard You can select this parameter by turn ing all counter clockwise the dial 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 Rest Touch this button to insert a rest Tie Touch this button to tie the note to be inserted to the previous note Back Goes to the previous step erasing the inserted event Next M Next Measure Goes to the next measure and fills the remaining space with rests Done Exits the Step Record mode If you have inserted some notes a dialog box appears asking you to either cancel discard or save the changes Exit From Step Record If you touch Cancel exit is canceled and you can continue edit ing If you choose No changes are not saved and the Step Record window is closed If you choose Yes changes are saved and the Step Record window is closed Pad Record mode 35 The Pad structure Pad Record mode By entering the Pad Record mode you can create your own
489. off frequency By cutting the lower overtones it lightens the tone Frequency 00 99 Cutoff frequency value Sound operating mode 65 Filter Filter Mod Filter Filter Mod These settings let you apply modulation to the cutoff frequency Frequency of the filter for the selected oscillator to modify the tone SOUND Filter e ec n Le IC Type L Filter f Filter LEO os When Filter Type is Low Pass Resonance parameters for filter B will not be editable greyed out Keyboard Tracking Key Low High These settings specify keyboard tracking for the cutoff frequency of the filter for the selected oscillator The way in which the cut off frequency is affected by the keyboard location you play can be specified by the Key Low Key High Ramp Low and Ramp High parameters Keyboard tracking will apply to the range below the specified Low note number and above the specified High note number C 1 G9 Lowest Highest note in the range Ramp Low High These parameter specifies the angle of keyboard tracking If Intensity to A and Intensity to B are set to 50 Ramp Low is set to 62 and Ramp High is set to 62 the angle of the change in cutoff frequency will correspond to the keyboard loca tion pitch This means that the oscillation that occurs when you increase the Resonance Resonance A will correspond to the keyboard locatio
490. ofox 6 5 Mandolino Fox 7 6 Schlager Mix 2011 8 7 Bellamy Beat 9 8 Discofox Gold 10 9 Discofox Remix 11 10 Amigo Pop 2 12 1 Rock Schlager 13 12 Vik Shuffle 14 13 Medium 16Beat 15 14 Schlager Mix 2009 16 15 Englisch Fox 17 16 Flip Fox 1 18 17 Flip Fox 2 19 18 Movie Fox 20 19 Klassik Schl 6 8 21 20 Chart Schlager 1 22 21 Chart Schlager 2 23 22 Flip Shuffle 24 23 Capri Rhumba 25 24 Beat Schlager 26 25 Hit Schlager 27 26 Schlager Rhumba 1 28 27 Schlager Rhumba 2 29 28 Schlager Parade 30 29 Schlager Parade2 31 30 Schweden Fox 32 31 Holm s Hit 69 33 32 Standard Schlager 1 34 33 Standard Schlager 2 35 34 Standard Schlager 3 36 35 8Beat Analog 37 36 Kult Schlager 1 38 37 Kult Schlager 2 39 38 Kult Schlager 3 Bank Party 1 0 1 0 Austria Pop cco CC32 PC Name 2 1 Udo s Hit 76 3 2 Discofox NRW 4 3 DJ Fox 5 4 NDW kult 1 6 5 NDW Kult 2 7 6 ApresSki Polka 1 8 7 Apres Ski Polka 2 9 8 Lambada 10 9 Macarena 11 10 Gipsy Dance 12 11 Samba Medley 13 12 Schunkelwalzer 1 14 13 Schunkelwalzer 2 15 14 Alpenrock 1 16 15 Alpenrock 2 17 16 Rock Shuffle 18 17 Hossa 19 18 Karibik Hit 20 19 Disco Samba 21 20 Mallorca Hit 1 22 21 Mallorca Hit 2 23 22 Dance Fox 24 23 Alpen Party 25 24 Stern Schlager 26 25 Mambo 2000 27 26 Lasso Tanz 28 27 Party Mix 29 28 Party Samba 1 30 29 Party Samba 2 31 30 Happy Beat Bank
491. ognized by the Pa3X when the selected Chord Recognition mode is Fingered 2 see Chord Recognition Modus on page 140 of the User s Manual Recognized chords may vary with a different Chord Recognition mode Note Fingered 2 is selected while in Split keyboard mode in Full Upper keyboard mode Fingered 3 or Expert are selected instead Major Major 6th 3 note 2 note 4 note 2 note d Hi pi olalolmlo em ejim siele ao e el Major 7th 4 note 3 note 2 note eiis e le ore eis le Sus 4 Sus 2 3 note 2 note 3 note sei eg e jo eje lol Dominant 7th 4 note 3 note 2 note UI LI L1 Li LI LI e m e sr e m e m eir a Dominant 7th Sus 4 Flat 5
492. ompare indicator blinks on the page header Write Sound dialog box Open this window by selecting the Write Sound item from the page menu Here you can save all Sound parameters to a Sound location in memory Warning If you write over an existing Sound the Sound will be deleted and replaced by the one you are saving overwrite Please save on a storage device any User Sound you dont want to lose Note DrumKits cannot be written over standard Sounds nor vice versa Note To save over a Factory Sound location unckeck the Factory Sound Protect parameter in Media mode see Factory Sound Pro tect on page 247 of the User s Manual Warning When replacing a Factory Sound please be warned that all Performance STSs 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 com mand in the Utility page of the Media mode see page 247 of the Users Manual for more information Write Sound Kl 9 u c 2 Ki lt 76 Sound operating mode Copy Oscillator dialog box Name of the Sound to be saved Touch the T Text Edit but ton next to the name to open the Text Edit window Sound Bank Target bank of Sounds Use the VALUE controls to select a dif ferent bank Sound Target Sound location in the selected bank Use the VALUE con trols to select a different location Select
493. ono compressor and a wah You can This effect combines a mono four band parametric equalizer change the order of the connection and a multitap delay FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out i en Routing Th Amt FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Compressor yN Wah Auto Wah n Aam MEE MOL Parametric 4Band EQ Multitap Delay EQ Trim LEQ HEQ EET i H gt H lt H comp t gt Wah Toutput Level To FXAmt Vau a i Mt Diy FX Amt F i UR Righto f f Sweep Mode Pax Amt ES JA Amt LFO Trim 0 100 Sets the parametric EQ input COMPRESSOR level C Se a sensitivit 1 100 Sets the sensitivity B1 Cutoff 55 100k Sets the center frequency of ARM z zu Band 1 ClAttack 1 100 Sets the attack level 0 5 10 0 Sets the bandwidth of Band 1 Output Level 0 100 Sets the compressor output level 18 18 Sets the gain of Band 1 c C EQ Trim 0 100 Sets the EQ input level Sets the center frequency of C Pre LEQ 50 5 00k e Band 2 4 Gain dB 15 415 Sets the gain of Low EQ 0 5 10 0 Sets the bandwidth of Band 2 E HEQ Gain Pu Sets the gain of High EQ 18 18 Sets the gain of Band 2 300 10 00k Sets the center frequency of WAH Band 3 W Frequency 0 100 Sets the lower limit of the wah 0 5 10 0 Sets the bandwidth of Band 3 a Bottom center frequency 18 18 Sets the gain of Band 3 Freq
494. opera tion the segments exceeding the Start and End points are perma nently removed Loop Start Note This parameter has no effect unless you dont turn the loop on Use the Loop On parameter on the Sampling Loop Edit page to turn the loop on see page 84 Use this 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 Sam ple Start in ordinary sounds i e a guitar a piano a voice Loop Start L Loop End E Sample Start S Sample End E End Sample Loop End This is the sample and loop end point in samples You may edit this point to shorten the sample Warning When saving the edited sample Write Sample opera tion the segments exceeding the Start and End points are perma nently removed Use Zero If this parameter is turned on when you move the Start Loop Start and End points the selection fall on the nearest zero cross ing point i e points where the waveform crosses the x axis and goes from negative to positive or from positive to negative val ues This will make loops more accurate and will reduce the risk of clicks OrigN
495. or Src Off Tempo the input level This parameter sets the dynamic modulation of the input level Wet Dr Dry 1 99 99 1 Balance between the wet and dry y Wet signal Input Level Dmod mpi ee meis Table Dynamic Modulation Src Off Tempo sources on page 106 x1 0 x1 0 Input Level Dmod 50 Input Level Dmod 100 100 100 Amount of modulation source Input Level Dmod 50 Input Level Dmod 100 3 x0 5 4 a Mode Drez Higher 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 5 o e Feedback Position e f Feedback S o When Feedback Position is set to Pre the pitch shifter output is Bei again input to the pitch shifter Therefore if you specify a higher Effects Modulation and Pitch Shift Mod P Shift 140 value for the Feedb
496. or in octave units The normal octave of the multisample is 0 2 1 Octave transposition Transpose Use this parameter to adjust the pitch of the selected oscillator in semitone steps over a range of 1 octave 12 12 Transposition in semitones Tune Use this parameter to adjust the pitch of the sample in one cent steps a semitone is 100 cents over a range of 1 octave 1200 1200 Fine tune value in cents Velocity Multisample Switch Low High This is the velocity value dividing the High and Low layers for the selected oscillator Notes struck harder than this value will be played by the High multisample AMS Offset Intensity by AMS Only available when the AMS option is selected in the Offset parameter Alternate Modulation Source for the Offset See AMS Alternate Modulation Source list on page 77 When the Offset Intensity by AMS parameter has a positive value the selected Offset point will depend on the AMS value For example if the selected AMS is the Velocity when playing softly you will select the Off or 1st Offset when playing loudly you will select the 6th or No Attack Offset When the Offset Intensity by AMS parameter has a negative value the selection will happen in reverse higher numbered Offsets will be selected before the lowest numbered ones OSC Trigger Mode OSC Trigger parameters are used to set the condition to trigger the selected Oscillator For
497. ord mode 13 Main page Guitar Mode Guitar mode parameters Here is a detailed description of the parameters of the Guitar Mode page Key Chord gt STYLE This parameter pair allows you to define the track s original key and chord type This parameter works in a different way than the other tracks While with other tracks this is always the reference key used for NTT transposition with Guitar tracks there is a dif ference whether you are recording a Chord Variation contained in an Intro 1 or Ending 1 Style Element or any other Chord Variation e With Intro 1 and Ending 1 this chord will be used as the reference key for the chord progression e With all the other Chord Variations this chord will be used only for listening during recording During playback in Style Play mode the chord will follow chord recognition Capo Fret STYLE A capo from the Italian capotasto head of fingerboard is a movable bar attached to the fingerboard of the guitar to uni formly raise the pitch of all the strings Its use makes the strings shorter therefore changing the timbre and position of the chords but not its shape 0 Open string no capo L X Position of the capo over the fingerboard i e I corresponds to the first fret II to the second one and so on Strings High Low gt STYLE Use this pair of parameters to choose the strings the pattern will be played on 1 6 Position of the c
498. ore starting the Pad Main page Guitar Mode While in the main page and a Guitar track has been selected touch the Guitar Mode tab to see this page This is where you can access Guitar Mode programming PAD RECORD Note To access this page the Pad track must be of Guitar type Pad Track Controls gt Sound Expression page see Track Type on page 44 Otherwise the Guitar Mode tab will remain grey not selectable Note When programming a Guitar track from an external sequencer you must be sure the Guitar tracks is associated to the right channel Go to the Global gt MIDI gt MIDI IN Channels page and assign the corresponding Style track usually Accl Acc5 to the same channel of the Guitar track on the external sequencer Then go to the Style Record gt Style Track Controls gt Type Ten sion Trigger page and set the track as a track of type Gtr see Track Type on page 44 Guitar Mode allows to easily create realistic rhythm guitar parts without the artificial unmusical playing typical of MIDI pro gramming of guitar parts Just record a few notes and you will end up with realistic rhythm guitar tracks where each chord is played according to its real position on the guitar and not gener ated by simply transposing a written pattern Recording overview For an overview on the recording procedure see the Style Record mode Pad Record procedure Recording a Pad is v
499. oscillator frequency LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO Selects a modulation source for LFO Src Off Tempo speed 20 00 Sets the modulation amount of LFO 20 00 speed When this is on the LFO speed is set MIDI Sync Off On by BPM Base Note and Times eje instead of Frequency MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this e 300 00 individual effect Selects the type of notes that Base Note TW specify the LFO speed Times x1 x32 Sets the number of notes that specify the LFO speed Sets the depth of LFO modulation for the oscillator frequency LFO Depth 0 100 Selects the modulation source of f Src Off Tempo the depth of modulation Sets the modulation amount of the Amt E depth of modulation Wet Dry GE 1 99 99 1 Balance between the wet and dry et signal g Table Dynamic Modulation Src Off Tempo Sources on page 106 Amt 100 100 Amount of modulation source a OSC Mode This parameter determines whether or not the oscillator fre quency 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 harmonics the effect may sound dirty In this case cut a certain amount of high range b Fixed Frequency Hz This parameter sets the oscillator fr
500. ote Original Note Original pitch of the sampled note While this parameter has no effect on 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 mul tisample it will be transposed if needed according to this parameter to avoid a change of the original pitch Zoom Use these buttons to change the size of the waveform shown in the diagram When a button is greyed out it means the maxi mum or minimum value has been reached Increase the vertical size Decrease the vertical size Increase the horizontal size Decrease the horizontal size Full zoom in Full zoom out Sampling operating mode 83 Sampling Loop Edit Changing the sample length and finding good sounding loop points To adjust the sample length and loop points check the Loop On parameter then use the Start Loop Start and End parameters to create a fine sounding cycling loop For example you may have sampled an audio groove of an exceeding length Use the End parameter to cut the exceeding portion at the end of the sample and adjust the starting point of the loop using the Start or Loop Start parameters Usually checking the Use Zero parameter is a big help to avoid the loop clicks due to l
501. ottom Top Note Use these parameters to set the bottom and top of the keyboard range to be transposed Execute Touch this button to execute the operation set in this page Pad Record mode 41 Pad Edit Transpose Pad Edit Velocity In this page you can change the velocity dynamics value of notes in the selected track PAD REC Pad Edit ef pose D cn Delete E Erg W ER After setting the various parameters touch Execute CV Chord Variation Use this parameter to select the Chord Variation for editing Value Velocity change value 127 Intensity Only available in Advanced mode Use this parameter to specify the degree to which the velocity data will be adjusted toward the curve you specify in Curve Curve Only available in Advanced mode Use this parameter to select from six types of curve and specify how the velocity will change over time Start End Vel Value Only available in Advanced mode Velocity change at the start ing and ending ticks of the selected range Start End Tick Use these parameters to set the starting and ending points of the range to be modified Bottom Top Note Use these parameters to set the bottom and top of the keyboard range to be modified Advanced When this checkbox is checked the Intensity Curve Start Velocity Value and End Velocity Value parameters can be edited Execute Touch this button to execute the o
502. ou can assign a Sound to the Pad track adjust its Volume CC 07 and Expression CC 11 values and set vari ous other parameters like the Keyboard Range Track Type Trigger Mode Tension and Wrap Around PAD REC Track Controls Pad Track Konzert Gitarre F Sitarre 121 017 024 Pad Type Keyboard Range TrackType Bottom Top Expression Trigger Mode Tension a ior Bl RX Noise Humanize WrapAround e La e Sound Bank PAD Sound assigned to the Pad track Pad Type YPAD Use this parameter to decide if the Pad will play once or if it will loop Note While in Pad Record mode the pattern is always played back in loop even if this parameter is set to One Shot One Shot When you press one of the PAD buttons the cor responding 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 cor responding Pad plays up to the end then contin ues playing from the start Press STOP in the PAD section to stop it playing This is useful for playing cyclic sequences Expression PAD Use this knob to set the Expression CC 11 value for the Pad track This value can be seen at the beginning of the Event Edit list The Expression is useful to balance the Pad with the other Pads For example if you want the Pad you are recording to be mel lower than the average just lower the Expression value Volume Use this slid
503. ou cannot set the Bottom Key higher than the Top key nor the Top Key lower than the Bottom key C 1 G9 Assigned note Scaled Velocity Use these parameters to scale velocity values received by the oscillator By using the Velocity Zone function see above an oscillator may be limited to a restricted range say 10 to 20 that may result in weak dynamics when the associated sample is trig gered By assigning a different value to these parameters the restricted range will be converted 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 mini mum 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 plays louder 0 127 Assigned velocity value o 7 v E gt Ki lt 56 Sound operating mode Basic Damper Mode Basic Damper Mode Here you can program how the Damper pedal works the Reso nance Halo effect and the range within the Note Off message is not sent to the selected Oscillator SOUND Basic Damper Mode Here you can program the Damper Mode for each Oscillator Damper
504. ow on top and to the bottom of the list to scroll the list up or down Keyboard ranges Next to each sample name the low and high Zone limits appear Edit these values to change the Zone range The Original Note is shown in red Touch the page menu icon to open the menu Touch a command to select it Touch anywhere in the display to close the menu without selecting a command Write Select this command to open the Write Sample Write Multisam ple or Write Slice dialog box depending on the page you are in and do the following Write Sample Saves the sample to the internal HD KHD SYSTEM See Write Sample dialog box on page 92 for more information Write Multisample Saves the multisample to the internal HD KHD SYSTEM See Write MultiSample dialog box on page 92 for more information Write Slice After a Time Slice opration saves the Sound and Multisample to the internal HD KHD SYSTEM and the sliced Samples to the internal HD KHD SYSTEM See Write Slice dialog box on page 92 for more information Delete Select this command to open the Delete Sample or Delete Multi Sample dialog box depending on the page you are in Delete Sample Deletes one or all samples and multisamples from the hard disk See Delete Sample dialog box on page 93 for more information Delete MultiSample Deletes a multisample or all samples and multisamples from memory See Delete Multisample dialog box on page
505. ows the number of generated slices i e generated samples and notes in the midifile To change this value edit the Release and Threshold parameters Note You can have a maximum of 100 slices Slice Select this command to execute the Slice after entering the Time Slice page or changing the Release value This command is ghosted i e non selectable if no sample has been recorded of loaded yet The Time Slice operation is executed on the sample from the Start to the End point set in the Sample Edit Sample Record section Extend See The Extend procedure on page 89 for more information When using a sliced groove with a tempo slower than the origi nal an annoying gap may be heard between a sample and the following one The Extend function allows you to fix this prob lem by adding a tail to all samples making their decay smoother and more musical Before extending Added tail gt and after extending Note You can use the Extend function only after a Time Slice operation Note The Extend function increases the original sample size By Use this parameter to set the length of the tail added to the samples in percentage The higher this value the greater the size of the samples A setting of 20 30 is usually suitable to most grooves Caveat With higher By values the Extend function may add audible artifacts Mode This parameter specifies i
506. p Hi Perc 916 Quinto2 C Slap Flam f Low Perc 811 Syn Castanet Low Perc 864 CuicaHi Low Perc 917 Quinto2 Heel Low Perc 812 Syn Shaker Hi Perc 865 Cuica Lo Low Perc 918 Bongo1 Lo Muffled mp Low Perc 813 Syn Noise SFX 866 Surdo Open GM Low Perc 919 Bongo1 Lo Muffled f Low Perc 814 Syn FX1 SFX 867 Surdo Mute GM Low Perc 920 Bongo1 Lo Closed Low Perc 815 Syn FX2 SFX 868 Tumba Open mf Low Perc 921 Bongo Lo Flam Low Perc 816 Syn FX3 SFX 869 Tumba Open f Low Perc 922 Bongo1 Lo MuffledFlam Low Perc 817 Syn FX4 SFX 870 Tumba Open2 mf Low Perc 923 Bongo Lo Stick Low Perc 818 Syn FX5 SFX 871 Tumba Open2 f Low Perc 924 BongolLoStickEdge mf Low Perc 819 Syn Perc Ahh SFX 872 Tumba Open Flam Low Perc 925 Bongol Lo StickEdge f Low Perc 820 Boom SFX 873 Tumba Glissando Low Perc 926 BongolloStickBounce Low Perc 821 Zap1 SFX 874 Tumba Basstone Low Perc 927 Bongo Lo Fingernail Low Perc 822 Zap2 SFX 875 Tumba O Slap Flam mf Low Perc 928 Bongo1 Lo Cuptone Low Perc 823 Vinyl Hit SFX 876 Tumba O Slap Flam f Low Perc 929 Bongo Lo Slap Low Perc 824 DJ Vinyl Sliced 01 SFX 877 Tumba Muffled Low Perc 930 Bongo Hi Open mf Low Perc 825 DJVinyl Sliced 02 SFX 878 Congal Lo Basstone Low Perc 931 Bongo Hi Open f Low Perc 826 DJVinyl Sliced 03 SFX 879 Congal Lo Open mf Low Perc 932 Bongo Hi Pops Low Perc 827 DJVinyl Sliced 04 SFX 880 Congal Lo Open
507. p3 Mouth Harp4 Mouth Harp5 Syn Flute Pad Syn Bass Resol Syn Bass FMI Syn Bass FM1LP Syn Bass FM2 Syn Bass FM2LP Syn Bass TB R amp B Saw Bass R amp B Square Bass Chrom Res 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 Detuned Super Detuned PWM Synth Brass PopSynth 2 An Stringsl An Strings2 Analog Vintage White Pad NI Air Vox SynthBell Ether Bell Ether BellLP Lore Lore NT Space Lore Wave Sweepl Wave Sweep2 Wave Sweep3 Syn Ghostly Ghost Syn Air Pad Dream Str Syn AirVortex Syn Palawan Syn Clicker Cricket Spectrum Noisel Noise2 Noise Pad Swish Terra Gamelan XEQ Sawl Saw2 Saw3 Pulse 02 Pulse 05 Pulse 08 Pulse 16 Pulse 33 Pulse 40 Square Square MG Square JP Triangle MG Ramp 699 700 701 702 703 704 705 706 707 708 709 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 Ramp MG Sine DWGS Syn Sinel DWGS Syn Sine2 DWGS Organl DWGS Organ2 DWGS Belll DWGS Bell2 DWGS Bell3 DWGS Bell4 DWGS Clav DWGS Digil DWGS Digi2 DWGS Wirel DWGS Wire2 DWGS Syncl DWGS Sync2 DWGS Sync3 Orchestra Hit 1 Orchestra Hit 2 Orchestra Hit GM L Orchestra Hit GM R Band Hit Impact Hit Brass Fall Vibe C
508. p3 feedback amount Sets the amount of feedback for Taps 1 2 and 3 Selects the modulation source of Dry 1 99 Balance between the wet and dry Dei 99 1 Wet signal Table Selects a modulation source for Wet Dry on page 107 Wet Dry Feedback 0 100 Source Off Tempo Table Sets the modulation amount Src Off Tempo feedback amount Amount 100 100 for Wet Dry on page 107 Amt 100 100 Sets the feedback amount Sets the damping amountin the D High Damp 96 0 100 high range 72 Auto Reverse Low Damp 0 100 Sets the damping amount in the low i Le Pol e range This effect records the input signal and automatically plays it in Saturation 0 100 Sets the distortion amount reverse the effect is similar to a tape reverse sound Input Trim 0 100 Sets the input gain Pre Tone 0 100 Sets the tone of the input FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Wow Flutter Lon 1 99 Sets the frequency at which pitch bene FX Amt Hz Wee variation will occur Wow Flutter mm Sets the depth of pitch variati Direct depth L ets the depth of pitch variation Auto Reverse SEIT Wet Dry Dry 1 99 99 1 Balance between the wet and dry ee Play Wet signal i i Table Dynamic Modulation Right i i Zu Amt Src Off Tempo sources on pag
509. page contains various parameters Use the tabs to select one of the available pages For detailed information on the vari ous types of parameters see sections starting from page 17 Track status Use these buttons to mute unmute tracks while editing Tabs Use tabs to select one of the edit pages of the current edit section Event Edit Event Edit 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 different one or change its playing strength i e velocity value See Event Edit procedure on page 18 for more information on the event editing procedure Chord Page sub header Page header Page menu icon STYLE REC Event Edit Event list M 801 01 000 Ctrl M 001 01 000 Note D 000 00 192 M 001 01 000 Note D 099 06 100 M 001 01 096 Note D aaa op 096 M 001 01 192 Note D 000 00 055 Track pop up menu Tabs Scrollbar Page header See Page header on page 6 Page menu icon Touch this icon to open the page menu See Page menu on page 31 Page sub header This area shows some performing info on the Song E ivet rye Eev cere Selected track Selected Style Ele Selected Chord Vari ment ation Selected track Name of the track in edit Use the Track pop up menu to select one of the Style tracks SE CV Style Element Chord Variation Selected Style Element and Chord Variation This parameter
510. peration set in this page o 7 v E gt 9 x 42 Pad Record mode Pad Edit Cut Pad Edit Cut This function lets you quickly delete a selected measure or a series of measures from the selected Chord Variation All fol lowing events are moved back to replace the cut measure s PAD REC Pad Edit pont WE Je pose L Lone i er Paa After setting the various parameters touch Execute CV Chord Variation Use this parameter to select the Chord Variation for editing Start First measure to be cut Length Number of measures to be cut Execute Touch this button to execute the operation set in this page Pad Edit Delete This page is where you can delete MIDI events out of the Pad This function does not remove measures from the pattern To remove a whole measure use the Cut function see Pad Edit Cut on page 42 PAD REC Pad Edit ponte a Joo ot pose d After setting the various parameters touch Execute CV Chord Variation Use this parameter to select the Chord Variation for editing Event Type of MIDI event to delete 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 encountered on the same tick the one with the lowest velocity is deleted After Touch After Touch events Note This kind o
511. periodic ways to simulate even the finest sing ers pitch variation e 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 e 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 vol umes as they sing Advanced 102 Voice Processor Voice Processor Preset Double Amount gt GBLYPP You can vary the amount of humanization for the harmony voices All the styles except for the last one Time amp Pitch were designed at middle values to allow you to add or remove effects as you see fit Time amp Pitch was designed so you can create wild special effects as you experiment with high values Vibrato Style gt GBLYPP 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 dif ferently 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 Amount gt GBLYPP You ca
512. po modulate the duration of the grain Sets the amount by which the grain Amt 100 100 duration will be modulated Selects the modulation source that will reset the LFO Sets the frequency at which the grain will be switched LFO Sync Src Off Tempo LFO Sample Cycle Hz 0 02 20 00 Selects a modulation source for LFO Off Tempo speed 20 00 Sets the modulation amount of LFO 20 00 speed When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency MIDI Sync Off On MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this 300 00 individual effect Selects the type of notes that specify the LFO speed Base Note r W Sets the number of notes that Times x1 332 specify the LFO speed Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Table Dynamic Modulation Sre Off Tempo sources on page 106 100 100 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 continu ously Sample Cycle Duration Sample Cycle lt Duration Effects 135 Modulation and Pitch Shift Mod P Shift 52 Stereo Tremolo This effect modulates the volu
513. pose Velocity or Delete pages you can listen to the selected Chord Variation Press START STOP to check how it works Press START STOP again to stop the play back When you are in the Sounds Expression Keyboard Range Chord Table Trigger Tension Delete All Copy Style Pad Element Controls or Style Pad Control pages you can lis ten to the whole Style or Pad Press START STOP and play some chords to do your tests Select any Style Pad Element using the control panel buttons VARIATION 1 4 INTRO 1 3 FILL 1 4 BREAK ENDING 1 3 Press START STOP again to stop the playback When you are in the Guitar Mode page you can listen to the pattern you are programming played in the selected Key Note While in Style Record mode the Fingered 3 Chord Recogni tion mode is automatically selected Style Record mode 5 Exit by saving or deleting changes List of recorded events The Style Pad Record mode filters out some events that may cause wrong operation of the Style or Pad Here are the recorded events and the most important filtered out events Control function CC Allowed Note On RX Noise On Pitch Bend Channel After Touch Modulation 1 Breath 2 Pan 10 Expression 11 CC 12 12 CC 13 13 Damper Hold 1 64 Filter Resonance Harmonic Content 71 Low Pass Filter Cutoff Brightness 74 CC 80 General Purpose 5 80 CC 81 General Purpose 6 81 CC 82 General
514. programmed delay style you like This corresponds to the option selected in the Easy Preset page Level gt GBL Sets the mix level for the delay effect Source gt GBLYPP Determines which of the two methods you want to use to set delay times These include 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 Div L R gt GBLYPP When the source is set to MIDI these parameters 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 Time L R gt GBLYPP These parameters are used 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 Feedback L R gt GBLYPP Re introduces a portion of the audio output signal of the Delay block back to the input to add echo repeats Hi Cut Low Cut gt GBLYPP These steep highpass Low Cut and low pass Hi Cut filters 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 Duck Amount GBLYPP This sets how much attenuation gain reduction is applied to the delayed signal when a vocal is present For ducking to not
515. pth 0 02 30 00 Sets the LFO2 speed 0 30 Sets the Tap2 output level 30 00 Sets the modulation amount of Pan Ge EL S Sets the Tap2 stereo image 30 00 LFO2 speed Sets the depth of LFOT Tap3 090 0 1000 Sets the Tap3 LFO phase 90 modulation msec degrees delay time Ore tenia Selects the modulation source or Depth 0 30 Sets the Tap3 chorus depth E LFO1 amp 2 modulation depth Level 0 30 Sets the Tap3 output level Sets the modulation amount of L6 L1 C i Amt 100 100 LFO1 modulation depth Pan pi De Sets the Tap3 stereo image 0 1000 LFO1 Amt LFO2 Frequency Hz Amt Depth1 0 100 Src Sets the depth of LFO2 Tap4 270 modulation msec Sets the Tap4 LFO phase 270 Depth2 0 100 degrees delay time 0 1000 Sets the modulation amount of Depth 0 30 Sets the Tap4 chorus depth Amt 100 100 LFO2 modulation depth Level 0 30 Sets the Tap4 output level Sets the delay time for the left L6 L1 C channel Pan RI_R6 Sets the Tap4 stereo image L Pre Delay msec 0 0 50 0 R Pre Delay msec Sets the delay time for the right 0 0 50 0 channel Tap1 Feedback 100 100 Sets the Tap1 feedback amount Selects the modulation source of Src Off Tempo Tap1 feedback amount and effect balance Feedback _100 100 Sets the feedback amount High Damp Sets the damping amount in the 0 100 high range 100 100 Sets
516. ption all samples assigned to the multi sample you are deleting and all samples not assigned to a different multisample will be deleted Note Use this option with care since you may delete samples you would like to preserve that have not yet been assigned to a multisample or drumkit Use it only when you are sure all desired samples have been assigned to a multisample or drumkit e Select MultiSamples to delete all multisamples No sam ples will be deleted including those associated with the deleted multisamples e Select All Samples Multisamples Drum Samples to delete all samples multisamples and drum samples from the internal HD KHD_SYSTEM This operation completely resets the RAM and may be used to clean up any trouble Export Sample page Open this page by selecting the Export command from the page menu while you are in any page of the Sample Edit Sample Record section First of all select the target location where to export the sample SAMPLING Export Sample Type 17 12 10 22 55 E TS 7 v E gt 9 x 94 Sampling operating mode Export Multisample page Then touch the Save button to see the Export Sample dialog box Export Sample Original Name Name of the sample being exported File Name Name of the generated file on the storage device File Type Either of the file types you can choose as the file format WAV Microsoft Wave
517. r amp Velocity Sample Switch See Layer Selector amp Velocity Sample Switch on page 58 Drum Sample Equalizer Enable Check this box to activate the equalizer on the selected oscillator TRIM This knob allows you to limit the level of the signal passing through the equalizer Extreme equalization values can overload the audio circuits and lead to distorsion This control lets you set equalization as desired and at the same time avoid overloading 0 99 Limiting value The higher the most effective it is Low Gain Low frequencies equalization This is a shelving curve filter Val ues are shown in decibels dB 18 18dB Low gain value in decibels Mid Middle Gain Middle frequencies equalization This is a bell curve filter Values are shown in decibels dB 18 18dB Middle gain value in decibels Mid Middle Freq Centre frequency of the middle frequencies equalization 0 100 10 kHz Centre frequency in kHz Hi High Gain High frequencies equalization This is a shelving curve filter Values are shown in decibels dB 18 18dB High gain value in decibels mo 7 v E gt Ki lt 60 Sound operating mode DrumkKit Voice Mixer Drum Kits DrumkKit Voice Mixer Drum Kits This page appears when you edit a Drum Kit Here you can set various parameters for the different percussive sample assigned to the selected key and layer SOUND DrumKit MT 8 el
518. r of the parametric a E Trim 0 100 Sets the parametric EQ input level outing Wah P4EQ equalizer and wah connection ied ET 20 1 00k Sets the center frequency of Band 1 TEN Cutoff 20 1 00k Sets the center frequency of Band 1 Q 0 5 10 0 Sets the bandwidth of Band 1 b Q 0 5 10 0 Sets the bandwidth of Band 1 Gain dB 18 18 Sets the gain of Band 1 Gain dB 18 18 Sets the gain of Band 1 ES Cutoff 50 5 00k Sets the center frequency of Band 2 HE Cutoff Ven 5 00k Sets the center frequency of Band 2 Q 0 5 10 0 Sets the bandwidth of Band 2 c o 0 5 10 0 Sets the bandwidth of Band 2 Gain dB 18 18 Sets the gain of Band 2 Gain dB 18 18 Sets the gain of Band 2 Eg Cutoff 300 10 00k _ Sets the center frequency of Band 3 dH Cutoff 300 10 00k Sets the center frequency of Band 3 Q 0 5 10 0 Sets the bandwidth of Band 3 d Q 0 5 10 0 Sets the bandwidth of Band 3 Gain dB 18 18 Sets the gain of Band 3 Gain dB 18 18 Sets the gain of Band 3 ms 4 Cutoff 500 20100k _ Sets the center frequency of Band 4 De Cutoff 500 20 00k Sets the center frequency of Band 4 Q Sets the bandwidth of Band 4 Q 0 5 10 0 Sets the bandwidth of Band 4 Gain dB Sets the gain of Band 4 Gain dB 18 18 Sets the gain of Band 4 EXCITER WAH X Exciter Sets the intensity depth of the W Frequency Sets the lower limit of the wah f Blend 100 100 Exciter effect f Bottom 0 100 center freguency IX Emphasis Sets the frequency range to be Sets the upper l
519. rd Range 26 Style Element Track Controls Noise Guitar 26 Style Element Chord Table Chord Table 26 Style Track Controls Type Trigger Tension 27 Import Import Groove 27 Import Import SME un ne sn un nn 28 Export SME sa see Bia aaa Aa e a caiet bated 30 Page menu u nn 31 Write Style dialog box 31 Copy Key Chord dialog box 32 Copy Sounds dialog box 32 Copy Expression dialog box 32 Copy Key Range dialog bok 33 Copy Chord Table dialog box 33 Overdub Step Recording window 33 Pad Record mode 35 The Pad structure Ee Ee 35 Entering the Pad Record mode 35 Exit by saving or deleting changes 36 Listening to the Pad while in Record Edit mode 36 Main page Record 1 36 Main page Guitar Mode 39 Pad Record procedure 39 Edit venues een 39 Edit page structure 39 Event Edit Event Edit 40 Event Edit aussen 40 Pad Edit Quantize 40 Pad Edit Transpose
520. ree of changing the value of CV Length before the measures exceeding its value are deleted see warning in CV Length Chord Variation Length below However if you press START STOP to begin 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 record ing Rec Length is still shown as 4 but it is in reality set to 2 and recording will cycle for just 2 measures After you press START STOP to stop recording Rec Length is updated to 2 and all mea sures after the second measure are deleted CV Length Chord Variation Length STYLE This parameter sets the total length up to 32 measures for the selected Chord Variation When playing a Style this will be the length of the accompaniment pattern when the chord corre sponding to the Chord Variation is recognized on the keyboard Warning If you reduce the Chord Variation Length after record ing any measure after the selected length will be deleted Be very careful when setting the CV Length to a lower value after record ing If it happens we suggest to exit from record without saving see Exit from Record on page 31 Metro Metronome This is where you can set the metronome Off No metronome click will be heard during record ing In any case a one bar precount will be played before startin
521. requency for Mid O Mid1 Cutoff 300 10 00k Sets the center frequency for Mid Hz DN High EQ 1 peaking type Hz High EQ 1 peaking type Es DES Sets the band width of Mid High EQ Q 05 10 0 Sets the band width of Mid High EQ Ee 1 Gain dB 18 18 Sets the gain of Mid High EQ 1 Gain dB 18 18 Sets the gain of Mid High EQ 1 O Mid2 Cutoff 500 20 00k Sets the center frequency for Mid O Mid2 Cutoff 500 20 00k Sets the center frequency for Mid Hz on High EQ 2 peaking type Hz SS High EQ 2 peaking type ale mm Sets the band width of Mid High EQ Q 05 10 0 Sets the band width of Mid High EQ Vidi 2 2 Gain dB 18 418 Sets the gain of Mid High EQ 2 Gain dB 18 418 Sets the gain of Mid High EQ 2 MULTITAP DELAY PHASER PILFO SE Nu 0 0 1360 0 Sets the Tap delay time 0 02 20 00 Sets the speed of the LFO h Frequency Hz Sets the Tap1 output level n Tap1 Level 0 100 H p LFO Waveform Triangle Sine Selects the LFO Waveform Sets the frequency to which the D Tap2 Time A P Manual 0 100 effect is applied Imsec 0 0 1360 0 Sets the Tap2 delay time Depth 0 100 Sets the depth of LFO modulation Feedback 100 100 Sets the Tap2 feedback amount Sets the resonance amount D High Damp Sets the damping amount in the Resonance 100 100 j oe 0 100 high range Wet D Mt Delay Dry 1 99 99 1 Sets the multitap delay effect ee Wet 1 99 Dry 99 1 Sets the phaser effect balance Wet Dry Wet balanc
522. riation should be used for the played chord then Style sequences for every track of that Chord Variation are transposed from the original chord to the recog nized chord and so on every time you play a chord Ordinary Guitar and Drum tracks There are different types of tracks see Track Type on page 27 and each of them is treated in a different way by the arranger e Acc Accompaniment and Bass tracks When a chord is recognized the programmed chord notes are transposed to a suitable scale according to the Note Transposition Tables NTT The NTT allows you to record 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 e Drum amp and Perc Percussion tracks No transposition is applied The original pattern plays always Gtr Guitar tracks When a chord is recognized the arranger triggers single notes strumming and arpeggios on a virtual guitar keeping care of the way notes are played on the guitar keyboard Note that inside a Guitar track you can also have some parts typical of an Acc track a useful addition for short free form passages Whatto record Recording a Style is a matter of recording tracks inside a series of Chord Variations inside a series of Style Elements inside the Style itself You dont need to record all Chord Variations for all Style Ele ments It is often only n
523. rocessor Voice Processor Setup Mic Tone There is only the single DeEss Level control no other manual adjustment settings are required The factory setting of 50 gen tly reduces sibilance without becoming obvious Higher settings of compression and Shape or a bright sibilant voice may require a higher setting Compress DeEss with Adaptive Off Turning off Adaptive compression switches compression to manual control Be sure to reduce the level of your amplification or switch to headphones when adjusting the manual compressor because high settings can cause more gain and thus feedback Note The DeEss Level control will remain unchanged Threshold Ratio DeEss Level d 2 4 Threshold gt GBLYPS This sets 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 Threshord you will not hear any compression A good setting for experimentation is 10 dB Ratio gt GBLYPS This sets how much gain reduction you prefer when your voice level goes above the threshold The range is from 1 1 no gain reduction 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
524. rol set When the Adaptive checkbox is checked most of the adjustment is done automatically so fewer controls are required Voice Processor 97 Voice Processor Setup Mic Tone Compress DeEss with Adaptive On When Adaptive is checked it allows for simplified editing DeEss Level Compress Compress gt GBLYPS With the Adaptive control activated the Compress control reduces the amount of 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 reguire multiple controls knowledge and experience and time spent testing and refining over a perfor mance With TC Helicon s Adaptive Compress feature these are not required The factory setting of 50 strikes a good balance between mod erating dynamics in your singing without incurring feedback a side effect of compression used in a live mic setting If you have a high quality monitoring amplification setup with a flat fre quency response and you want more compression by all means add more with the Compress control Be aware though that average quality systems have frequency peaks that may cause feedback with lots of compression combined with Adaptive Shape EQ Compression A Primer You may not notice this effect as easily as with Shape It can be quite subtle until you educate your ears to compression Follow ing is a very brie
525. rrespond ing Sound Controller Sound Controller 1 or Sound Controller 2 You can then use this Sound Controller to control any of the DNC parameters List of EC5 functions The following functions can be assigned to a Korg EC5 s switch pedal Function Meaning Off No function assigned Style Start Stop Play Stop Player 1 Play Stop Player 2 Go to Beginning Ply 1 Go to Beginning Ply 2 Chord Seq Record Chord Seq Play Synchro Start Synchro Stop Tap Tempo Reset Tempo Lock Same functions of the control panel buttons with the same name Ritardando Progressively decreases the Tempo value Accelerando Progressively increases the Tempo value Tempo Up Tempo Down Increases the Tempo value Decreases the Tempo value Intro 1 Intro 2 Intro 3 Count In Ending 1 Ending 2 Ending 3 Fill 1 Fill 2 Fill 3 Fill 4 Break Variation 1 Variation 2 Variation 3 Variation 4 Same functions of the control panel buttons with the same name Variation Up Selects the next Variation Variation Down Selects the previous Variation Fade In Out Memory Bass Inversion Same functions of the control panel buttons with the same name Manual Bass Style Up Selects the next Style Style Down Selects the previous Style STS Mode STS1 S
526. rt HEPI Exciter Phaser FX Amt Mt Diy FX Amt Righto d i FX Amt LEO Tri Sine Righte Pu am EXCITER X Exciter 100 1100 Sets the intensity depth of the Blend Exciter effect A X Exciter 100 100 Sets the intensity depth of the Blend Exciter effect XIEmphasis 70 Sets the frequency range to be Frequency m emphasized b Dee 0 70 Sets the fequency range to be X Trim Sets the EQ input level SES Se XIPre LE c X Trim 0 100 Sets the EQ input level E I E Sets the gain of Low EQ X Pre LEQ ain dB Gain dB 15 F15 Sets the gain of Low EO EC Gain Sets the gain of High EQ d Pre HEQ Gain dB 15 415 Sets the gain of High EQ PHASER IPILFO MULTITAP DELAY 0 02 20 00 Sets the speed of the LFO Frequency Hz E Time 0 0 1360 0 Sets the Tap1 delay time LFO Waveform Triangle Sine Selects the LFO Waveform e i Tap1 Level 0 100 Sets the Tap1 output level P Manual 0 100 Sets the frequency to which the TOI effect is applied Gen Ime 0 0 1360 0 Sets the Tap2 delay time Depth 0 100 Sets the depth of LFO modulation f Se eedbac E 400 4100 Sets the resonance amount Tap2 100 100 Sets the Tap2 feedback amount D High Damp Sets the damping amount in the Wet g m 0 100 S ng ee Wet 1 99 Dry 99 1 Sets the phaser effect balance a gaange ry Wet D Mt Delay Dry 1 99 99 1 Sets the multitap delay effect Wet Di Wet bal Src Off Tempo Selects the Wet Dry modulation SC E Temp source for the phaser h Src O
527. ry Gitarre 121 2 25 Mandoline GM2 XG Gitarre 121 7 26 JazzGit DNC Factory Gitarre 121 3 25 Western amp Korpus GM2 XG Gitarre 121 8 26 Pedalsteel 2 DNC Factory Gitarre 121 4 25 Western Git 1 Factory Gitarre 121 9 26 Pedalsteel 1 DNC Factory Gitarre 121 5 25 12sait West Git Factory Gitarre 121 0 27 Clean E Git GM GM2 XG Gitarre 121 6 25 Hackbrett Factory Welt 121 1 27 Verst E Gitarre GM2 XG Gitarre 121 7 25 FingerGit KeyOff Legacy Gitarre 121 2 27 Vint E Git Mid GM2 XG Gitarre 121 8 25 Finger Gitarre Legacy Gitarre 121 3 27 Chorus E Gitarre Factory Gitarre 121 9 25 Folk Gitarre Legacy Gitarre 121 4 27 Vintage E Git 2 Factory Gitarre 121 10 25 Mandoline KeyOff Legacy Welt 121 5 27 Processed E Git Factory Gitarre 121 11 25 Mandolinen Trem Factory Welt 121 6 27 SingleCoil E Git Factory Gitarre 121 12 25 Resonator Git Legacy Gitarre 121 7 27 Strat E Gitarre Factory Gitarre 121 13 25 W Git Slide Pro1 Factory Gitarre 121 8 27 Hybrid E Gitarre Legacy Gitarre 121 14 25 W Git Slide Pro2 Factory Gitarre 121 9 27 L amp RE Gitarre 1 Factory Gitarre 121 15 25 Western Git RX1 Factory Gitarre 121 10 27 L amp R E Gitarre 2 Legacy Gitarre 121 16 25 Western Git RX2 Factory Gitarre 121 11 27 Country E Git Legacy Gitarre 121 17 25 12sait W Git Pro Factory Gitarre 121 12 27 FunkyWah Git RX Factory Gitarre 121 18 25 12sait W Git RX Factory Gitarre 121 13 27 Clean E Git Pro Factory Gitarr
528. ry Wet signal i Src Op Tempo Table Dynamic Modulation sources on page 106 Amt 100 100 Amount of modulation source b Band1 Type c Band4 Type Selects a filter type for Band 1 and 4 Parametric 4EQ Band1 Band4 Type Band4 Type g Hig Band4 Type Peaking Ba nd4 Cutoff Parametric 4EQ Band2 Gain Mod Band2 Cutoff Da Effects EQ and Filters EO Filter 111 Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal J sc Off Tempo Table Dynamic Modulation sources on page 106 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 9 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 Stereo In Stereo Out Band2 Gain dB 6 0 Band2 Gain dB 6 0 Band2 Gain Mod Amount dB 49 0 Band2 Gain Mod Amount dB 15 0 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
529. s is automatically turned off Style Pad Import Export As an alternative to creating Styles on the Pa3X you can import a Standard MIDI Files SMF from your computer to a Pa3X s Style See Import Import SMF on page 28 and Export SMF on page 30 Entering the Style Record mode While in the Style Play operating mode press the RECORD but ton The following page will appear in the display STYLE PAD RECORD e Select Record Edit Current Style to edit the current Style If it is a Factory Style you may not be able to save it at the original location depending on the status of the Factory Style and Pad Protect parameter see page 247 of the User s Manual you will select a User Style instead Select Record New Style to start from a new empty Style A default Style Performance will be recalled When finished recording you will save the new Style onto a User Style location Styles can be saved onto Factory Style locations only when the Factory Style and Pad Protect parameter is set to Off see page 247 of the User s Manual After editing the Style or Pad please save it see Exit by saving or deleting changes below and exit the Style Pad Record mode Then edit the Style track settings Go to the Style Play mode edit the Style Settings to adjust track settings Tempo Volume Pan FX Send see page 123 and following in the Style Play Modus chapter of the User s Manual and save it by sele
530. s menu to choose a pre programmed HardTune Set This allows you to quickly choose an effect close to what you want instead of having to go directly into the individual parameters each time This corresponds to the option selected in the Easy Preset page Rate gt GBLYPP Rate determines 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 cor rection effect is stair stepped and obvious when using non chro matic 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 Shift P GBL Sets the a relative shift in semitones above or below the input vocal This is useful for transposing or creating character voices while simultaneously pitch correcting Window gt GBL PP Allows you to determine 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 At maximum a custom scale could be created with only one note for special effects 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 9 7 v E gt
531. s on or if Manual REC Control is set to On you can record 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 controls the reset operation When you set this modulation source to On or Manual RST Control to RESET 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 137 LCR BPM Long Dly The L C R delay enables you to match the delay time with the song tempo Left FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Input Level D mod L Delay T PM BPM 3 gt Base Note x Times Time Over gt Base Note x Times Righte gt Base Note x Times Temi BPM OVER MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect Displays an error message when the
532. s set to L R Mix L Only or R Only Attack and Release specify the attack time and release time of the gate Gate Threshold A Output Level Threshold N Louder Louder Input Level w M um WWW II Wet Al us Attack 100 IT Release 100 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 EQ and Filters EQ Filter 7 St Parametric4EQ Stereo Parametric 4 Band EQ
533. s the source that will control the Level parameters of the filter EG AMS Alternate Modulation Source list on page 77 Intensity AMS Intensity This parameter specifies the depth and direction of the effect applied by AMS With a setting of 0 the levels specified by Frequency Cutoff Frequency A 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 values the EG levels will fall as you play more strongly 99 99 Intensity value St Start Level Swing This parameter specifies the direction in which AMS will affect Start When Intensity has a positive value a setting of for this parameter will allow AMS to raise the EG level and a setting of will allow AMS to lower the EG level With a setting of0 there will be no change At Attack Level Swing This parameter specifies the direction in which AMS will affect Attack When Intensity has a positive value a setting of for this parameter will allow AMS to raise the EG level and a setting of will allow AMS to lower the EG level With a setting of0 there will be no change Br Break Level Swing This parameter specifies the
534. s the source that will control the Time parameters of the amp EG see AMS Alternate Modulation Source list on page 77 With a setting of Off there will be no modulation Intensity This parameter specifies the depth and direction of the effect that AMS1 will have For example if AMS1 T is Amp KTrk the Amp Keyboard Track settings see Keyboard Track ing on page 70 will control the EG Time parameters 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 At Attack Time Swing Dc Decay Time Swing SI Slope Time Swing and RI Release Time When AMSI T is Velocity positive values 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 see page 71 At Attack Time Swing This parameter specifies the direction of the effect that AMS1 will have on Attack With positive values of Intensity set ting this parameter to will allow AMSI to lengthen the time and setting it to will allow AMSI to shorten the time With a setting of 0 there will be no effect Dc Decay Time Swing
535. s will speed up the programming The note set with this parameter is also shown in red in the vir tual keyboard diagram Level Relative level of the selected zone This value can only be nega tive mo 7 v E gt Ki x 90 Sampling operating mode Multisample Key Assign Pitch Fine tuning of the selected sample in cents 1 cent 1 100 of a semitone From To Range of the selected Zone or Index The minimum size is one key When reducing the range of a zone the adjacent one is auto matically increased to fill the gap Hint To create a silent zone create it and assign no sample to it Buttons Insert Touch this button to split the current zone in half and create a new zone Index on the left of the selected one Add Touch this button to add a new zone Index after the last one Delete Touch this button to delete the selected Zone Index The zone on the right of the deleted one is automatically extended to fill the gap Multisample Key Assign Use this page to see and edit the samples assigned to each Key board Range Index in the multisample This page gives a better display of the assigned samples and their range on the keyboard i UN ZN NN NN S Sample list c a DUDU 1011111004101 LALA ests MS MultiSample See MS MultiSample on page 89 Sample list List of samples assigned to the selected multisample Use the big button with an arr
536. see detailed info on the sample in edit General information for the RAM memory is also available SAMPLING DE SM Sample Selected sample See SM Sample on page 81 Sampling Info Samples Number of samples in memory Drum Samples Number of drum samples in memory Multisamples Number of multisamples in memory Available Memory RAM Bank Pa3X comes with 128MB of RAM already installed and can be expanded up to 256MB with the optional EXB M256 board This is the maximum amount of non compressed samples that can be loaded or recorded In case you need more PCM Sample memory and you have already installed the optional memory expansion you can com press the samples and then load up to 512MB of samples see Compress all samples on page 92 Mono Time Remaining sample memory in seconds This value is given for mono samples With stereo samples this time has to be halved Bytes Remaining memory for sampling in Bytes This value is given for mono samples With stereo samples this time has to be halved Sample Info 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 Time Slice The Time Slice function lets you transform a rhythm audio groove in a series of single percussive samples to be assigned to the Drum or Percussion track of a
537. set ting would produce a G harmony voice just above the input E Level gt GBLYPP This parameter controls 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 voic ing interval Scale gt GBL PP Only available when the Scale Harmony Type is selected This parameter specifies 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 ezample a setting of 43 will result ina harmony voice a third above the input voice Voice Processor Voice Processor Preset Harmony 101 Shift gt GBLYPP Only available when the Shift Harmony Type is selected In Shift mode the voices are shifted relative to the input note The values range from 24 semitones to 24 semitones Smooth gt GBL PP Only available when the Notes Harmony Type is selected 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
538. singing have to be in order to achieve a 1 dB gain increase A brief example of how adjusting the ratio of com pressor 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 compression regardless of the setting of the Threshold Also note that automatic makeup gain occurs depending on your combination of Threshold and Ratio A side effect of com pression is that it can reduce apparent level until makeup gain is applied to raise the overall level Gate If your musical accompaniment is loud or you hear feedback the Gate control will enable you to make adjustments Adaptive GBLYPS When set to the factory default of Adaptive the Gate control helps in two very important ways by 1 Minimizing feedback 2 Reducing the amount of audible effects processing on sounds entering 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 system When you aren t sing ing 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
539. 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 val ues below 64 set it to Slow c Manual Speed Ctrl If you wish to control the rotation speed manually instead of switching between Slow and Fast select a modulation source in the Manual Speed Ctrl parameter If you don t want to use man ual control set this to Off d Horn Acceleration e Rotor Acceleration On a real rotary speaker the rotation speed accelerates or decel erates gradually after you switch the speed The Horn and Rotor Acceleration parameters set the transition times between fast and slow speeds g Mic Distance g Mic Spread This is a simulation of stereo microphone settings Rotary Speaker Mic Placement Mic Spread cae eee a Microphone Microphone Mie Distance Mic Distance E P Rotary Speaker Top View Delay 64 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 FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left o Input Level D mod L Delay High Damp Low Damp C Delay NHL R zac Input Level D mod R Delay Right Kc Time 0 2730 Sets the delay time of TapL Level 0 50 Sets the output le
540. specify the LFO speed frequency gain will be modulated Resonance 0 100 Sets the resonance amount Mid Gain dB Sets the mid frequency gain f Low Pass Filter Off On Switches the wah low pass filter on Selects the modulation source for Sets the output level of the effect Src mid frequency gain Output Level 0 100 sound P Sets the amount by which the mid S Off Selects the modulation source that frequency gain will be modulated i tempo will control the effect output level High Gain dB Sets the high frequency gain Amt 100 100 Sets the modulation amount of the effect output level Selects the modulation source for Dry 1 99 99 1 Balance between the wet and dr Src high frequency gain Wet Dry Wet signal d Sets the amount by which the high Table Dynamic Modulation frequency gain will be modulated Src Off Tempo sources on page 106 Dry 1 99 99 1 Balance between the wet and dry Amt 100 100 Amount of modulation source Wet signal Table Dynamic Modulation Off Tempo Sources on page 106 100 100 Amount of modulation source 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 Sweep Mode D mod Frequency 4 Frequency Top 75 Wali t Bottom 60 5 2 Bottom 25 Woo Top 30 Higher Dz Higher Zero Max Sweep Mode Auto Frequency Frequency Top 75
541. sponding LFO when the joystick is pushed forward 12 0 12 Parameter value Negative values invert the LEO shape AMS Intensity Alternate Modulation Source for the LFO See AMS Alternate Modulation Source list on page 77 Use the Intensity param eter to set the intensity of the modulation Pitch Pitch EG Here you can make settings for the pitch EG which creates time variant changes in the pitch of the oscillators The depth of pitch change produced by these EG settings on the oscillators is adjusted by the Intensity AMS1 2 Intensity parameter see page 63 SOUND Pitch Le Diagram The diagram on top of the page shows the Pitch envelope line Level These parameters specify the amount of pitch change The actual amount of pitch change will depend on the Intensity AMS1 2 Intensity parameter see below For example with an Inten sity 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 Time varying pitch settings when Pitch EG Intensity 12 00 99 approximately 1 octave Attack Level Note on Note off 0 pitch when key is held gt Time sustained Start Level Lac xl Release Level Y Attack Decay Time Time Release Time 99 approximately 1 octave Start Level Specifies the amount of pitch change at note on 99 99 Parame
542. status The track cannot be heard Play status The track can be heard Track names Under the buttons a label for each track is shown Style Edit Velocity In this page you can change the velocity dynamics value of notes in the selected track An Advanced mode is available allowing you to select a velocity curve for the selected range This is useful to create fade ins or fade outs STYLE REC Style Edit ACCA ACCS elete f Copy fmf Copy fm After setting the various parameters touch Execute Note 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 val ues Track Use this parameter to select a track All All tracks selected The velocity for all notes of the whole selected Chord Variation will be changed Drum Acc5 Selected track E CV Style Element Chord Variation Use these parameters to select the Style Element and Chord Variation for editing Value Velocity change value 127 Start End Tick Use these parameters to set the starting and ending points of the range to be modified 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 E
543. storage device The Import function allows to read multisamples Korg KMP from Korg Trinity and Triton files and Programs Akai P1 or P3 from Akai S1000 or S3000 CDs Programs PCG files can be imported from Korg Triton disks and con verted to Sounds You can also use the Export function to export samples KSF and multisamples KMP in Korg proprietary format Audio Grooves Another powerful feature of the Sampling mode is the Time Slice This feature lets you add realism to MIDI tracks by using sampled patterns as the rhythm track of a Style Cycling rhythm samples usually named audio grooves can be sliced into separate percussive 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 Warning When loading a SET folder containing Sounds associ ated with PCM data all existing PCM data in memory are deleted Save them before loading the folder by selecting the PCM option during a Save All operation see Sichern des gesa mten Speicherinhalts on page 240 of the Users Manual To see if a SET folder contains PCM data open it and look for a PCM folder Hint Load single Sounds if you want to load new PCM data without deleting the ones already contained in memory Note No sound will be heard when you first enter the Sampling mode Entering and exiting the Sampling
544. t by BPM Base Note and Times instead of Frequency Amt MIDI Sync Off On MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this 300 00 individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Base Note LAN Times x1 X32 Sets the pitch variation of the Pitch Depth moving sound 0 100 Selects the modulation source of pitch variation Src Off Tempo Sets the modulation amount of Amt 7190100 pitch variation Sets the panning of the moving Pan Depth 100 100 sound Src Off Tempo Selects the modulation source of panning Amt _100 100 Sets the modulation amount of panning Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Op Tempo Table Dynamic Modulation sources on page 106 100 100 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 repeat edly 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 time if you do not set the Src param eter the Doppler effect
545. t Feedback GM2 XG Gitarre 121 44 27 Shadow Git2 DNC Factory Gitarre 121 2 31 E Git Harmonics Legacy Gitarre 121 45 27 ShadowGit2TDNC Factory Gitarre 121 0 32 Akustik Bass GM GM2 XG Bass 121 46 27 Shadow Git2JSDNC Factory Gitarre 121 1 32 Ak Bass Buzz Legacy Bass 121 47 27 Strat Acc 2 DNC Factory Gitarre 121 2 32 Ak Bass amp Ride 2 Factory Bass 121 48 27 Amp E Git2 DNC Factory Gitarre 121 3 32 Ak Bass Pro1 Factory Bass 121 49 27 Strat Acc 1 DNC Factory Gitarre 121 4 32 Ak Bass Pro2 Factory Bass 121 50 27 Gliss E Git DNC Factory Gitarre 121 5 32 Ak Bass DarkWood Legacy Bass 121 0 28 Muted E Git GM GM2 XG Gitarre 121 6 32 Ak Bass amp Ride 1 Factory Bass 121 1 28 Funky Cut EGit GM2 XG Gitarre 121 7 32 Akustik Bass RX Factory Bass 121 2 28 Mute Vel E Git GM2 XG Gitarre 121 8 32 Akustik Bass Factory Bass 121 3 28 Jazzy E Gitarre GM2 XG Gitarre 121 9 32 Ak Bass Jazz Factory Bass 121 4 28 Rock n Roll Git Factory Gitarre 121 10 32 Orgel Pedalbs 1 Factory Bass 121 5 28 Strat E Gitarre Legacy Gitarre 121 11 32 Orgel Pedalbs 2 Factory Bass 121 6 28 Clean Mute E Git Factory Gitarre 121 12 32 Real Ak Bass RX Factory Bass 121 7 28 Rhythmus E Git Legacy Gitarre 121 13 32 Real Ak Bass Factory Bass 121 8 28 Clean Funk Git Legacy Gitarre 121 14 32 BigBandBass1 RX Factory Bass 121 9 28 Dist Mute E Git Factory Gitarre 121 15 32 BigBandBass2 RX Factory
546. t Level Dmod 100 100 Off Tempo Sets the modulation amount of the input level Selects the modulation source for the input level 100 100 Sets the width of the stereo image of the effect sound Off Tempo Selects the modulation source of the effect sound s stereo image width Amt 100 100 Sets the modulation amount of the effect sound s stereo image width Wet Dry Dry 1 99 99 1 Wet Off Tempo Balance between the wet and dry signal Table Dynamic Modulation sources on page 106 100 100 Amount of modulation source Mode Normal Mode Cross Feedback Mode Cross Pant Mode Cross Pan2 DEI woot GE eet ees a Mode You can change how the left and right delay signals are panned by modifying 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 Tapl Setting a different level from Tap2 will add a unique touch to a monotonous delay and feedback Advanced 144 Effects Delay 67 St Mod Delay d LFO Sync Stereo Modulation Delay d Src g L LFO Phase deg This stereo delay uses an LFO to sweep the delay time The pitch h R LFO Phase deg also varies creating a delay sound which swells and shimmers You can also contro
547. tar tracks and are therefore greyed out Note NTT parameters are separately programmed for each track of the Style Element There are two general types of NTTs When Parallel types are selected notes are transposed inside the area set by the Wrap Around parameter These tables are ide ally suited to melody parts Cmaj Fmaj Dmin Gmaj amp 8 8 g 8 ege Sieg as played back as written When Fixed types are selected 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 Cmaj Fmaj Dmin Gmaj as played back as written Note To conform to Korg specifications it is advisable to set the NTT to No Transpose on the Intro 1 and Ending 1 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 When you play a CM When you play a CM7 Key Chord CMaj with NTT Root with NTT 5th TULIT 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 automatically selected As recorded with NTT i Series When you play a CMaj When you play a C7 Key Chord CM7 with NTT i Series with NTT i Series N EEE UT Parallel No Transpose The chord
548. te G Attack Release Dry 1 99 99 1 Wet Sets the attack time he release time Balance between the wet and dry signal Off Tempo Table Dynamic Modulation sources on page 106 100 100 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 sig nal level or controlled directly by the modulation source You can select from Off to Tempo for the Src parameter 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 thresh old the gate opens and the reverb sound is output Normally set G Input Reverb Mix to Dry the gate is con trolled 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 Double Size i Double size effects take two processing units therefore steal ing one unit to the following FX processors 120 St Mltband Limiter Stereo Mltband Limiter This is a stereo multiband limiter Stereo In Stereo Out Band Pass Filters E Low A FX Amt Left o CAFE Limiter 3f Envelope Control Mid
549. ter to choose between the mono or stereo sam pling mode by selecting one or both the line audio inputs Left Right on the back of the Pa3X Channel 1 L Only the Left Input is selected A mono sample will be produced Channel 2 R Only the Right Input is selected A mono sample will be produced Channel 1 amp 2 Stereo Both inputs will be selected A stereo sample will be produced Note Whether you record or load a stereo or mono sample the sample in memory will be treated as if it was stereo Mono samples Advanced 82 Sampling operating mode Sampling Edit will be saved as mono files Stereo samples will be saved as two sep arate mono files and will be treated as mono files when reloaded Source Use this parameter to choose either a microphone or a line source as the input Line You can connect a mono or stereo line source to the Left and or Right audio inputs Use the Record Mode mode parameter see above to choose one or both inputs Mic You can connect a microphone to the Mic input If it is a condenser microphone after having con nected it go to the Global gt Audio Setup gt Audio In page and turn the phantom power on see 48V Phantom Power on page 225 of the User s Manual Use the MIC GAIN knob to set the input level Left to Sample Non editable Remaining memory in samples seconds for sam pling The maximum space available for samples is 1 048 576 mono or stere
550. ter value Attack Level Specifies the amount of pitch change when the attack time has elapsed 99 99 Parameter value Release Level Specifies the amount of pitch change when the release time has elapsed 99 99 Parameter value Time These parameters specify the time over which the pitch change will occur See diagram above Sound operating mode 63 Pitch Pitch EG Attack Time Specifies the time over which the pitch will change from note on until it reaches the pitch specified as the attack level 0 99 Parameter value Decay Time Specifies the time over which the pitch will change after reaching the attack level until it reaches the normal pitch 0 99 Parameter value Release Time Specifies the time over which the pitch will change from note off until it reaches the pitch specified as the release level 0 99 Parameter value Level Modulation Pitch EG change level AMS JS Y Velocity Intensity positive value Note on ie on VAL T off T off T off A note played softly with A note played strongly with A note played strongly with Start Level Swing set at 0 Start Level Swing set to 0 Start Level Swing set to 0 Attack Level Swing setto Attack Level Swing setto Attack Level Swing set to the Joystick pulled on the Joystick pulled on the Joystick pulled on AMS1 2 Alternate Modulation Source 1 2 These parameters select the source that will control the pit
551. ters for the Harmony block The Harmony block produces up to four harmony voices ct er mem couse ine neo Lass ne Harmony Harmony On Off GBLYPP This button allows enabling disabling of the Harmony block It is the same control found in the Easy Preset page gt GBL PP Type of harmonization These are the available parameters Chord Harmony Type Chords played on the keyboard received from a Song in Standard MIDI File format or from the MIDI IN MP3 Audio Chords recognized in a Song in MP3 format Scale Harmony notes are adapted to a scale Shift Harmony notes are exactly the indicated interval above or under the Lead voice Notes Harmony voices play the notes played on the key board received from a Song in Standard MIDI File format or from the MIDI IN Note Some of the parameters in this page appear only when a specified Harmony Type is selected Keyb oard gt GBL PP Only available when the Harmony Type is Chord or Notes Use this menu to select the keyboard range where Chords or notes are to be received from Note When this parameter is greyed out notes or chords cannot be received from the keyboard or from a Standard MIDI File Chord Scan The area is chosen with the CHORD SCAN NING buttons in the control panel Lower Lower area under the Split Point Upper Upper area under the Split Point Full The full extension of the keyboard Set gt GBL PP Use this menu
552. th 4 note 3 note 3 note lm eg olm Je e lol Dominant 7th 5 Major 7th b5 Major 7th Sus 4 4 note 4 note 4 note olale m sine je Om loo lo constituent notes of the chord T 2 can be used as tension Recognized chords Minor Minor 6th 3 note 2 note 4 note 1 n e L i 1 CHE Minor 7th Minor Major 7th 4 note 3 note 4 note 3 note 1 ujio LE LE lm 1 I Diminished Diminished 7th Diminished Major 7th 3 note 4 note 4 note alt LL LLL e T Minor 7th b5 4 note J m Augmented Augmented 7th Augmented Major 7th 3 note 4 note 4 note EE b 1 d eieiei
553. that will modify pan see AMS Alternate Modulation Source list on page 77 This change will be rela tive to the Pan setting Intensity Specifies the depth of the effect produced by AMS For exam ple 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 Advanced 70 Sound operating mode Amp Amp Mod as you play higher and toward the left as the note numbers decrease De as you play lower Negative values of this parameter will have the opposite effect 99 99 Parameter value Amp Amp Mod These settings allow you to apply modulation to amp for each oscillator to modulate the volume Keyboard Tracking These parameters let you use keyboard tracking to adjust the volume of the selected oscillator Use the Key and Ramp parameters to specify how the volume will be affected by the keyboard location that you play Key Low High These settings specify the note number at which keyboard track ing 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 number and above the specified Highy note number C 1 G9 Lowest Highest note in the range Ramp Low High These parameters specify the angle of keyboard trac
554. the Damper is always pressed down In an acoustic piano this is usually set to G6 Basic Damper Trigger Here you can set the notes triggered by pressing and releasing the Damper Pedal The parameters in this page have effect on the Sound as a whole and not on a single Oscillator SOUND Basic As warned by the message on the lower area of the display these parameters have no effect if the assigned note falls inside of the Transpose Range programmed in the Basic Sound Basic page see Transpose Range on page 52 Please either choose a note out of that range or modify the Transpose Range so that the note is either higher or lower than that range Transpose Range dul Damper Trigger Sample Damper On Trigger Pressing down the Damper pedal Damper On can play a spe cial sample assigned to a particular note for example pedal down squeaking in the Sound Grand Piano RX breathing in in the Sound Harmonica DNC Note Note where the special Damper On sample is located Velocity Fixed velocity of the special Damper On sample Note Off on Damper Off If checked the special Damper On sample stops playing when the Damper pedal is released Damper Off Trigger Releasing the Damper pedal Damper Off can play a special sample assigned to a particular note for example Damper pedal release noise in the Sound Grand Piano RX Note Note where the special Da
555. the Tap1 feedback amount and modulation amount Wet Wet Dry 1 99 Dry 99 1 Wet Balance between the wet and dry Dry 1 99 99 1 Balance between the wet and dry signal Wet Dry Wet signal Op Tempo Table Dynamic Modulation sources on page 106 Table Dynamic Modulation Sic Off Tempo sources on page 106 100 100 Amount of modulation source 100 100 Amount of modulation source Bi Phase Modulation LFO Se Tar wig WAW Depth2 Advanced 126 Effects Chorus Flanger and Phaser Cho Fln Phaser 35 Ensemble 36 Polysix Ensemble This Ensemble effect has three chorus blocks that use LFO to This models the ensemble effect built into the classic Korg create subtle shimmering and gives three dimensional depth PolySix programmable polyphonic synthesizer and spread to the sound because the signal is output from the left r ight and center FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Len FX Amt FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left gt o FX Amt Polysix Ensemble Ensemble 1 Right c gt o FX Amt Righto i sA o i FX Amt Depth 0 100 Sets the depth of the effect Src Off Tempo Selects the modulation source that a semp will control the effect depth Amt _100 100 sets the amount by which the effect 1 1
556. the following Triggers is especially useful to trigger harmonics or growls when a note is already playing Y Trigger On 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 Y Trigger On 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 Legato Up Like Legato but is only activated when the sec ond note is out of the Max Range value see page 53 and it is higher than the first one Legato Down Like Legato but is only activated when the sec ond note is out of the Max Range value see page 53 and it is lower than the first one Delay This parameter sets a delay time from the note on to the real beginning of the sound With a setting of KeyOff the sound will begin when note off occurs 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 page 68 0 5000ms Key Off Delay time in milliseconds The sound will begin when the note is released The note velocity is read from the Key On Veloc ity Key
557. the high range Dm Sampling Frequency LFO i N Fa LPF Resolution Righto x Pre LPF Off On High Damp 96 0 100 Sampling Freq 1 00k Hz 48 00k Sets the sampling frequency Selects the modulation source of Sre Off Tempo the sampling frequency 48 00K 48 00k Sets the modulation amount of the Amt sampling frequency LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO Selects a modulation source for LFO Off Tempo speed 20 00 Sets the modulation amount of LFO 20 00 speed When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency MIDI Sync MIDI syncs to the system tempo 40 BPM 300 sets the tempo manually for this individual effect Selects the type of notes that Base Note specify the LFO speed Times Sets the number of notes that specify the LFO speed Sets the depth of the sampling frequency LFO modulation Depth Selects the LFO modulation source sre Off Tempo of the sampling frequency Sets the LFO modulation amount of the sampling frequency Sets the data bit length Sets the output level Amt 100 100 Resolution 4 24 0 100 Output Level Selects the modulation source for Off Tempo the output level Sets the modulation amount of the 100 100 output level Dry 1 99 99 1 Balanc
558. the internal HD KHD SYSTEM Write Sample To assign a different name to the sample touch the Ku Text Edit button to open the Text Edit window In case you are saving a percussive sample choose a Drum Sam ple family to be assigned to Select an option to choose a memory location where to save the sample e Select Save as a new Sample to save to a new location e Select Save to to overwrite an existing location Warning The older sample at the same location will be deleted You can also check the Compress checkbox to save the sample in a compressed format This operation could reduce the size of the sample up to a half Please note the compression procedure can require a very long time Compressed samples will have an asterisk next to their name Write MultiSample dialog box Open this dialog box by selecting the Write command from the page menu while in the Multisample section In this dialog box you can save the multisample to the internal HD KHD_SYSTEM Multisamples are a way to organize samples on the keyboard and are used by Sounds as their basis Write Multi Sample To assign a different name to the multisample touch the T Text Edit button to open the Text Edit window Select an option to select a memory location where to save the sample e Select Save as a new MultiSample to save to a new loca tion e Select Save to to overwrite an existing location
559. the same track in different Style Elements and the internal level of these Sounds must be different STYLE REC SE Track Ctris C Trk Acc 1 Konz Git 2 DNC 121 020 024 Wo Wo Ezpr Monitor Ezpression When in this page press the corresponding button on the control panel to select a Style Element VARIATIONI ENDING3 To copy the settings of this page to another Style Element use the Copy Sound and Copy Expression commands from the page menu see Copy Sounds dialog box and Copy Expres sion dialog box starting from page 32 Selected Track Info area See Selected track info area on page 7 for detailed information Sounds area See Sounds area on page 9 for detailed information Expression area Expression Monitor You can use these indicators to check if CC 11 Expression messages are contained in a track Expression messages con tained in a track can vary the volume of the track It is very diffi cult to catch them out unless you carefully read all the events in the Event Edit page This monitor should help you keeping track of them and let you access Event Edit only on the tracks containing the messages 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 Style Record mode 25 Style Element Track Controls Sound
560. ti diff t del Volume 0 100 Sets the output level san E DE ind image by se ge A prd elay FOR FE Selects the modulation source for time an ept ar each block You can control the delay output temp the output level level via a modulation source _100 100 Sets the modulation amount of the output level FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Bass Sets the bass low range level Left f S Feedback FX Amt Middle Sets the middle mid range level Tap1 Delay Treble Sets the treble high range level _Tap2 Delay J Presence Sets the presence high frequency _Tap3 Delay d tone Tap4 Delay gg y Cabinet Off On Switches the cabinet simulator on Ja Delay A j Simulator i off Tap6 Delay E LA 4x10 ishi Oldegree EN Amt MODERN 4x10 METAL 4x10 CLASSIC 8x10 UK 4x12 STUDIO 1x15 Cabinet Type ve fica Selects the cabinet type TUE LFOF US 2x15 H requency 0 02 13 00 Sets the speed ofthe LFO UK 4x15 Hz LA 1x18 Tap1 000 Sets the Tap1 LFO phase 0 GC 1x12 amp msec 0 2000 degrees delay time 7 Depth 0 30 Sets the Tap1 chorus depth Wet Dr Dry 1 99 99 1 Balance between the wet and dry Al o y Wet signal Always of Selects on off or modulation source Eesen Table Dynamic Modulation Status On Off Dm for the control of Tap1 output P sources on page 106 Off On Dm 100 100 Amount of modulation source Tap2 180 0 3000 Sets the Tap2 LFO phase 180 msec
561. tik Eric MEME Factory While in the Style Select window use the buttons on top of the window to select either the User or the Favorite banks Copy Key Chord dialog box Open this window by choosing the Copy Key Chord item from the page menu Here you can copy Key Chord settings of the currently selected track to all other tracks of the same Chord Variation or to the whole Style This function is useful to speed up pattern programming and to avoid having different tracks in different keys within the same Chord Variation Copy Key Chord Current Chord Variation Tracks The Key Chord of the current track will be cop ied to all tracks of the current Chord Variation All Style Tracks The Key Chord of the current track will be cop ied to all tracks of the Style i e all Chord Varia tions Copy Sounds dialog box Open this window by choosing the Copy Sounds item from the page menu Here you can copy all Sounds assigned to the current Style Element tracks to a different Style Element Copy Sounds From Style Element Non editable Currently selected Style Element To Style Element Target Style Element All Settings will be copied to all Style Element of the Style in edit Varl CountIn Single Style Element where to copy settings to Copy Expression dialog box Open this window by choosing the Copy Expression item from the page menu Here you can copy all Expression values assigned t
562. tion Sampling operating mode 89 The Extend procedure Multisample Edit MS The Multisample is a way of organizing several samples on the keyboard Each sample is assigned to a Keyboard Zone or Index with a higher and a lower limit A Multisample is then assigned to a Sound see Basic OSC Basic on page 53 where it is enriched with several perfor mance parameters like Amplitude Envelope LFO Filters etc MS MultiSample Touch this area to open the Choose Multisample window and select one of the available multisamples in memory Keyboard diagram This diagram shows the selected Index Zone highlighted and its Original Note in red Use the big and button on its side to scroll the diagram one octave lower or upper Multisample Setup Index Index number of the selected Zone of the multisample total number of Zones in the multisample A Zone always corre sponds to a single sample When you play a note on the keyboard the corresponding index number is automatically selected Sample Number Name Number name of the sample assigned to the selected zone of the multisample Original Note Use this parameter to automatically transpose the assigned sam ple on the keyboard When you play this note the sample sounds exactly as it was recorded At first it matches the OrigNote Original Note value assigned when editing the sample see page 83 Thi
563. tion Off Tempo How quickly the horn rotation 0 100 speed in the high range is switched Adjusts the high range side horn Stop rotation speed Standard value is 0 50 2 00 1 00 Selecting Stop will stop the rotation Hore Ratio Determines how quickly the rotor rotation speed in the low range is switched Rotor Acceleration Adjusts the low frequency rotor Stop speed Standard value is 1 00 0 50 2 00 Selecting Stop will stop the rotation Rotor Ratio Sic Off Tempo will control vibrato depth Sets the modulation amount for 200100 controlling the vibrato depth TET Speed 0 02 20 00 Sets the vibrato speed Src Off Tempo Selects the modulation source for ep controlling the vibrato speed Amt 20 00 Sets the modulation amount for 20 00 controlling the vibrato speed Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Table Dynamic Modulation Sic Off Tempo Sources on page 106 100 100 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 th
564. tion Src Off Tempo Selects the multitap delay s Wet Dry Sources onipage semp modulation source Amt 100 100 Amount of modulation source 100 100 Sets the multitap delay s Wet Dry modulation amount Routing Limiter Mt Delay Mt Delay Limiter Dry 1 99 99 1 Wet Switches the order of the limiter and multitap delay Balance between the wet and dry signal Off Tempo Table Dynamic Modulation Sources on page 106 100 100 Amount of modulation source Effects Mono Mono Serial Mono Mono 163 106 Exciter Cho Flng Exciter Chorus Flanger 105 Exciter Limiter This effect combines a mono exciter and a limiter You can change the order of the effects This effect combines a mono limiter and a chorus flanger EX Amt 100 Mono In Mono Dut FI Amt 0 Stereo In Stereo Out FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left Kx p Amt Routing X Exciter Blend 100 100 Sets the intensity depth of the Exciter effect Left Exciter Limiter Chorus Flanger 1 Gain Adjust 1 Kalle ju g i 33 Ze Output Mode Feedback Wet Invert Cho Fing FX Amt Right i gt S Righto gt d i i FX Amt FX Amt gt Envelope Control LFO Tri 7 Sine EXCITER
565. tion set in this page Style Record mode 21 Style Edit Cut Track status icon Status of tracks Touch this icon to change the status Play Play status The track can be heard Mute Mute status The track cannot be heard Track names Under the buttons a label for each track is shown Style Edit Cut This function lets you quickly delete a selected measure or a series of measures from the selected Chord Variation All fol lowing events are moved back to replace the cut measure s STYLE REC Style Edit DRUM PERC BASS Bunt as CE RCC1 After setting the various parameters touch Execute E CV Style Element Chord Variation Use these parameters to select the Style Element and Chord Variation for editing Start First measure to be cut Length Number of measures to be cut Execute Touch this button to execute the operation set in this page Track status icon Status of tracks Touch this icon to change the status Play Play status The track can be heard Mute Mute status The track cannot be heard Track names Under the buttons a label for each track is shown o 7 v E gt Ki x 22 Style Record mode Style Edit Delete Style Edit Delete This page is where you can delete MIDI events out of the Style This function does not remove measures from the pattern To remove whole measure use the Cut function see Style Edit Cut on page 21
566. tor Ratio 0 Gg 2 00 rotation speed Standard value is Wet Dry Dry 1 99 99 1 Balance between the wet and dry MPa 1 0 Stop stops the rotation Wet signal Distance between the microphone ff Table Dynamic Modulation Mic Distance 0 100 and rotary speaker Src Off Tempo sources on page 106 100 100 Amount of modulation source Mic Spread 0 100 Angle of left and right microphones Wet Dr Dry 1 99 99 1 Balance between the wet and dry y Wet signal Src Off Tempo Table Dynamic Modulation M P Sources on page 106 Amt 100 100 Amount of modulation source a Sw This parameter determines how to switch on off the overdrive via a modulation source When Sw Toggle overdrive is turned on off each time the pedal or joystick 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 overdrive effect is applied 134 L C R Long Delay This multitap delay outputs three Tap signals to left right and center respectively You can set a maximum of 5 460msec for the delay time FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left o Input Level D mod L Delay High Damp Low Damp C Delay gt L za Fee
567. ts contained in the selected track inside the Chord Variation selected on step 2 will appear in the dis play Some events on the beginning of the Chord Varia tions as well as the EndOfIrk event marking its ending point cannot be edited therefore appearing in grey 10 11 12 13 14 15 16 17 18 Scroll though the various events by using the scrollbar Select an event to be edited by touching it in the display This is usually a note that you can edit N 661 61 688 Note F 2 51 M 686 66 aas For more information on the event types and their val ues see Event Edit Event Edit on page 17 Edit the event e Select the M parameter Use VALUE controls to change the events position e Select the Type parameter You may use VALUE controls to change the event type as well as its Value 1 and Value 2 If a Note event is selected select the Length parameter and use VALUE controls to change the events length You may use the Go Meas command to go to a different measure see Go Meas on page 17 As described in step 4 you may press START STOP to lis ten how the pattern sounds after your changes Press START STOP again to stop the pattern running Touch the Insert button in the display to insert an event at the Position shown in the display a Note event with default values will be inserted Touch the Delete button in the dis play to delete the selected event When edit
568. ttack 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 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 Sound operating mode 49 Main page Cutoff Filter cutoff This sets the sound brightness 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 Resonance Use the Filter Resonance to boost the cutoff fre quency Voice Assign Mode Poly The Sound will play polyphonically allowing you play chords Mono The Sound will play monophonically producing only one note at a time Legato This parameter is available when the Mono option is selected Note If Legato is On certain multisamples or keyboard locations may produce an incorrect pitch On Legato is on When multiple note ons occur the first note on will retrigger the sound and the sec ond and subsequent note ons will not retrigger When legato is on multiple note ons will not retrigger the voice If one note is already on and another note is turned on the first voice will con tinue sounding The oscillator sound envelope and LFO will not be reset and only the pitch of the oscillator
569. u ll only hear the effect of this parameter if the input is true PhaserDepth 19 100 Setsthe phasermodulationdepth Selects the modulation source for stereo with different signals in the left and right channels Src Off Tempo the phaser modulation depth Sets the modulation amount for the Amt 100 4100 phaser modulation depth Wet 2 98 Dry 2 98 Wet Sets the balance between the phaser effect and dry sounds Phaser Wet Dry Sets the degree of the tremolo LFO Tremolo Shape 100 100 shaping Tremolo Depth 0 100 Sets the tremolo modulation depth Selects the modulation source for ore Off Tempo the tremolo modulation depth Advanced Sets the modulation amount of the 100 100 tremolo modulation depth 138 Effects Modulation and Pitch Shift Mod P Shift Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Table Dynamic Modulation Src Off Tempo sources on page 106 100 100 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 Selecting 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 p
570. udience between two songs without the need to touch the Talk On Off button Mixer Master Volume Attenuation knob gt GBL Use this knob to reduce the volume of all tracks Keyboard Style Player Pad 100 corresponds to no level reduction Voice Processor 99 Voice Processor Setup Talk Voice Processor Preset Easy Preset This page allows you to select a Voice Processor Preset as well as turning on or off the various Voice processor blocks mese Te Harmon Double IS uroa Delay Reverb Preset PERF STS STS Use this parameter to select a Voice Processor Preset A Preset is the programming of all Voice Processors effect parameters A Preset is always saved in a Performance or STS It is therefore recalled when selecting a Performance or STS Voice Processor Preset If you wish to save your Preset settings just select the Write Global Voice Processor Preset command from the page menu see page 230 of the User s Manual The saved Preset will appear in the list of available Presets Effects On Off gt GBL PP Use these buttons to turn the effects on off Effect Sets gt GBLYPP Use the pop up menus to choose a Set for each of the Voice Pro cessor effects Sets configure useful settings to pre programmed values to allow you to make changes quickly Lev el gt GBL PP Level of the corresponding effect TS 7 v E gt 9 x 100 Voice Processor Voice Proc
571. uency Top 0 100 Sets ine upper limit of the wah Sets the center freguency of ae 500 20 00k Band 4 w Sweep Amo Selects the control from auto wah 0 5 10 0 Sets the bandwidth of Band 4 f Mode po modulation source and LFO 18 18 Sets the gain of Band 4 Sre Off Tempo Selects the modulation source for MULTITAP DELAY emp the wah when Sweep Mode D mod Ti WILFO S CK ime 50 13600 Sets the Tap1 delay time Frequency Hz 0 02 20 00 Sets the speed of the LFO g Resonance 0 100 Sets the resonance amount Tap Level 0 100 Sets the Tap1 output level LPF Off On Switches the wah low pass filter on D Tap2Time and off 0 0 1360 0 Sets the Tap2 delay time msec Dry Feedback W Wet Dry 1 99 99 1 Sets the wah effect balance Tap2 100 100 Sets the Tap2 feedback amount Wet D High Sets the damping amount in h oic Off Tempo Selects the Wet Dry modulation Damp 96 05190 the high range R source for the wah Sets the Wet Dry modulation ID Mr Delay cas SES the multitap delay effect Amt 100 100 amount for the wahi et Dry Wet Bene i Routin Comp Wah Switches the order of the Selects the Wet Dry 9 Wah Comp compressor and wah Src Off Tempo modulation source for the Wet D Dry 1 99 99 1 Balance between the wet and dry multitap delay EM My Wet signal Sets the Wet Dry modulation j Table Dynamic Modulation 100 100 amount for the multitap delay sic Off Tempo sources Sh page 106 Dry Amt 100 100 Amount of modulat
572. ulates the cutoff fre quency of filter A This parameter specifies the depth and direc tion of the control Higher settings of this parameter will produce greater increases in the effect of LFO1 on the filter when the joystick is moved toward yourself 99 99 Parameter value JS Joystick Y Intensity to B By moving the joystick in the Y direction toward yourself you can control the depth at which LFO1 modulates the cutoff fre quency of filter B This parameter specifies the depth and direc tion of the control see JS Joystick Y Intensity to A AMS Filter LFO1 Alternate Modulation Source Select a source that will control the depth and direction of cutoff frequency change for both filters A and B See AMS Alternate Modulation Source list Sound operating mode 67 Filter Filter LFO Intensity to A Specifies the depth and direction of the effect that AMS will have on filter A For example if AMS is After Touch higher settings of this parameter will allow greater change to be applied to LFO1 when you apply pressure to the keyboard 99 99 Parameter value Intensity to B Specifies the depth and direction of the effect that AMS will have on filter B see Intensity to A LFO 2 Adjusts the depth of the cyclic modulation applied by LFO2 set on LFO LFO2 to the cutoff frequency of filters A and B For more information on the parameters see LFO 1 abov
573. ulation sources on page 106 100 100 Amount of modulation source 78 St BPMAutoPanDly Stereo BPM Auto Panning Delay This stereo auto panning delay enables you to set the delay time to match the song tempo i Time Over L R You can set the delay time up to 2 550msec If the delay time Stereo In Stereo Out High Damp Low Damp Left i HZ ms exceeds this limit the error message OVER appears in the dis play Set the delay time parameters so that this message will not appear Time Over is only a display parameter J 1 LN A n gh Damp Low Damp Right Tempi BPM Base Note x Times gt Base Note x Times LFO Tri Sin LFO Shape MIDI MIDI syncs to the system tempo 40 BPM 40 00 300 sets the tempo manually for this 2 300 00 individual effect Display the error message if the left a TimeOver L OVER channel delay time exceeds the upper limit Display the error message if the R OVER right channel delay time exceeds the upper limit L Delay Base EAN Selects the type of notes to specify cap Note the left channel delay time Sets the number of notes to specify b Times x1 332 the left channel delay time Feedback _100 100 Sets the feedb
574. ulator See Tube Pre Amp Model Tube PreAmp Modeling on page 121 Stereo In Stereo Out Left o FX Amt Tube Pre Ampi o 0 Tube Pre Amp2 Invert Output Level Tube Pre Amp1 bree Tube Pre Amp2 Righto 4 28 Mic Model PreAmp Mic Modeling PreAmp o FX Amt This effect simulates a mic and vacuum tube preamp You can choose from various types of mic and positions to create differ ing sonic characters FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o FX Amt Mic Simulation Tube Pre Amp Output Level Right o o FX Amt Vintage Dynamic Multi Condenser Percussion Condenser Drums Dynamic Vocal Dynamic Multi Dynamic Vocal Condenser Vocal Tube Kick Dynamic Close On Off Far Mic Type Selects the type of mic Mic Position Sets the mic placement distance Tube Low Cut Thru 21 8 00k Sets the frequency of the low cut Hz filter High Cut Hz ok oe frequency of the high cut Tube Gain dB 24 0 24 0 Sets the input gain to the vacuum tube preamp Saturation 0 100 Sets the input output response of the preamp Tube Bias 0 100 Sets the bias level of the preamp Juba SA 48 0 0 0 Sets the output level ofthe preamp Wet Dry Dry 1 99 99 1 Balance between the wet and dry et signal Src Op Tempo Table
575. unch Recording on off Style Upper1 Mute Style Upper2 Mute Accelerando Progressively increases the Tempo value Style Upper3 Mute Style Lower Mute Tempo Up Increases the Tempo value Style Drum Mute Tempo Down Intro 1 Intro 2 Intro 3 Count In Ending 1 Ending 2 Ending 3 Fill 1 Fill 2 Fill 3 Fill 4 Break Variation 1 Variation 2 Variation 3 Variation 4 Decreases the Tempo value Same functions of the control panel buttons with the same name Style Percussion Mute Style Bass Mute Style Acc1 Mute Style Acc2 Mute Style Acc3 Mute Style Acc4 Mute Style Acc5 Mute Style Acc1 5 Mute Song Melody Mute of the Standard MIDI File s track selected as the Melody track Song Play Preferences Vocal Remover On Off Voice removal from the MP3 file the type of voice to be removed can be chosen in Song Play gt Preferences Song Drum amp Bass Mode Mute of all tracks apart for track 2 usually Bass and 10 usually Drum It doesn t work on MP3 files Variation Up Selects the next Variation Solo Selected Track Variation Down Selects the previous Variation Damper Pedal Fade In Out Memory Bass Inversion Same functions of the control panel buttons with the same name Soft Pedal Sostenuto Pedal Bass amp Lower Backing When t
576. und locations The Sound multisample MIDI Groove and sliced samples are saved to the internal HD KHD_SYSTEM Press RECORD to exit the Sampling mode and return to the Sound mode C Using the Groove in other Sounds You can use the same multisample and sliced samples in other Sounds 1 To access the new multisample for use in other Sounds go to the Sound mode 2 Select an ordinary Sound Press MENU and go to the Basic OSC Basic page see page 53 Select one of the available layers then select the RAM bank of multisamples Finally select the new multisample 3 Select the Write Sound command from the page menu and save the Sound to an empty User location D Using the Groove in Styles or Pads Sounds based on sliced samples can be used in Styles or Pads 1 Assign the new Sound to a Style track preferably the Drum or Percussion track or to a Pad track then select the Save Current Style Perf or Write Pad command from the page menu to save the Style Settings or the Pad Use the Import Import Groove function in the Style or Pad Record mode see page 27 or page 45 of the User s Manual to import the generated MIDI Groove to the Style track you assigned the new Sound to By playing this MIDI Groove with the new Sound you ll be able to play the origi nal audio groove on the keyboard Warning Generated MIDI Grooves will be deleted when turning the instrument off Import them to a Style tr
577. upper limit L Delay Base Selects the type of notes to specify Speed Switch Slow Fast Switches the speaker rotation speed Note the left channel delay time E i between slow and fast Sets the number of notes to specify Src Off Tempo Selects amodulation source for mes the left channel delay time P Slow Fast R Delay Base Selects the type of notes to specify SW Toggle Sets the switch mode for Slow Fast Note the right channel delay time Moment modulation Sets the number of notes to specify Horn Rotor Rotor 1 99 Sets the volume balance between us the right channel delay time Balance Horn the high range horn and low range rotor Feedback e Position Pre Post Switches the feedback connection Manual o Tebo Sets a modulation source for direct SpeedCtrl e P control of rotation speed Spread 100 1100 Sets the width of the stereo image prea M of the effect sound Horn Sets how quickly the horn rotation S he feedback Acceleration 0 100 speed changes Feedback 06 2 190 25 5 he feedback amount Sto Adjusts the high frequency horn High Damp 96 0 100 Sets the damping amount in the Horn Ratio 0 en 2 00 rotation speed Standard value is high range eg 1 00 Stop stops the rotation Input Level Sets the modulation amount of the R i 100 100 otor Sets how quickly the rotor speed Dmod input level Acceleration 0 100 changes Src Off Tempo Selects the modulation source for ms Adjusts the low frequency rotor the input level Ro
578. urrent edit section corresponding to one of the items of the edit menu see Edit menu on page 39 Page menu icon Touch this icon to open the page menu see Page menu on page 46 Parameters area Each page contains various parameters Use the tabs to select one of the available pages For detailed information on the vari ous types of parameters see sections starting from page 40 Tabs Use tabs to select one of the edit pages of the current edit section Event Edit Event Edit 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 different one or change its playing strength i e velocity value Page sub header Page header Page menu icon PAD REC Event Edit Event list M 001 01 000 Note D opp 00 383 M 001 01 007 R noise D aaa 00 052 M 001 01 202 Note D aaa aa 360 M 001 02 000 Note Tabs Scrollbar This is very similar to the Style Records Event Edit page See Event Edit Event Edit on page 17 for more information on the event editing procedure Event Edit Filter This page is where you can select the event types to be shown in the Event Edit page PAD REC Event Edit Turn On the filter for all event types you do not wish to see in the Event Edit page Note Some of the events are ghosted and non editable since the corresponding events are not editab
579. vel of TapL C Delay Time 0 2730 Sets the delay time of TapC msec Level 0 50 Sets the output level of TapC eg Time 0 2730 Sets the delay time of TapR Level 0 50 Sets the output level of TapR Feedback 100 100 Sets the feedback amount of TapC C Delay Sr Off Tempo Selects the modulation source of the Imp TapC feedback amount Amt 100 1100 Sets the modulation amount of the TapC feedback amount Sets the damping amount in the High Damp 96 0 100 high range Low Damp 96 0 100 Sets the damping amount in the low range Input Level Sets the modulation amount of the Dmod 100 6100 input level Src Op Tempo Selects the modulation source for the input level Sets the width of the stereo image of Spread 0 50 the effect sound Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Table Dynamic Modulation Sic Off Tempo Sources on page 106 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 ofthe 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 Effects Delay 143 65 Stereo CrossDelay 66 St Multitap Delay Stereo Multitap Delay T
580. velocity to switch between the available sam ples Offset and Level can be adjusted independently for the var ious multisamples The pop up menu is where you select the bank ROM or RAM while the numeric field under it is for selecting the sample inside the selected bank The sample name appears on its right The sample you select for the current layer will be triggered by velocities higher than the value of the Velocity Switches parameter see page 58 If you do not wish to use velocity switching assign just one layer to the selected key and assign a sample only to Layer 1 ROM The Factory bank The internal Factory area of the Flash ROM memory contains 944 different samples preset samples supplied by Korg as standard RAM RAM sample read from the RAM These are user loaded or created samples Note If you create a new Sound based on a RAM multisample the RAM samples must be loaded from the internal HD or from a connected USB pen driver 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 Note Each sample has an upper note range limit and may not produce sound when played above that limit Rev Reverse Non editable The sample will be played in reverse In the case of Factory Flash ROM or User RAM samples that were origi nally specified to loop the sample will be played back in one shot reverse mode If the sample was origi
581. very useful when simulating a roaring drum sound or emphasiz ing powerful low range This effect is different from the equal izer in that you can add very low range harmonics You can also adjust the oscillator frequency to match a particular note num ber for use as an octaver Stereo In Stereo Out Left 17 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 syn thesizer is talking D zes7 Fixed Frequency Fixed Note nJ Note Interval Fine Envelope Sens Pre LPF TIN MM Envelope Shape d Sine Oscillator d D 4 OSC Mode Pitch Note Key Follow OSC Mode Note Key Follow Fixed Determines whether the oscillator frequency follows the note number or whether it is fixed Note Interval 48 0 Sets the pitch difference from the note number when OSC Mode Note Key Follow Note Fine 100 100 Fine adjustment of the oscillator frequency Fixed Frequency Hz 10 0 80 0 Sets the oscillator frequency when OSC Mode Fixed Src Off Tempo Selects the modulation source for the oscillator frequency when OSC Mode Fixed Sets the oscillator frequency Amt modulatio
582. w mid low of the low range equalizer Sets the delay time from the dry 0 200 sound Pre LEQFc Selects the cutoff frequency high or mid high of the high range equalizer High Pre HEQ Fc Mid High Pre LEQ Gain dB Pre HEQ Gain dB 15 0 15 0 Sets the gain of Low EQ 15 0 15 0 Sets the gain of High EQ Dry 1 99 99 1 Balance between the wet and dry Wet Dry Wet signal Table Dynamic Modulation sources on page 106 Off Tempo 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 control spaciousness Using the Pre Delay Thru parameter you can mix the dry sound without delay emphasizing the attack of the sound Reverb Hall Plate Type o ke 3 o al Pre Delay Reverb Time 84 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 Effects 153 Reverb and Early Reflections Reverb ER 85 Reverb BrightRoom 86 Reverb Spring This room type reverb emphasizes the early reflections that The R2 type reverbs R2 Spring R2 Room have a different sonic make the sound brighter character than Rev Hall Rev Room2 They model the spring
583. will be interrupted When Rec Mode is set to Multi you can make another record ing 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 reverse 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 Mode Reverse Time Rec Reverse Rec Li 1 Reverse verse Envelope Select Input Input Mode Single Mode Multi te sl te Reverse Time Reverse Time c Envelope Select c Src d Threshold These parameters select the source to control the start and end of recording 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 immedi ately Effects Delay 147 73 Seguence BPM Dly Seguence BPM Delay This four tap delay enables you to select a tempo and rhythm pattern to set up each tap FX Amt
584. x 121 35 61 Trompeten Ens1 Y Legacy Blech Ensemb 121 13 66 Ten SaxGliss DNC Factory Sax 121 36 61 Trompeten Ens2 Y Factory Blech Ensemb 121 0 67 Bariton Sax GM GM2 XG Holzblaeser 121 37 61 Volle Bigband Factory Blech Ensemb 121 1 67 BaritonSax Growl Factory Sax 121 38 61 Trompet amp Blaeser Factory Blech Ensemb 121 2 67 Live BaritonSax Legacy Sax 121 39 61 Trompeten Ens 1 Factory Blech Ensemb 121 3 67 BaritonSax Pro Factory Sax 121 40 61 Blaeser Ensemb 1 Factory Blech Ensemb 121 4 67 BaritonSax Factory Sax 121 41 61 Blaeser Ensemb 2 Factory Blech Ensemb 121 0 68 Oboe GM GM2 XG Holzblaeser 121 0 62 SynthBlaeser1 GM GM2 XG Blaeser 121 1 68 Fagott Oboe Factory Holzblaeser 121 1 62 Synth Blaeser 3 GM2 XG Blaeser 121 2 68 Klass Oboe Factory Holzblaeser 121 2 62 Analog Blaeser 1 GM2 XG Blaeser 121 3 68 Solo Oboe DNC Factory Holzblaeser 121 3 62 Jump Blaeser GM2 XG Blaeser 121 0 69 Englisch Horn GM GM2 XG Holzblaeser 121 4 62 Electrik Blaeser Factory Blech Ensemb 121 1 69 Englisch Horn Legacy Holzblaeser 121 5 62 Synth Blaeser 1 Factory Blech Ensemb 121 0 70 Fagott GM GM2 XG Holzblaeser 121 0 63 SynthBlaeser2 GM GM2 XG Blaeser 121 1 70 Fagott Factory Holzblaeser 121 1 63 Synth Blaeser 4 GM2 XG Blaeser 121 0 71 Klarinette GM GM2 XG Holzblaeser 121 2 63 Analog Blaeser 2 GM2 XG Blaeser 121 1 71 Jazz Klarinette Factory Holzblaeser 121 3 63 Blaeser Flaeche
585. x stereo image by setting each blocks vidually Depending on the setting of these LFOs very complex delay time depth output level and pan individually You can waveforms will create an analog type unstable modulated also fix some of the chorus blocks to combine the chorus and sound delay effects Stereo In Stereo Out FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out pit fax ame Left o FX Amt Chorus Flanger H N es ap Delay Level ess Feedback me Tape Delay isi Ant H z High Damp _Tap3 Delay aa So T Chorus Flanger 4 N N Tap4 Delay Level om Plante ux Amt Bight 0 degree FX Amt 180 degree bet 180 degree Gogo cares Enge e 0000000000000 e s IO Triangle Sine Selects LFO1 waveform LFO Frequency 0 02 13 00 Sets the speed of the LFO Waveform Hz LFO2 Triangle Sine Selects LFO2 waveform Tap1 000 Sets the Tap1 LFO phase 0 0 deg Switches the LFO phase difference msec degrees delay time 180 deg between left and right Depth 0 30 Sets the Tap1 chorus depth 0 1000 Phase Sw LFO1 0 02 30 00 Sets the LFO1 speed Level 0 30 Sets the Tap1 output level Frequency Hz 16 11 C Pan pi De Sets the Tap1 stereo image Selects the modulation source of LFO1 amp 2 speed Tap2 180 30 00 Sets the modulation amount of msec 30 00 LFO1 speed Src Off Tempo Sets the Tap2 LFO phase 180 degrees delay time Sets the Tap2 chorus de
586. y 4 4 4 3 Modern House 17 16 Alpen Beat 1 5 4 Ethno House 18 17 Alpen Beat 2 6 5 Techno 19 18 Volkst Schlager 7 6 Elektro House 1 20 19 Party Polka 8 7 Elektro House 2 21 20 Stuben Walzer 9 8 Dance Chart 2 22 21 del Sur Ballade 10 9 Waka Dance 23 22 Marsch 1 11 10 House 1 24 23 Marsch 2 12 11 House 2 25 24 Berge Beat 6 8 13 12 Dance to Rhythm 26 25 Bayern Pop 14 13 Give2 me 27 26 Marsch Beat 15 14 Chart Pop 28 27 Singing Sax 16 15 Techno Party 29 28 Alpen Ballade 1 17 16 Funk amp Rock 30 29 Alpen Ballade 2 18 17 Euro Trance 31 30 French Waltz 19 18 Fashion Funk 32 31 French March 20 19 Dance Fever 33 32 Polka Beat 21 20 Sister amp Girl 34 33 Ital Polka 1 22 21 Dance Mix 35 34 Ital Polka 2 23 22 Groove It Up 36 35 Ital Polka 3 24 23 Funk Groovin 37 36 Ital Walzer 25 24 Pop Chart 1 38 a7 Ital Mazurka 26 25 Pop Chart 2 39 38 USA Marsch 27 26 Pop Groove Bank Oldies zh EE 1 0 5 0 50er R amp Roll 29 28 Analog Beat 1 2 1 60er R amp Roll 1 30 29 Pop Funk 3 2 70er Beat 31 30 Urban Funk 4 3 Rock Drafi 32 31 Bomba Dance 5 4 Italien 59 33 32 Tortura Dance 6 5 Beat 61 34 33 Elektro Pop Advanced 184 Factory data
587. y Thru 7 Pre Delay n Reverb Time Louder gt tn Time Reverse Modulated wa Pre Delen ER Time Advanced Effects Mono Mono Serial Mono Mono 154 89 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 Mono Mono Serial Mono Mono 88 P4EQ Exciter Parametric 4 Band EQ Exciter FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out This effect combines a mono four band parametric equalizer Left T e Routi m and an exciter Parametric 4Band EQY N Wah Auto Wah FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out LOL gt Wah Left FX Amt Parametric 4BandEQ Exciter Right Some gt Exciter Dic med Ze FX Amt P4EQ E Trim 0 100 Sets the parametric EQ input level P4EQ a Routi P4EQ Wah Changes the orde
588. yed too soon or too later are moved to the nearest axis of a rhythmic grid set with this parameter thus playing perfectly in time Note To quantize after recording use the Quantize function in the Edit section see Style Edit Quantize on page 19 High No quantization applied 4E 1 32 a 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 quantization value means triplet Umi pb b Rec Length Recording Length gt STYLE This parameter sets the recording length in measures of the selected track Its value is always egual to or a divider of the Chord Variation Length see next parameter This is not the total length of the Chord Variation but just of the current track For example you may have a Chord Variation eight measures long with a drum pattern repeating each two measures If so set the CV Length parameter to 8 and the Rec Length parameter to 2 before starting recording 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 Warning If you assign CV Length a value lower than Rec Length the value of Rec Length is not immediately updated in the display Therefore you are still f
589. your sound you can save it see Step A below If it is an audio groove continue editing it with the Time Slice function see Step B below A Saving the sample and creating a Sound You can save the sample and create a multisample and a Sound to use it 1 Select the Write command from the page menu The Write Sample dialog box will appear see Write Sample dialog box on page 92 Assign a name to the new Sample and save it to the PCM folder of the internal HD KHD_SYSTEM The samples will be preserved when the Pa3X is turned off Note The PCM area of the HD can contain up to 128MB of samples 256MB with the optional EXB M256 expansion board This amount can double using compression see Write on page 90 and Compress all samples on page 92 After saving you can repeat the recording procedure to create other samples When you have recorded and saved all needed samples press the MENU button and go to the Multisample sec tion to assign the sample s to a multisample Assign each sample to a different keyboard zone of the multisample When finished editing the multisample select the Write command from the page menu The Write Multisample dialog box will appear see Write MultiSample dialog box on page 92 Assign a name to the new multisample and save it to the internal HD KHD SYSTEM Press RECORD to exit the Sampling mode and return to the Sound mode You can either use the multisamp
590. ype of track always plays the root when changing chord Acc Accompaniment track This type of track can be used freely for melodic or harmonic accompani ment patterns Tension YPAD Tension adds notes a 9th 11th and or 13th that have actually been played even if they haven t been written in the Pad pattern This parameter specifies whether or not the Tension included in the recognized chord will be added to an Acc type track On The Tension will be added Off No Tension will be added RX Noise YPAD Use these controls to adjust the volume of RX Noises in the cor responding tracks This control applies to all types of tracks provided the Sound includes RX Noises Humanize GTR YPAD Use these controls to apply a random value to the position velocity and length of notes of Guitar tracks see Track Type on page 44 This control has no effect on other types of track Wrap Around YPAD The wrap around point is the highest register limit for the Pad track The Pad pattern will be transposed according to the detected chord If the chord is too high the Pad track might play in a register that is too high and therefore unnatural If how ever it reaches the wrap around point it will be automatically transposed an octave lower The wrap around point can be individually set in semitone steps up to a maximum of 12 semitones relative to the chord root set in the main page of the Pad Record mode see Key Chord on p

Style Edit

Contents

Download Pdf Manuals

Related Search

Related Contents