Korg KORG iM1 for iPad Owner's Manual

 Congratulations and thank you for purchasing the Korg Music Work Station M1. Please read this manual
carefully to obtain optimum performance and help assure long term reliability.
AUT _
ENVIRONMENT
Avoid using this unit in environments where it will be exposed to the following conditions:
* Direct sunlight
* High temperature or humidity
* Dust or sand
* Excessive vibration
POWER SUPPLY
Use this unit only with the rated AC voltage. Tf you intend to use this unit in areas where the voltage 1s different
from the rated AC voltage, consult your KORG dealer about a suitable voltage transformer unit.
INTERFERENCE WITH OTHER APPLIANCES
This unit uses microprocessor circuitry that may cause interference with nearby radio or TV receivers. If
problems occur, use at a greater distance from the radio or TV.
HANDLE GENTLY
Although this unit is designed and constructed to KORG’s high standards, the use of excessive force may cause
damage to its keys and knobs. |
CLEANING
Use only a soft, dry cloth to clean the exterior of this unit. Never use benzene, volatile cleaners or solvents,
polish or cleaning compounds.
WARRANTY PROCEDURE
The product warranty ensures that all repairs conducted within one year from the day of purchase are free of
charge, but if the necessary steps were not taken in filling out the warranty card at the time of purchase, portions
or all of the warranty may be invalid. Make certain to fill out the warranty card completely at the store where
the instrument was purchased and keep the card in a safe place.
OWNER’S MANUAL
The M1 is a sophisticated digital music device with many functions. Therefore, we suggest that you keep this
manual handy at all times, for reference.
CONTENTS
Precautions...... suonevenecvoaantare cannot bra anos DUateOoaEEEes bacano revoecrrenearovracoaeaveoeoeoteo cantara Auboavarareaao Ene.
Front/Rear Panels............... 2.0... Muvavbdna aten Eo nuovo roreeITes CeneadECON arena tame barrena Фнон ооо ко #оонзанвовьа тво бовааьацоная бавайнуете „4
Structure of the MI .................eoneenenacare es erarernao Eonnenerarerenecancaepnecena rene rrTarreC e rey neCN ANNAN eracnerranenaracenrnanarrarree res 6
AT Synthesis................ merecen rien recrerrsraneane pren san anse race ca nes en ane porenarencennerenarenercanvovarevvearereneeracocacreead 6
Keys & Sliders ............cemmencen.. panenaneceenenes rrr aranns areeninenenanveaoren rennenae paceencervoneraonecaren berrea eater ecan rea 9
Setting UD.............. eee eee EEK EEKEKEKRRAARAKAEKRRRTNKERKARKEKKERARALKKENKREFSRRELENERURKAKKARKERKEAREERGEUEKD OLG 11
How to Play Combinations............w.—...... eae prenoermereeanenveenDAROreOrERONT Gere ececaerNL corea enearereneaeneecaa ente. 11
How to Play Programs ......... etree berets reese naan KERLE RER O OO 12
How to Operate the Sequéencer ............—.......e2eeerr ELEEEER EEE O OOO crccsenssse senc EEE EEE 14
How to Record with the Sequencer .................... NS 14
Sound Making PrOCESS £.………rereceeeneanenençnnnmnnnnnnnnnnnnennnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn 15
Internal Memory Allocation......... prenresérsa seen races creer SE O 16
Memory Card Format seee N 16
How to Read the Display Page Chfftesssesser prscysess cran se rren scanner srasssseneaees consacees 17
| - PROGRAM MODE.............. mmm cnn reee recreo reee recer reee rreenieerrebeneeeereeneoeereenree oe neres 18
Editing in the Program Mode ................emcermini ee e O E
2 - EDIT PROGRAM MODE ………irersecsnressanseneanessnassrassensesaen anses ana e cassscesres ee cre casse nes rene 20
Structure of the M1’s Program Param&lerS..……..……eriirerereressrrensescersscarrrerancensrereanrerrr cena sen sn casernes 20
Functions in the Edit Program Mode.….…….……..…….………….… penses n asser encre erseesnnee ss reenter ar EEK EEE EEE 21
Editing in the Edit Program Mode ............. O anes pebneive re nenrenarre crear aTenreENOC ee nerertEaracenereres 22
3 - EFFECT PARAMETERS civic, LerveacareareneneenonsecenacaarerrexeRereNOTe DECORO rreRUCarenecetacaceneraeccerneneee 36
Effect Placement........... emir perneneveenes rere rere racanse reer aus prérerense eee ce ce era rene na e ne canne re rene 36
Names of the Effect Types and an Outline of their Parameters pinivence neos rene rrarDenten Ter eeeravacenee—e 40
ReverD.…..…..…....…risrseers pense sensanea tra ne crane 00e prnonenean ocio ernner rar ren DerNa ner Oe ravereeneecea tera me cerrar rra CeC ER ErOnenee 40
Early Reflection............ reee. O pririnareniorrneraserveceanemmeneaa e 41
DNA eee ares sac cersrees prasasesane ee eme enverra nee ta sra See na te tac acer en c ne ec en 42
Chorus.......... eee REP EE CETTE prasernreus ceseneataeecreneec ace n cases sans ace 43
FlANGET .……………………rvrrererrreremeerrerecérsesesrseseseesieaenerene rene renrresrea caravanes nee ere eeraeee rer e 44
Phase Shiff..............e.eeevereei pasesesenen semence caen nent ere arecn Serena rere eran cecérrrecren seen es —————. 45
Tremolo ….…...…….…irrencaraens parsrrn een scene era a ee Génrevar rene na sen a cape re sn ren eee re nent ere at ete ananas en 0e 46
EQualiZer ………….…cererssresssreneresnenanse tere eee ee sa ns ares varese ant es rese rence parésenseea care cena sre sr e ces 47
Overdrive... prarcacrrssssn nec eecen casses ce caen éreaeerecacarense caen eee rares rere eee ea ere nsc nue еее 48
EXCITET Len... evaceeenérreranen ares reran rene nana era een ra rene canrsaaua ss enivanecerecanencaeenecenenoreceoon erre ere Dear. 49
Ensemble .................eemmeneer eerie prcenearercenenee SUTURE „49
Rotary Speaker............. e... EEE AEG ROSES EEE EEE EEE 50
Combination Type Effects…...….…..….…….rsersensersencenrennes verre avec O eenee 50
Effect Parameters Default Values Chart ............. O O O enerracarenenneen enc. 56
4 - COMBINATION MODE.................reeceverenirz nene O O 58
Editing in the Combination Mode........c............ ES EEE EPP EETETEE DB
5 - EDIT COMBINATION MODE............e.e..ee.e mecenas 61
Combination Types ........ eres pecacrseperen era ese nee nes eurent een sen enene senc vence e nés ene in eee „61
Common Functions of Each Combination TYDE ars renee deere and 62
Single Type Functions ....... eer een. E CO crnarerenenecees 65
Layer Type Functions ..............e mesi eee recerca rene errar rene éare ceesrerras een cn rennes .66
Split Type Functions ............=..—... ev KERLE eee eereneneareneicentorecunveneenacananencecarere reee neeo 0 68
Velocity Switch Type FUNCtIONS.....…......….…rescrercracrecssecen sers rrenranen care cerecnranemens ste cn era sen anes e saa rns sas …J0
Multi Type Functions..................esimereerenre.. perereneenoneereenec corner reNacarnenr eres becenarareovenenen ener reroeeneDe .... 72
6 - SEQUENCER MODE...........e...mmeeeniecenreren ere Neribrnceceeneoenereoreerecaa nee rn ee re enonariec rear reo encara nena … 79
Structure Of SONGS ars penernanicaceoconernoe recen en reo tenen. pracacererinereerecenracee praransness ane» 79
Structure of Patterns .............emerere reee eee eee reee peiiervererennennees prssssererseneuse 80
“Editing Seguencer Data ................. eee everest aas. reeset resp abet enna 80
Functions of Sequencer Mode...............e-rieceneemereneenn cesen en een ee eevee nearer …B1
PlAY L......…crcccscrrerrranrenenenerencanenrencar races renearaensrenensrenreneeerecnnens teeters Nnnbeierereonee ener enero caera reenees 82
Starting Play from Midway Point of SOME coerce 82
Real Time Recording ..................e..e.eiieer no ace Vesna creer rere nec parresecerar rene 83
Punch In Recording ...................=.ereimeiicere e nee once erre eenenereonenecrerenraenenenceranoareerererenrecnees .. 83
Multi Channel Recording................ E OO prcemeiooneneronencecoroes 85
Step Recording................eeereieerer reee narencacaoeaera er erre eernacocoenner ee Denenes eee rarer erases .... 88
Song Initialize..............e.e.e—ermerrceie rre ren ciceec er Dre pncicancareees Dnreninan ne eee cnacsensa sance 91
Track Copy ......... 2... e. ieeeene pncerssranenenensennenantesra ce caca sen rec an en res Sa ten Een NES sarassecreuses 4... 93
Track Bounce... iene DA eue penennoneone nro pcrcaremasraneanee 93
Track Erase...............2ececcenericer ercer reee e rneneeee O rene penericoneriereeenenees 94
Put/Copy Pattern ................——.—...=.e66 eee e ee e eL reee Nerenecre ercer. perreveernenenooreemeene 94
Measure Copy ............esereeeereieene ne eee rece eee e en A conrassecerene es arenes eu. 95
Measure Insert……....….…rreversienemmnmennentensnsnçmnnnnnnnnnnnnnnnnnnnnnnnnnnnee cearessansensa sean penvssssseuse 96
Measure Delete ….……..….…....…...…rerererreene caascenarrnes cessera cesan berate eres paasreenerarure presserresn essences 96
Measure Eras&.….….….…eeesenennssenn EOS меннее. 97
QuantiZE O panenasessessesconcranen ere n manne ae RE ER RKEK EEE K EN EER GEORG 98
Pattern Real Time Recording ..................+..e=eececcenoronenenicaca Der es ere nne encerio. perenrnanioranerDo ronca. 99
Pattern Step Recording... HE peoianieonen cono once in. |eneiareoreenae tra rna een ne cacon nee rene 100
Get Patternl............e———ememesremeeeeer ener peciononereenereareeenoerrNecaneccaonecanes erorenicencenernen torear en eee ..... 101
Pattern Copy...............eeererceereenee ee DR e De ecc e ee nicoeneeanec rre rermenarocternDeneeneeoeee. 102
Pattern BOounce..........e...emmemerieene pabenaresr nee avereoreneneerener reune romero re rOcADenronanerrerenmereece. 102
Editing Event .................eeeceriee e OR O RI IR RR O OR recorrer eenencarererrenre e reeeaNenercenveoreereeneneeo „103
7 - GLOBAL MODE em... prcracarceree rss ane renverse near eee de carre scene conrensrarsaeseneea nes vrac eme ccm 110
Functions in the Global Mode... revere crncréorreaprenesavenenesaresren crea Krk 110
MIDI SYSTEM EXCLUSIVE......... e enionecoseoocecences … . 122
ERROR MESSAGES ....re..erononorzoncooesoronevaonenvecenconneonentes peoucooracenenanenoenaa eones 132
SPECIFICATIONS AND MISCELLANEOUS INFORMATION onussenvencenses socssssssssoccs1 34
SPECIfICATIONS.........…...cercorrorenenenverraraas er annee ne cac cena sance en eee pnsnernericereenene hereon aera sre 134
MIDI Implementation ............. ===... een ere pracrecrannes erncineeceonceresenvececove ener ernereraNerTenDe 135
FRONT PANEL
RON LAN —
(See the KEYS AND SLIDERS section, p. 7, for explanations on each key and slider)
REAR PANEL
D
(D 2 VO
|
|
I
| a amen |
{Г == оо = он
}
i
La
a
TEE ara
MASTER VOLUME slider
INT key/CARD key
Mode select keys
COMBI = COMBINATION Mode
EDIT COMBI = EDIT
COMBINATION Mode
PROG = PROGRAM Mode
OE
EDIT PROG = EDIT PROGRAM Mode
SEQ = SEQUENCER Mode
_ GLOBAL = GLOBAL Mode
VALUE slider
UP( À DOWN ( W ) key
Display
Cursor keys (A to H)
KORG
MODEL
SELEAL NO.
AC V 506002 WwW
XDRO Bl, TONTOJAPAN
PCM DATA slot
Only cards that are stored with
PCM (Multisound) data should be
inserted here. Do not insert the
Program/ sequence data card here;
it should be inserted only in the
PROG/SEQ DATA slot on the front
panel.
MIDI THRU jack
MIDI OUT jack
MIDI IN jack
CONTRAST button
This controls the brightness of the display on
the front panel. Turning the button
clockwise darkens the characters on the
display and turning it counterclockwise
lightens them. |
©)
DOH
— ps iti —
PAGE +/- keys
Numeric keypad (0 to 9)
BANK HOLD key
COMPARE key
REC key
START/STOP key
19 PROG/SEQ DATA slot
Only cards that are stored with or will be stored with
Program (sound color) and sequencer data should be
inserted here. Remember that the PCM
~ (Multisound) data card should be inserted in the
PCM data slot on the rear panel.
—©
a
7
$
a
О-
O-
O
O:
O
DAMPER jack
Used for connection of a footswitch for the
damper effect.
ASS. PEDAL/SW jacks (1, 2)
For connection of pedal and footswitches.
Assigning parameters to be controlled by
the switches is done in the Global Mode,
Function 2-2.
OUTPUT jacks (1/L, 2/R, 3, 4)
These are the M1's voice output jacks. The
assignment of voices to the desired jacks is done
in each of the Effect Parameter sections of the
Edit Program, Edit Combination and Sequencer
modes.
PHONES jack
For connection of a stereo headphone set. The
outputs of OUTPUT 1/L and 2/R can be
monitored.
5
BASIC [TON
STRUCTURE OF THE MI
4-Channel Digital Audio Signal (internal routing) 4-Channel Audio Output
SYNTHESIZER EFFECT SECTION м. |-- —>
SECTION Dual system stereo effects 2R
Maximum of 8 Programs SI
(sound colors), 16 voices —
|
НТУ,
А
В
G
D
8-Channel Sequencer Play Data
SEQUENCER SECTION
8 tracks
AI SYNTHESIS SYSTEM
The AI (Advanced Integrated) synthesis system of the M1 makes it possible to combine all various sound types
-- from conventional synthesizer sounds to sampled sounds and drum sounds,
For sampled sounds, the large-capacity PCM data memory of 16 bit x 2 mega-words, far greater than that of
conventional samplers, has been utilized, and a carefully selected group of Multisounds (a sound whose original
wave shape has been multi-sampled') has been installed.
For its synthesizer sounds, not only the D.W.G.S. waveforms, which are produced by a process much the same
as that of an analog synthesizer, but also aperiodic or irregular waveforms created by extraction of harmonically
unrelated frequency components” are part of the M1’s structure. As a result, creation of new and unique sounds
beyond the existing limitations of the conventional synthesizer is possible.
Processing any of the programs or individual sounds with the use of VDFs (Variable Digital Filter) and VDAs
(Variable Digital Amplifier) is, of course, possible. Moreover, different effects can be assigned to specific
programs in a configuration of 2 systems and 2 channels through the M1’s MDE (Multi Digital Effect) feature
when playing Multisounds. With the use of these functions, total control over all aspects of sound creation,
including effects, is possible.
| Multi Sampling
The harmonic structure and overtones present in high pitched sounds usually differs from that of low pitched
sounds, even in the same musical instrument. Multi Sampling is a method to recreate those characteristics by
sampling an instrument repeatedly over a range of many octaves.
The instrument sound is reproduced by the following process: Computer analysis determines the frequency
components of the sampled instrument sound and reproduces them by creating a harmonic table for them as 1s
done in additive synthesis.
Separates the aperiodic and harmonically unrelated components characteristic of such sounds as objects being
hit or scraped from the sampled wave shapes.
r MULTISOUND = PROGRAM MODE
* The work "Program" as referred to in this manual is synonymous with "sound
color” or "preset voice” in other synthesizers.
« Program numbers available for selection are from 00 to 99. (Selection from
(Original Sound Waveforms)
The oscillator (OSC) is selected from
the Multisound (00 to 99). only 00 to 49 is possible when large sequence allocation is selected.)
| The EDIT PROGRAM Mode
» Multisounds can be selected from Single can be used for making
the PCM card. | settings up to this point.
* See EDIT PROGRAM mode, F0-2
for more details. OSC VDF_ VDA — OUTPUT
An original program can be created _ | 1 —
by performing various processes to the ee
Multisound. —
+ The VDF (Variable Digital Filter) | | Double и
controls the sound color. и >
* The VDA (Variable Digital 95C1 VDF VDA a |
Amplifier) controls the sound LH MH | И ; - Choose from 4 i {ferent
«These processes are done in the I : Drum Kit which is set
EDIT PROGRAM Mode. ; in the GLOBAL Mode,
Drum Kit | po has priority,
—~ INSTRUMENT SETTINGS —— ;
DRUM KIT DRMS J |
VDE vDA « | pr COMBINATION MODE
Assigns drum sounds to the keys. | + : |
« The word "Combination" as referred to
Example: in this manual means two or more
programs that have been grouped
together for simultaneous play.
* Combination numbers available for selection are from 00 to 99. (Selection
from only 00 to 49 is possible when large sequence allocation is selected.)
Program changes received via MIDI in the COMBINATION Mode change the -
Combination.
=F r When Layer or Split are used:
- Layer Split — ____OUTPUT
|
Combination
1 BASS DRUM I
2 SNAREI
3 HITOM
4 CLOSEDHIHAT
5 OPENHIHAT
6 CRASH CYMBAL 1 Ï A
7 RIDECYMBALI ra meca
8 HAND CLAPS / Г, | u \ When Multi is used:
9 HICONGA (MUTED) / | | | | \ | | OUTPUT
10 LO BONGO .
11 BASS DRUM 2 Settings for Layer or Split can be made in | ‚г=
12 SNARE? the EDIT COMBINATION Mode.
5 МОМ Separate MIDI channels can be assigned
15 CLOSED HI HAT to each Program (or timbre) when Multi
; НОО NA 3 1s chosen. In this way, one M1 Music
OLO SNARE 2 |
18 CRASH CYMBAL 2 Work station can, with the aid of an
19 RIDE CYMBAL 2 external sequencer, output eight different
20 HICONGA (OPEN) sound colors at the same time.
21 LO CONGA (MUTED)
22 HIBONGO
Instrument settings, including pan, When using the M1's built-in sequencer,
are edited in the GLOBAL Mode. Programs can be assigned to each track of
— | the sequencer without having to create a
Combination.
When using external sound sources;
MIDI-ch
MIDI-ch
MIDI-ch
Men MIDI OUT
MIDI-ch
MIDI-ch
MIDI-ch
MIDI-ch OUTPUT
© © Y ©
. Programs are assigned to each song.
* The pan setting can be made for each track.
e "The effect setting can be made for each song.
е 1 song can be made up of 8 tracks
Tracks can be created by combining patterns{(00 to 99),
—SEQUENCER MODE (Song 0 to 9)——— r—— EFFECT El, E2
PAN
© The volume difference between the two outputs can be
changed over a range of ratios from 1:9 ~ 9:1.
@ Sends signals to C and D at the same volume.
When set to parallel operation:
A B= EFFECT [9] EFFECT [™ 11
3
PAN 4 [
_— A
When set to serial operation:
A mM EFFECT ] m/l
В —— ! +—— 2/R
PAN 3
© ЕРРЕСТ + >
5 | PAN 4
D Wa - À
Effect] and Effect? are set in the effects pages of
each mode.
KEYS AND SLIDERS
Numeric Keypad
BANK HOLD Key
DOC
900
@ e e ©) STARTISTOR
COMPARE Key
ofele
OOO
; COMBI EDIT COMBI)
| 1
1 [
O O |
1 i
! PROG EDIT PROG |
I f
RNA A
: SEQ GLOBAL |
1010}
COMB EDIT COMBI
OO
PROG EDIT PROG
OO
SEQ GLOBAL
OO
These are used to:
* Select the Combination in the COMBINATION Mode.
x
Select functions in other modes.
The tens’digit of the program or combination number can be "held"
while changing program or combination numbers by using the BANK
HOLD key. For example, pressing the BANK HOLD key once after
number 21 has been selected will allow you to select other numbers in
the 20-29 range simply by pressing the number that corresponds to the
ones digit of the desired number; in our example, pressing 3 will change
the number to 23, pressing to 7 will change it to 27, and so on. The
BANK HOLD key will be lit when the Bank Hold function is on. To
turn the function off, press the BANK HOLD key once more.
This key temporarily returns the Program or Combination which is
being edited in the EDIT COMBINATION or EDIT PROGRAM Mode
to the setting that existed before editing. Pressing the COMPARE key
again restores the edited parameter values. However, data edited
before pressing the COMPARE key will be lost if editing of other
parameters or switching to other modes 1s done. The COMPARE key
also functions as a MIDI panic button; in other words, when a stuck
note occurs in sequencer play or control through MIDI IN, one press of
the COMPARE key will turn the note off. (This can be used in any of
the modes.) When the COMPARE key is lit, the original sound can be
heard and its parameters are displayed; unlit, the COMPARE key
indicates that the edited sound 1s displayed.
The selected mode will be lit.
Press the INT key when using the Combination/Program/Song data of
the internal memory of the M1. Press the CARD key to access the
external (card) data.
NOTE: The waveforms of the PCM (Multisound) card are selected in the Oscillator Assign function of the EDIT
PROGRAM Mode and the Drum Kit functions of the GLOBAL Mode. In these exceptions, the INT Key and
CARD Key are not used.
NOTE: Make certain to insert the card straight and firmly into the correct slot.
~ Cursor Keys and VALUE Slider
Parameter values can be changed by pressing the cursor key
below the parameter to be edited on the display, then by
A B C D Е F с HO moving the VALUE slider up and down. Cursor keys used to
== mn mo am mm к ны em am Gm ame Em o == o mm LE кт ет ск нет 4 == 85 нь нео a C6
|| ] ] 1 171 1] il 1-1 access different function and parameters will be indicated in
squares ( [_] ) throughout the rest of this manual.
UP/DOWN Keys
These are used when finely adjusting the values of parameters that are
| difficult to set only by using the VALUE slider or when making fine and
UP detailed alterations in the sound. Pressing UP increases the value by 1 and
ei A pressing DOWN decreases the value by 1.
a V The cursor will appear under the Combination/Program number at the bottom
left of the screen when pressing the COMBI key or PROG key of the MODE
SELECT keys (immediately after selecting the COMBI or PROG Mode).
Pressing the UP key in this condition will advance the Combination or
Program number by one and pressing the DOWN key will decrease it by one.
E
The VALUE slider cannot be used here to change the Combination or Program.
*
Pressing any of the cursor keys ( [A] through Hl) will move the cursor to the performance edit
parameters, and editing can be done by using the UP/DOWN keys and the VALUE slider.
To return the UP/DOWN keys to function as Program up and down after selecting the performance edit mode:
in PROGRAM Mode, press the PROG button; in COMBINATION Mode, press the COMBI button.
In each case, the cursor will return to its position under the Combination or Program number and the UP/DOWN
keys can be used again to increment and decrement the Combination or Program number.
PAGE +/- Keys
PAGE + Each function of the M1 is organized in display pages. These keys allow you
to access succeeding and preceding display pages by using the PAGE + and
PAGE - keys, respectively.
PAGE -
START/STOP Key
This key is used to start or to stop the sequencer. If you press this key in
О О О any mode other than the SEQUENCER Mode, the M1 will automatically
| move to the SEQUENCER Mode and play will start. When the sequencer 1s
О О О playing, the first beatof the measure is indicated on the key by a flashing red
em light; other beats are indicated by a flashing green light.
0006
BANK HOLD COME PAPE | SEG
66 08—
10
REC Key
| This key is used to begin recording when in the SEQ mode. The lamp remains
О О О lit while the sequencer is running.
1 1
1 1
1
| | REC
|
BANK HOLD D COMPAPE y SEQ
SETTING UP
|. First, check that the power switch on the rear panel of the MI is OFF. Check that the power switches of all connected
equipment (amplifiers, mixers, etc.) are also OFF. For protection of all audio equipment (and your ears!) turn the
volume of all equipment completely down.
2. Insert the power cord (which is included as standard equipment) into the power plug on the rear panel, then insert the
other end of the cord into the proper power outlet.
3. Turn the M1's power switch ON.
4. Turn power switches of all connected equipment ON.
Then turn the Ml’s volume and that of the other equipment up gradually to the desired volume.
The normal octave range of the M1 is C2 - C7, when key transpose is not used. (By using key transpose, the
5 - octave range can be from CI - G9 (note numbers 0 - 127) are received. (Some Programs may not sound in
the higher octaves.) | |
Headphones |Amplifier, mixer, etc.
PHONES 1/L 2/R 3 4 MI
1 Î | Î Î 1 Î
C2 C3 C4 C5 | C6 C7
HOW TO PLAY COMBINATIONS (SOUND COLOR GROUPS)
ea RT = = = =
NT CARD 7 8 9
| O) O O; : (1)Press the COMBI key of the mode select keys; this puts the
25e . 7 Y Y M1 in the COMBINATION Mode.
| O) | 0) © e | | (2)Select the number of the Combination (00 to 99) which you
| PROG EDIT PROG! | оао | want to play by using the numeric keypad or UP/DOWN keys.
: © O : O _ O OO = (3)Play the keyboard to hear the sound of the combination
| © © o O: O О Oo a selected in step #2. |
Le TT EE These are typical displays from the COMBINATION
L Mode Select Key Mode:
11
Example #1
1 Combination number
2 Combination name
3
Parameter of currently selected cursor position
4 Number, name and volume level of the program being
used
1 Program
Laz
Laver
192 Trumpret
COMEI IG1 Fiano+TrpP
+188 [.Piano L76
A 8 с D E F G H
wen a Denn Tener mem tm benne jme
Cursor keys
Example #2
6 Program name of cursor position
7 Number of the Program being used
COMET -184 HultiCombi T1=E, Bass
101 192 193 185 166 109 110 112
A B с b E F с H
id ma | omar promet fret fee meme ent
Example | shows a display when a Layer Combination is selected. The Program number, Program name and
volume level are indicated when the Combination is a Layer or Split.
When replacing the Program of Layer 1 (Program number 100, directly above cursor key )with another
Program, press cursor key [A] then move the VALUE slider up and down.
The display pages are often laid out such that one parameter description will occupy the space over several
cursor keys. The cursor keys just under that parameter (and up to the cursor key of the next parameter) can be
used to access the parameter.
The sound volume of Layer 1 can be changed by pressing cursor key then moving the VALUE slider up and
down (maximum = 99, minimum = 00).
Press cursor key when you want to replace the Program of layer 2. Press cursor key when changing the
volume of layer 2.
Example 2 shows a display when a multi Combination is selected. As in the first example, the Program number
shown directly above cursor key (Program number 106) can be changed by pressing cursor key then by
moving the VALUE slider up and down.
HOW TO PLAY PROGRAMS (ONE SOUND COLOR)
. (1) Press the PROG key of the mode select keys; this puts the M1 in the PROGRAM Mode.
(2) Select the number of the Program (00 to 99) which you want to play by using the numeric keypad or UP/DOWN
keys.
(3) Play the keyboard to hear the sound of the Program selected in step #2.
Here is a typical display from the PROGRAM mode:
EXAMPLE
CL оренеееееннно 1 Program
OO. О о О © 2 Internal
COMA) EDIT COMA! | program
O0. О О О IRE Universe MSC Balance 5 number
o F+03 L-62 E+10 1-E5 A+61 R-B1 E+0%
ZO 29207 в 0 | H 3Program
| SEQ GLOBAL BANK HOLD © COMPRE - sea Fe CO UC O E MA ССС name
e e ' 0) О e e авео
a AN 4 Parameter
| Normeric Keypad ss aci
The display shown when selecting the PROGRAM Mode is like the one above. While this display is shown,
the pressing of any single cursor key and movement of the value slider up and down will change the value of
the parameter, which is indicated above the selected cursor key. In this way Programs may be easily edited
without having to enter the EDIT PROGRAM Mode. This is particularly convenient for making on-the-spot
sound changes during live performance.
12
* The functions of the parameters are as follows (see pp.18-19in the PROGRAM Mode for more details):
O = OSC Balance (Oscillator balance)
This parameter controls the relative sound volume of the two oscillators of programs having two
oscillators. The larger the value, the greater the volume of OSC 1 becomes.
(Range: -10 to +10.)
F = VDF Cutoff (VDF cutoff frequency)
This parameter controls the frequency point from which all lower frequencies are passed and all higher
ones are cut off by the VDF. The higher this number is the clearer or brighter the timbre of the sound
becomes, and the smaller the number the more muted or soft the timbre becomes.
(Range: -10 to +10.)
L = VDA Level
This parameter adjusts the level of the entire Program by VDA.
(Range: -10 to +10.)
K = KBD Track (Keyboard tracking)
Used in conjunction with VDF Cutoff, this parameter sets the degree to which keyboard pitch affects the
amplitude and the cutoff frequency. The larger the number set with this parameter, the wider the variation
in timbre becomes, corresponding to the note played.
(Range: -10 to +10.)
V = Vel. Sens. (Velocity Sensitivity)
This parameter sets the degree to which key velocity affects the amplitude and the cutoff frequency. The
larger the valuelis, the greater the change in timbre becomes, corresponding to how hard the keys are struck.
(Range: -10 to +10.)
A = VDF/A EG Attack Time (VDF and VDA EG attack time)
This parameter controls the attack time of the program. The larger the value is, the longer the attack
time becomes.
(Range: -10 to +10.)
R = VDF/A EG Release Time (VDF and VDA EG release time)
This parameter controls the release time of the program. The larger the number is, the longer the release
time becomes.
(Range: -10 to +10.)
E = Effect Balance
This parameter controls the volume balance of the effect and direct sounds. The larger the number is,
the greater the ratio of effect sound to direct sound becomes.
(Range: -10 to +10.)
NOTE: The values of the parameters here will return to their original settings when you select other programs.
When moving to other modes, the parameter value (and, hence, the sound) remains at its stored or edited
setting. When moving back to the PROGRAM Mode, the display value will be reset to zero, but the actual
value remains unchanged. |
13
[HOW TO OPERATE THE SEQUENCER
Specially prepared sequencer demonstration data has been loaded into the internal memory of the M1 at the
factory. Before recording your own data, let’s listen to the demonstration data.
1. Press the SEQ key of the mode select keys; this puts the M1 in the SEQUENCER Mode.
2. Press cursor key B.
SOHGA
Mi DEMO
RP Song@ Trl MEAT J=126 +168 099 [+4]
317Free 3. The value above the
cursor can be changed by
! COMBI EDIT COME! |
OO;
I '
1 PRÔG EDIT PROG!
!
|
т 1
1 1
1 1
1 1
i 1
|
f SEG GLOBAL |
200
A B с D E F 6 H
al ARN DURE DRED o ao oa КооооОННй
moving the VALUE slider up
and down. Select song
number 0 by moving the
VALUE slider all the way
down.
4. The sequence can be played by pressing the
ST ART/STOP key.
5. Play can be stopped by pressing the START/STOP key
again.
HOW TO RECORD WITH THE SEQUENCER
INT CARD
aL EL = =
1
¡ COMBI EDIT COMBI,
Oo
! PROG EDIT PROG |
O0.
1. BEQ GLOBAL |
DO:
= = = = = = = = = = = = =
do Select Kay
SONGS Heu Sond alzFree
RP Sora Tri Meal J=128 +166 199 [LH]
A В С 0 E F G H
Cn o o o DA ОН A АОН
560
COO
OO O fi
BANK HOLD 0 COMPAFE,
O O O ie
Now that you've heard the demo sequence, follow these steps
to record some sequenced music of your own.
1. Press the SEQ key of the mode select keys; this puts the
M1 in the SEQUENCER Mode.
2. Press cursor key |B] .
3. Select the song to be recorded by moving the VALUE
slider up and down. Select number 9 here.
4. Select the track to be recorded by first pre ssing cursor key
and then moving the VALUE slider up and down. Select
1 here.
5. Select the program that will be used by first pressing
cursor key and then moving the VALUE slider up and
down. Select any sound color you like.
6. Press the REC key.
7. Press the START/STOP key. Begin playing after a lead
in of two measures. Recording starts at this point.
8. Press the START/STOP key once more to stop recording.
9. Playback can be executed by pressing the START/STOP
key.
14
SOUND MAKING PROCESS
Here is a summary of the M1’s sound making process.
1. Select the sound
to be edited in the
PROGRAM
Mode.
2. Create the sound color in
the EDIT PROGRAM mode
and write it to memory.
em mm = =m dm mm
po COVE EDT COMBI |
OO;
| PROG EDIT FROG |
1
Од
' SEC GLOBAL |
3. Create the Combination
by combining the Programs
created in step #2 in the
EDIT COMBINATION
Mode,
‘ Comal EDIT COME!
Og
! PROG EDITPROG |
| 1
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| Sec the MODES AND *
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3. Record a song using the
meme mmm mm mmm peana ne 0e Programs created in step #2
+ See the MODES AND | ' See the MODES AND | in the SEQUENCER Mode.
' FUNCTIONS chapter, ' ' FUNCTIONS chapter, | |
¡ section #1 PROGRAM ' « section #2 EDIT , > A
MODE (p. 18) | | PROGRAM MODE(p.20) | | D O
Cr oe ee em me me mm J ще ¡o COMBI EDIT COMBI |
OO
» PROG EDIT PRGG |
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| MODE (p.79) |
MR a RE RE vm mr wm de mm A CO A O E
15
INTERNAL MEMORY ALLOCATION
Large Combination 10 Banks
Sequence Memory = 50 100 Patterns
Allocation | Program Memory = 50 |(a total of less
(memory numbers I50 |than 7700 steps)
- 199 cannot be selected)
Large Program | Combination Memory |10 Banks
Allocation (set| = 100 100 Patterns
at the factory | Program Memory = 100|(a total of
prior to to less than
shipment) 4400 steps)
There are two different kinds of internal memory
allocation (the way available memory is used) in the
Mi.
Changing the memory allocation setting is done
in the GLOBAL Mode, F6 - 4(p.117)
NOTE: Be careful when switching the memory allocation setting, since much of your precious data could be
irretrievably lost.
MEMORY CARD FORMAT
Program Card 100 Combinations
100 Programs
1 Global Parameter *
*
*
Sequencer Card 10 Banks
100 Patterns
(a total of
less than
7700 steps)
Program/Sequence | 50 Combinations 10 Banks
Card 100 Patterns
(a total of
less than
4200 steps)
The M1 has three kinds of memory formats.
PCM cards are not included in this classification.
Use KORG MCR-03 RAM cards.
Two RAM cards are neccesary in order to save all
the internal memory data.
Writing in and reading out of data from cards can be done by using the following functions:
Read Out Write In
All Programs, Combinations,
sequence data
All Programs, Combinations Global Mode F8 - 1 Global Mode F9 - 1
All sequence data
1 Combination COMBI Mode EDIT COMBI Mode F9 - 1
1 Program PROG Mode EDIT PROG Mode F9 - 1
1 song SEQMode F9-2 | -----
1 pattern SEQ Mode F9-3 | -----
16
HOW TO READ THE DISPLAY PAGE CHART
MODES FUNCTIONS
second page of function 0 and that the function is called
Oscillator 1.
The cursor key to be used to access the parameter.
The abbreviation of the parameter that is shown on the
display. | | |
Name of the parameter,
The range of values and settings of the parameter.
Brief explanation of the parameter's function.
966 ce
17
FO —2 OSC1 (Oscillator 1) D
Multisound Multisound OSC 1 Multisound
Select Name (original waveform)
Selection (when the
OSC mode is set to
SINGLE or DOUBLE)
Drum Kit Drum Kit 1 — Drum Kit Selection
Drum Kit 4 (when the OSC mode
is set to DRUMS)
L | Oscillator 0-99 Volume of
7 Level Oscillator 1
Octave Octave setting of
T Oscillator 1
16" 1 octave down
8' standard pitch
4 1 octave up
I be
à à 6
® F 0-2 OSC1 (Oscillator 1): Indicates that this is the
| -- PROGRAM MODE
In this mode Programs (sound colors or preset voices) can be selected and played. Programs are selected by
the numeric keypad (0-9), UP/DOWN keys, footswitch (PROG/COMBI, UP/DOWN) or MIDI program change.
* A Program within the internal memory is selected when INT is selected and a Program within the card
is selected when CARD is selected.
* Before selecting a Program by footswitch or MIDI, the appropriate function has to be set for operation
in the GLOBAL Mode.
NOTE: Panpot settings are given a default value of A:B = 5:5 in all Programs except the Drum Kit. (Signals are
not output to Outputs 3 and 4.)
EDITING IN THE PROGRAM MODE
PROD ISE
pP as Lk is HE НЕЕ Ro EL Du
Tila: OC
№
Li Pie
DS
Balance
E
O | OSC Balance |-10~ +10 | Controls the volume balance of OSC 1 and OSC 2 of the Programs when
set to DOUBLE,
F | VDF Cutoff ~10 ~ +10 | Controls the cutoff frequency of VDF 1 and VDF 2 (changes the tonal
quality of the sound).
VDA Level —10 ~ +10 | Controls the level (volume) of OSC 1 and OSC 2.
Keyboard Track | -10 - +10 | Controls the sensitivity at which changes in sound color and volume are
affected by the part of the keyboard played.
Velocity ~10 ~ +10 | Controls the sensitivity at which changes in sound color and volume are
Sensitivity affected by how hard the keyboard is played.
Attack Time —10 ~ +10 | Controls the attack time of VDFs 1, 2 and VDAs 1, 2.
R | Release Time |-10~ +10 | Controls the release time of VDFs 1, 2 and VDAs 1, 2.
Effect Balance | —~10 ~ +10 | Controls the balance of the direct sound and the sound of Effects 1 and 2.
When editing parameters in the PROGRAM Mode, corresponding Program parameters in the same Programs
of the EDIT PROGRAM Mode are assigned the same values.
* Edited Programs should be written to memory in the EDIT PROGRAM Mode.
18
Program parameters change as shown in the chart below when selecting positive parameter values ("+" settings).
The reverse changes occur when negative values (
PROGRAM Mode Parameters
fron
settings) are used.
Effect of a positive value setting on each parameter
OSC Balance OSC 1 Level The level of OSC 1 increases, while that of OSC 2 decreases.”
OSC 2 Level
VDF Cutoff VDF 1, 2 Cutoff Increases (or assumes a positive value). "1
VDA Level OSC 1, 2 Level
Keyboard Track | VDF 1, 2 KBD TRK Cutoff Increases in proportion to note number of key played.™2
EG Time
VDA 1,2 KBD TRK Amplitude
EG Time
Even when set to a negative value, only the absolute value
Velocity OSC 1, 2 EG Level Vel Sens © |becomes smaller, but the sign ("+" or "-") does not change
Sensitivity EG Time Vel Sens
| VDF 1, 2 VEL SENS EG Int
EG Time |
VDA 1,2 VEL SENS Amplitude| Parameters with values set to "0" remain as “0” and do not
EG Time change.
Attack Time VDF 1, 2 Attack Time Increases (or assumes a positive value). “>
VDA 1, 2 Attack Time
Release Time | VDF 1, 2 Release Time Increases. "1
Effect Balance | EFFECT 1, 2 Balance
*] Assuming that the original value = V, then the changed value is increased or decreased by SV.
*2 Assuming that the original value = V, then the changed value increases by a power of 1 + (V/10).
*3 Assuming that the original value = V, then the increase or decrease of the VDF value is by 3V, while that of the
VDA value is by 5V.
19
2 -- EDIT PROGRAM MODE
In this mode the Program parameters (such as original waveform settings and filter EG values, etc.) are set.
* Only the Programs which have been already selected in the PROGRAM Mode can be edited.
* Editing in real time (for changing parameters in live performance) can be done in the PROGRAM Mode.
x
PROGRAM Mode.)
Program which was being edited before the COMPARE key was pressed.
STRUCTURE OF THE M1°S PROGRAM PARAMETERS
OSC 1 PITCH EG
Changes the pitch of the
sound over time.
|
OSC 1
and the basic pitch.
|
PITCH MG
Regularly varies
the pitch of the sound
Sets the waveform type o Sets the tonal
Changes the pitch
of the sound over time,
1
VDF 1 EG
Changes the tonal qualities
of the sound over time,
VDA 1 EG
Changes the volume
of the sound over time.
y
VDF 1
qualities of the sound.
VDA 1
Sets the volume
VDF MG
Regularly varies
the tonal qualities
Changes the tonal qualities
of the sound over time.
(vibrato) of the sound
J | E A nn For double made only
1
F
| [656 2 VDF 2 VDA 2 |
| Sets he wavefomn fps, wre na В без the volume [7
| | basic pitch and amount , qualities of the sound.
| | of detuning relative to OSC 1.
| | |
| |
OSC 2 PITCH EG VDF 2 EG VDA 2 EG !
| 1
| |
Changes the volume
of the sound over time.
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Basic Sound Generation …
Use the F 9 - 1 Write Program function after finishing any edits and the Program will be completed.
(Programs which are not written to memory are irretrievably lost when selecting other programs in the
Pressing the COMPARE key during editing can recall the original un-edited program for comparison.
Pressing the COMPARE key again and leaving the Program without editing it returns you to the
EFFECT
Effect settings used
in the PROGRAM mode
Velocity Sensitivity
Effect of key velocity
(the strength at which the keys
are struck) on the sound
KBD Tracking After Touch
Effect of key position || Effect of after touch || Effect of the
on the sound on the sound
Joy Stick
joy stick on the sond
Real Time _
20
FUNCTIONS IN THE EDIT PROGRAM MODE
The first page of each function is selected by pressing the numeric keypad (0 to 9). Select the page at
which the parameter you want to edit shows using the PAGE + key and PAGE - key.
controllable range of the VDF.
controllable range of the VDA.
The maximum pitch change of the various pitch controls, such as pitch bend, pitch EG, pitch modulation
and after touch, is limited to one octave.
on the actual pitch range of the sound.)
(Some Multisounds have an even smaller range, depending
VDF and VDF EG parameters as well as the change in timbre by VDF MG are limited to the total
Oscillator level and VDA parameters, as well as volume change by VDA EG are limited to the total
— Page Parameter to be edited
0-1 | OSC-BASIC Oscillator mode
2 | OSCI Waveform, level of Oscillator 1
3 10802 Waveform, level, pitch of Oscillator 2 (Double mode)
1-1 | OSC1 PITCHEG Pitch variation over time of Oscillator 1
2 | OSC PITCHEG Pitch variation over time of Oscillator 2 (Double mode)
2-1 | VDFI Cutoff frequency, EG intensity of VDF 1
2 | VDF1 EG Variation of the VDF 1's cutoff frequency over time
3 | VDFI VEL SENS Degree to which VDF 1 responds to key velocity
4 | VDF1 KBD TRK Degree to which VDF 1 tracks the keyboard
3-1 | VDF2 Cutoff frequency, EG intensity of VDF 2 (Double mode)
2 | VDR2 EG Variation of the VDF 2's cutoff frequency over time (Double mode)
3 | VDF2 VEL SENS Degree to which VDF 2 responds to key velocity (Double mode)
4 | VDF2 KBD TRK Degree to which VDF 2 tracks the keyboard (Double mode)
4-1 | VDAI EG Volume variation of VDA 1 over time
2 | VDAI VEL SENS Degree to which VDA 1 responds to key velocity
3 | VDA1 KBD TRK Degree to which VDA 1 tracks the keyboard
5-1 | VDA2 EG Volume variation of VDA 2 over time (Double mode)
2 | VDA2 VEL SENS Degree to which VDA?2 responds to key velocity (Double mode)
3 | VDA2 KBD TRK Degree to which VDA2 tracks the keyboard (Double mode)
6-1 | PITCH MG Pitch modulation (vibrato effect)
2 | VDF MG VDF modulation (wah-wah effect)
7-1 | AFTER TOUCH Degree to which after touch affects tonal quality
2 | JOY STICK Degree to which joy stick affects tonal quality
8-1 | EFFECT 1 Selection of Effect 1
2 | EFFECT 1 PARAMETER Parameters of Effect 1
3 | EFFECT 2 Selection of Effect 2
4 | EFFECT 2 PARAMETER Parameters of Effect 2
5 | EFFECT PLACEMENT Assignment of Effects 1 and 2
6 | EFFECT COPY Copying of Effect parameter values
9-1 | WRITE/RENAME Writing and renaming of Programs
21
EDITING IN THE EDIT PROGRAM MODE
F 0-1 0SC BASIC (Oscillator)
FROG Ing
COOUBLE?
asc BASIC
FOLY
(SC Made
Hold: OFF
A 8 с D E F G H
I Earn SITES [RN REI SE RENAN FEN
OSC MODE Sound origin mode
SINGLE One-oscillator mode
DOUBLE Two-oscillator mode
DRUMS Drum Kit mode
Assign Number of voices sounded
POLY Maximum polyphonic play
MONO Monophonic play
Hold ON/OFF Sound continues even after key
release
In the OSC MODE (oscillator mode), the structure of the Program to be made is selected. The oscillator number
and the type of sound origin will change according to the setting made here.
*
*
*
When switching the OSC MODE, reset the multisound (Drum Kit) of OSC 1 in the following page.
In SINGLE, a one-system OSC/VDF/VDA is used. The maximum simultaneous voices available is 16.
In DOUBLE, two OSC/VDF/VDA systems are used.Sounds of greater complexity can be created here,
but the maximum simultaneous voices available is decreased to 8.
drum kit.
DRUM KIT is a mode that uses drum sounds as the sound origin to make up à keyboard-controllable
Assign determines whether the program is to be played polyphonically or monophonically.
When the Hold parameter is set to ON, notes played will continue to sound even after releasing the key. This
is used mainly for playing the Drum Kit.
*
set to ON.
F 0 - 2 OSC1 (Oscillator 1)
The sound will not stop but will continue for the full duration of the sustain parameter when Hold is
FROG
ge: A, Piano
IgE 0501
й
Las
Multiısournd
A 8 С D E F G H
I; ED (re Ie (er a ооанООнИОН
[A] | Multisound Selection of Oscillator.1 Multisound waveform (when oscillator mode is
set to Single or Double)
Drum Kit Drum Kit 1 | Selection of Drum Kit (when oscillator mode is set to Drums)
5
Drum Kit 4
L | OSC Level 0-99 Volume of Oscillator 1
Octave Octave setting of Oscillator 1
16' One octave below standard pitch
8' Standard pitch
4' One octave above standard pitch
22
When SINGLE or DOUBLE is selected in function F 0 - 1, OSC MODE, the waveform of Oscillator 1 is selected
by Multisound (Multisound Select). (A list of the Multisounds is on the back cover.)
*
Since each Multisound (sound origin waveform) has a limited pitch range, it may not sound when
playing in a high octave. |
Multisounds can be chosen from CARD if the PCM card (optional) is inserted in the rear panel.
Multisounds within the CARD are indicated by a "C" in front of the number on the display and can be
seen in succession by moving the VALUE slider up and down.
NOTE: Make sure to insert or take out the PCM card only when the power is OFF or when no sound comes
from the M1.
Selects one of the Drum Kits (1 to 4), when DRUM KIT is selected in the OSC MODE.
* Assignment of drum sounds to the Drum Kit is done in GLOBAL Mode.
OSC Level (oscillator level) sets the sound volume of Oscillator 1. The maximum is 99 and minimum is O.
Octave sets the basic pitch of Oscillator 1 in octave units.
F 0 - 3 OSC 2 (Oscillator 2) --- Only DOUBLE MODE
FROG 198 OST: MuUltisouna
аа: A: Ртамс | 99 + 12 0-56 958
B D
Multisound | Multisound name | Selection of Multisound for Oscillator 2
L |OSCLevel | 0-99 Volume of Oscillator 2
Octave 16', 8', 4' Octave of Oscillator 2
[F)I Interval -12 ~ +12 Pitch of Oscillator 2 relative to Oscillator 1 (adjustable in semitones)
D | Detune -50 ~ +30 Detuning of Oscillator 2 relative to Oscillator 1 (adjustable in cents)
DL | Delay Start | 0 - 99 Delay time before Oscillator 2's sound begins
Multisound (Multisound select) selects the Multisound of Oscillator 2. The types of Multisound that can be
selected are the same as in FO - 2, OSC1 Multisound.
OSC Level (oscillator level) sets the sound volume of Oscillator 2.
Octave sets the octave of Oscillator 2,
Interval sets the pitch difference between Oscillator 1 and the Oscillator 2 in semitones (over a range of - 121 to
+12). Creating chords with Oscillators 1 and 2 is possible by adjusting the pitch here.
Detune allows finer adjustment in cents of the pitch difference between Oscillators 1 and 2 (over a range of
-50 to +50). A thick sound can be obtained by detuning Oscillator 2 slightly.
Delay Start determines the time it takes between the onset of the sound of Oscillator 1 and the start of Oscillator
2’s sound. (Set to "0" when not using this effect.)
23
F 1-1 OSC 1 PITCH EG (Oscillator 1 Pitch EG)
PROG IMG 05021 Р1ТСН Еб Start Level
S-59 ATYS A+99 OT99 RTS9 R-99 L+99 T-99
A в с 0 E F G H
eT al
| S | Start Level -99 ~ +99 | Determines how the pitch of Oscillator 1 varies over time.
— +99 = approx, t —|
AT | Attack Time 0 — 99 octave above
A | Attack Level | -99 ~ +99 0 = pitch of oscillator
when key is held down =f"
DT| Decay Time | 0-99
RT | Release Time | 0 99 89 = approx, — |
octave below
R | Release Level | -99'~ +99
L |EGLevel Vel.| -99 ~ +99 | Determines to what degree the total time of the pitch variation will change in
Sens. response to key velocity.
T | EG Time Vel. | -99 - +99 Determines to what degree pitch will vary in response to key velocity.
Sens.
Sets the rate at which the pitch of Oscillator 1 changes.
These parameters set the rate at which the pitch of Oscillator ! changes.
Setting opposite positive and negative values for each EG level will result in an EG shape reverse of the above.
The stronger the key is struck the greater the change of pitch when setting EG Level Vel. Sens. (EG level
velocity sensitivity) to "+". (The opposite occurs when set to "-".) The change of pitch by EG is limited to
within +/- 1 octave.
* When set to "+":
Pitch AN . /\ ~~
change V Ne / \— / Nu
Played softly Normal EG setting Played strongly
The stronger the key is struck the shorter the time becomes when setting the EG Time Vel. Sens. (EG time
velocity sensitivity) to "+". (The opposite occurs when set to "-".)
й НЕ
*
When set to "+":
Played softly Normal EG setting Played strongly
F 1-2 OSC 2 Pitch EG (Oscillator 2 Pitch EG)---only DOUBLE Mode
Determines how the pitch of Oscillator 2 varies over time.
* The functions and parameters are the same as F 1 - 1 OSC 1 Pitch EG, as applied to Oscillator 2. Please
refer to the section on OSC 1 Pitch EG. |
24
F2-1VDF1
FROG
188
Cutoff= 99
EG Intensity
=
= 77
A B с D E Ё G H
|
Cutoff 0~99 Determines the initial cutoff frequency of VDF 1. (Controls how bright the |
sound will be.)
EG Intensity | 0 ~ 99 Determines the degree to which the EG will affect the cutoff frequency.
Level * The VDF (Variable Digital Filter) controls the
tonal quality of the sound by damping (cutting
i off) the high frequency components of the
Multisound.
| Cutoff sets the cutoff frequency of VDF. The smaller
the value is set, the more mellow the tone becomes.
| |
о = > 99 Frequency EG Intensity sets the sensitivity of the cutoff
Cutoff 4 frequency to the VDF EG in the succeeding page. The
toit frequency depth of the cutoff change is greatest when set to 99.
F2-2VDF1EG
FEOG 146 UUFi EG Attack Time
ATA A-87 DTSS E-54 5712 5-99 RT99 RN
D
x AS
vs
ra ra re a a o a
AT | Attack Time 0 — 99
[B]A | Attack Level | -99-+99
DT | Decay Time 0-99
B | Break Point -99 ~ +99
ST Slope Time 0-99
S Sustain Level -99 ~ +99
RT | Release Time | 0-99
R | Release Level -99 — +99
Determines how the VDF 1's cutoff frequency will vary over time.
The time parateters (Attack Time, Decay Time, Slope Time, Release
Time) are used to set the time it takes to reach the next level.
The level parameters (Attack Level, Break Point, Sustain level,
Release Level) are used to set the cutoff frequency of the VDF for that
segment of the EG.
Î Atlack
level
Sustain
level
:\ Release
i Time
Лайн),
Ч
Cutoff | Attack “Decay @ Time
[lime lime Break Slope time
Release
Key on point
level
Y
*
*
Intensity.
Each level can be individually set to a positive or negative value in relation to initial cutoff.
The amount by which each level affects the cutoff frequency is globally controlled by VDF 1 EG
25
F 2-3 VDF 1 VEL SENS (VDF 1 Velocity Sensitivity)
PROG 186 WOFÍ VEL SENS Release Time
EGInt=-99 EGTime=99 AT:@ DT:+ ST:+ RT:6
A 8 с B € F a H
ne SEER FS A CA SR OS
EG Int (EG Intensity | -99 ~ +99 The degree to which the VDF 1 EG's level is affected by
Velocity Sensitivity) key velocity |
[D] EG Time (EG Time | 0-99 The degree to which the VDF 1 EG's time is affected by
Velocity Sensitivity) key velocity
AT | Attack Time -, 0, + These are the parameters that EG time velocity sensitivity
— can be programmed to affect; negative and positive values
DT | Decay Time -, 0, + can be individually selected with 0 having no effect.
ST | Slope Time -, 0, +
RT | Release Time -, 0, +
EG Int (EG Intensity Velocity Sensitivity) is an effect that changes the tone color by how hard you strike the
keys.
* When a negative setting is chosen, the more softly the keys are played the greater the cutoff frequency
change becomes. (The set value by EG intensity is the norm.)
When set to "+":
vel = | E.
\_
It is true of most acoustic musical instruments that the softer the sound made, the fewer high frequency
components that are present in the sound. When imitating this effect, set the cutoff frequency to low
in the VDF, set all levels like the sustain level of VDF EG to "+", and set the parameter values of VDF
EG intensity and VDF EG intensity Velocity Sensitivity to "+",
Played strongly
Played softly Normal EG setting
EG Time (EG Time Velocity Sensitivity) is an effect that changes the speed of VDF EG by how hard you strike
the keys. When set to positive ("+"), the stronger the key is hit the shorter the time of the EG (Attack / Decay
/ Slope / Release) becomes. (The time becomes longer when set to "-".) Thus, by setting Attack to positive
("+") and release to negative ("-"), the harder the key is struck the shorter the attack but the longer the release.
26
F 2-4 VDF 1 KBD TRK (VDF 1 Keyboard Tracking)
PROG 168 UDFL KED TRK Center Kes
С4 F-99 EGTime=29 AT:@ DT:+ ST:4 RTI-
A B с D E F G H
Isl ID Sa Fm DE Ens hu Con
Center Key C-1 ~ G9 The central key for effect of VDF 1 keyboard tracking (key of +0)
F |Cutoff (Cutoff Frequency| .09 ~ +99 Change of VDF 1 cutoff frequency
Keyboard Tracking) (the brightness of tone color)
by key position
| ime (EG Time ~ ange o spe ey position
EG T GT 0-99 Ch f VDF 1 EG speed by key p
Keyboard Tracking)
AT | Attack Time -, 0, + These are the parameters that EG time keyboard tracking can be
и programmed to affect; negative and positive values are available,
DT | Decay Time -, 0, + with 0 having no effect.
ST | Slope Time -, 0, +
RT | Release Time -, 0,+
* VDF Keyboard Tracking is an effect that changes, in proportion to the note number played, the values
of the VDF cutoff frequency and of time it takes the EG to cycle.
Center Key sets the central key (the key for which cutoff/EG time does not change) of VDF keyboard tracking.
When Cutoff is set to "+," the higher the pitch played the brighter the tone color becomes. (The opposite occurs
when setting to "-".) The greater the change is, the closer the value gets to + 99 or - 99. The change of Cutoff
and the change of pitch are equal when set to 0.
Cutoff When Cutoff Freq.
Level а Keyboard Tracking >0
| Cut off |
NT \ - When Cutoff Freq.
LY Keyboard Tracking +0
fp
N |
| When Cutoff Freq.
1 »
When lower notes Normal VDF EG setting When higher notes | | | Keyboard Tracking <0
are played — are played | 1 pr
Center Key
F 3-1 VDF 2 --- Only DOUBLE Mode
PROG 198 VORZ
Cutoft= 99 EF Internsitas 99 This is a VDF for Ocillator 2.
i a a ed a a a sd * The functions and parameters are the same as
F 2 - 1 VDF 1, as applied to Oscillator 2.
F 3-2 VDF 2 EG --- Only DOUBLE MODE
В UOFZ ES Attack .
9 0TS2 E-67 STd6 5-99 RT15 R-11 Sets the rate at which the cutoff frequency of VDF
2 changes.
FROG 16
HT:5 6-5
* The functions and parameters are the same as
F 2-2 VDF 1 EG, as applied to Oscillator 2.
F 3-3 VDF 2 VEL SENS (VDF 2 Velocity Sensitivity) --- Only DOUBLE MODE
Determines the degree to which key velocity
FROG Ima UDF? VEL SENS Felease Time affects the change of VDF 2.
EGInt=-99 EGTime=99 AT:G OT:+ ST:+ RT:A
A a с 5 : * The functions and parameters are the same as
i коней Но Нолан Кой Бой Канны Кн F 2-3 VDF 1 VEL. SENS., as applied to
Oscillator 2.
27
F 3-4 VDF 2 KBD TRK (VDF 2 Keyboard Tracking) --- Only DOUBLE MODE
Center Kew
PRIS
[98 UDFZ KED TREK
CA F-
Determines the degree to which the keyboard
tracks VDF 2. |
99 ESTime=99 AT:Q OT:+ STi+ RTi-
- -
* The functions and parameters are the
same as F 2 - 4 VDF 1 KBD TRK, as
applied to Oscillator 2.
F4-1VDA1EG
FROG 1898 UDRL EG Httack Time
ATES A+4d DTZE В+99 5714 5499 RTES
si,
те]
А с D E F G H
¡o Da CD Mo res re Do rar
AT | Attack Time 0 - 99 Determines how the volume of VDA 1 will vary over time
A Attack Level | 0-99 Lee
Attack
- Time Sustain
DT| DecayTime | 0-99 \ leve
1 ' '
B Break Point 0 ~ 99 | Break * \
à Point, ,
ST | Slope Time 0 ~ 99 во >
) ptf tf] Time
S Sustain Level 0 ~ 99 } Attack Decay Slope + Release
Ш t Time Time Time E Time
— Key Key
RT | Release Time 0-99 On Off
* VDA (Variable Digital Amplifier) changes the volume of the sound origin waveform. The VDA EG
determines how the volume will vary over time.
F4-2VDA 1 VEL SENS (VDA 1 Velocity Sensitivity)
FROG 188 UCAI VEL SEHS Amelitude
A-29 EGTime=9% AT:A OT:+ STI+ RT:-
E F
A B с D G H
yy rame hotte) bave
[B] A Amplitude (Amplitude -99 — +09
Velocity Sensitivity)
Change of VDA 1's volume by key velocity
EG Time (BG time 0-99 Change of the VDA's EG time (variation of volume over
Velocity Sensitivity) time) by key velocity
АТ | Attack Time -, 0, + These are the parameters that EG time velocity sensitivity
can be programmed to affect; negative and positive values
DT |Decay Time -,0,+ are available, with O having no effect.
ST | Slope Time -, 0, +
RT |Release Time - 0, +
Amplitude (amplitude velocity sensitivity) is an effect that changes the volume by how hard you strike the keys.
When set to positive ("+"), the stronger the key is hit the louder the sound becomes. The volume becomes
softer when set to "-". The closer the value is set to + 99 or - 99, the greater the difference in volume becomes.
* Tone color can be changed by velocity when setting the VDA velocity sensitivity of Oscillator 1 and
2 to opposite settings in the DOUBLE Mode (velocity cross fade).
28
* When the keys are hit hard, the Program of OSC 1 sounds.
* When the keys are hit with normal strength, the Programs of OSC 1 and OSC 2 both sound.
* When the keys are hit softly, the Program of OSC 2 sounds. |
EG Time (EG Time Velocity Sensitivity) is an effect that changes the speed of VDA EG by how hard you strike
the keys. When set to positive ("+"), the stronger the key is hit the shorter the time of the EG (Attack / Decay
/ Slope / Release) becomes. (The time becomes longer when set to "-".)
A A A
ый v7/ fx
Played softy | Normal EG setting
* When setting all to "+":
Played strongly
* When playing Programs such as strings, it is possible to set a sharp attack/long release to result when
hitting the keys hard and a slow attack/short release when playing softly by setting the Attack time to
r HT
+" and the Release time to
îr Ut
= `
F 4 - 3 VDA 1 KBD TRK (VDA 1 Keyboard Tracking)
FEOS Tes Dal EBD TRE Certer Fed
C#-1 0-99 ENTime=9 ВТ: ОТ:+ $Т:+ ЕТ:-
А В с D E F G H
IE A A DA OT CA a Co
Center Key C-1 - G9 The central key for the effect of VDA 1 keyboard tracking (key of +0)
À | Amplitude -99 ~ +99 Change of the volume of VDA 1 by key position
(Amplitude
Keyboard
Tracking)
EG Time 0-99 Change of VDA 1 EG speed by key position
(EG time
Keyboard
Tracking)
AT | Attack Time | -,0,+ These are the parameters that EG time keyboard tracking can be programmed
- to affect; negative and positive values can be individually selected, with 0
DT | Decay Time -, 0, + having no effect.
[G] ST | Slope Time | -,0,+
RT| Release Time | -, 0, +
* VDA Keyboard Tracking is an effect that varies the volume of the VDA and all EG times by the key
position played.
Center Key sets the central key (the key that is not changed by cutoff/EG time) of VDA Keyboard tracking.
When Amplitude is set to "+," the higher the pitch played, the louder the volume becomes . (The opposite
occurs when setting to "-".) Ttis possible to switch between Programs depending on the key played by setting
the center key of Oscillators 1 and 2 to the same value and by setting a positive value for one and a negative
value for the other (positional cross fade).
* The total volume, whatever the keyboard track setting, cannot extend beyond the minimum and
maximum values of 0 and 99. When keys above the center key are played, the VDA EG time (Attack /
fn 1
Decay / Siope / Release) becomes progressively shorter, if set to "+" in the EG Time (EG Time
Keyboard Tracking) function. The opposite occurs when setting to ;
29
F 5 - 1 VDA 2 EG ---Only DOUBLE MODE
The VDA 2 EG determines how the volume of Oscillator
2 will vary over time.
FRO 188 UWOAZ ES Httack Time
ATEG A+22 DT49 E+39 5T7Y S+22 RT48
A B С D E F G H x
in Y a] —]——]l——]——————— NN * The functions and parameters are the same as F4-1
VDA 1 EG, as applied to Oscillator 2.
F 5-2 VDA 2 VEL SENS (VDA 2 Velocity Sensitivity)--- Only DOUBLE Mode
PROG 166 OA? UEL SENS Anelitude Determines the degree to which the volume change of
0-29 EGTime=99 AT:@ OT:+ ST:+ ET:- | VDA 2 is affected by key velocity.
ee a a a a a a * The functions and parameters are the same as F4-2
VDA 2 VEL. SENS., as applied to Oscillator 2.
F 5 - 3 VDA 2 KBD TRK (VDA 2 Keyboard Tracking) --- Only DOUBLE MODE
PROG 168 UDA? кВа ТВК Center Feu Degree 10 which VDA 2 (volume of Oscillator 2) tracks
C8-1 A-99 ESTime=S9 AT:6 ОТ:+ 5Т:+ ВТ:- © xeyboard.
* The functions and parameters are the same as F4-3
VDA 1 KBD. TRK., as applied to Oscillator 2.
A B с D E F G H
=] J] A "|
F 6 - 1 Pitch MG (Pitch Modulation)
FROG Id FITCH MG Waveform
TRIANGLE F31 041 162 OFF SenciÓFF
E
A B С D € G H
TS me aaa
Wave form | TRIANGLE A, Selects the modulation waveform
SAWUP M Triangle wave
SAW DOWN Nx Saw Down (reverse polarity)
SQUARE "L Square
F | Frequency | 0-99 Speed of modulation
D | Delay 0 - 99 Time between the striking of the key and the onset of the modulation
effect |
“[E]I | Intensity 0 — 99 Depth of modulation
OSC Select | OFF No modulation effect
OSC1 Affects only OSC 1
OSC2 Affects only OSC 2
BOTH Affects both OSC 1 and OSC 2
Key Sync | OFF
ON
* Pitch MG (pitch modulation) is an effect that varies the pitch periodically.
30
Waveform selects the modulation waveform, which determines how the pitch will be varied.
* Triangle Ay (most commonly used)
* Saw Up M
* Saw Down NN (reverse polarity)
* Square Mu
Frequency sets the modulation frequency (the speed of the pitch variation)
* When Triangle wave is selected:
AANA
0 «© Frequency = 99
Delay determines the time between the striking of the key and the onset of the modulation effect.
„
ha]
|
!
|
1
|
|
1
Delay im
Г 1 7 e
Intensity sets the depth of the modulation.
AN
О = Intensity » 99
* This effect does not work when Oscillator Select is OFF.
OSC Select selects the Oscillator to be modulated. BOTH affects both Oscillator 1 and Oscillator 2.
* In all modes with the exception of DOUBLE Mode, the net effect of setting this parameter to OSC 2 is
equal to that of OFF and the net effect of a BOTH setting is equal to that of OSC 1.
The modulation waveform starts upon the pressing of each key when the Key Sync is set to ON.
* When Key Sync is ON: * When Key Sync is OFF:
Key on Key on
MG of Voice 1 AAA > MG of Voice 1 AAA >
The MG of each voice
Key on functions independently Key on
VAN NET the other - A
| A LIAN
V > MG of Voice 2 -— 7 \
| The same MG affects all
voices of the same Program.
MG of Voice 2
31
F 6 - 2 VDF MG (VDF Modulation)
PROG Tod UDF MG Wavetorm VDF MG (VDF Modulation) varies the cutoff frequency
= = + = {= mp 3 . . .
ZHU НР Fee 053 156 OFF SwnciOFF periodically for filter sweep and wah-wah effects.
A B с D F G H
== om a a e es e e x The functions and parameters are the same as F6 -1
| Pitch MG, as applied to modulation of the filter.
my
F7-1AFTER TOUCH
PROG 188 AFTER TOUCH — Pitch
F+17 PAS F+99 FM99 +99
A В с D E F 6 H
DTD As Ce oz Hs ho Da DAA
P | PITCH -12 ~ +12 Variation of pitch by after touch (within +1 octave)
PM | Pitch MG 0 ~ 99 Effect of after touch on Pitch MG (F6-1)
Е | VDFCutoff | -99 ~ +99 Cutoff frequency (tone color) variation by after touch
FM | VDF MG 0-99 Effect of after touch on VDF MG (F6-2)
A | VDA Amplitude| -99 - +99 Effect of after touch on volume
* After Touch is an effect that can be used to change various parameters (such as pitch, volume, or tone
color) when pressing down hard on the keys. |
Pitch sets the width and direction of pitch change by after touch within the range of - 12 to + 12 (+/- 1 octave).
The larger the value to which Pitch MG (pitch modulation) is set, the greater the effect of Pitch MG becomes
when pressing down hard on the keys. No change is made at 0.
* The modulation waveform, oscillator select and key sync of the VDF MG in F 6-2 are operative here.
When Cutoff is set to "+," the harder the keys are pressed, the greater the cutoff frequency (and the brighter
the tone color) becomes. (The opposite occurs when setting to "-".)
The effect of the VDF MG becomes greater when pressing the keys down hard, when the VDF MG (VDF
modulation) is set to higher values. No change is made at O.
* The modulation waveform, oscillator select and key sync of the Pitch MG in F 6-1 are operative here.
When the VDA Amplitude is set to positive ("+"), the volume becomes louder upon pressing the keys down
IT tt
hard. The opposite occurs when setting 1t to "-".
32
F 7-2 JOY STICK
FROG
188 JOY STICK Fitch Bend
| Me F+AH
| B
e НЕЕ ali "Ea
P Pitch Bend —12 - +12 | The maximum amount of pitch change by joy stick
F VDF Sweep Int. —99 ~ +99 | VDF cutoff frequency change by joy stick
PM | Pitch MG 0~99 Pitch MG effect by joy stick
MF | Pitch MG Frequency | 0-3 Pitch MG speed change by joy stick
FM | VDF MG Int. 0 — 99 VDF MG effect by joy stick
MF | VDF MG Int. 0-3 VDF MG speed change by joy stick
"4 IT,
* When setting to
Pitch Bend sets, in semitone units, the range over which
pitch can be changed when the joy stick is moved
Pitch is lowered. (3 e > Pitch is raised. laterally (to the left and right). 12 is the maximum value
and is equal to 1 octave above the normal pitch. The
pitch is raised by moving the joy stick toward the right
when it 1s set to "+," and the opposite occurs when it is
set to "-"
"! +":
* When setting to
VDF Sweep Int. (VDF Sweep Intensity) sets the depth of
Cutoff frequenc Cut the VDF cutoff frequency change that occurs when the
is lowerad Ka O mon frequency joy stick is moved laterally (to the left and right). The
cutoff frequency is raised by moving the joy stick toward
the right when it is set to "+," and the opposite occurs
when it is set to "-"
The larger the value of Pitch MG Int. (Pitch MG Intensity), the greater the effect of Pitch MG is when moving |
the joy stick upward.
Pitch MG Frequency sets the degree to which the speed (frequency) of the Pitch MG increases when moving
the joy stick upward.
* The modulation waveform, oscillator select and key sync of the Pitch MG in F 6-1 are operative here.
* When Pitch MG Intensity is greater than O..................... Pitch MG deepens
* When Pitch MG Frequency is greater than O................... Pitch MG speed increases
The larger the value of VDF MG Int. (VDF MG Intensity), the deeper the effect of the VDF MG when moving
the joy stick upward.
33
VDF MG Frequency sets the degree to which the speed (frequency) of the VDF MG increases when moving
the joy stick downward. |
O
|
* The modulation waveform, oscillator select and key sync of the VDF MG in F 6-2 are operative here.
* When VDF MG Intensity is greater than O............e.......ew... VDF MG deepens
* When VDF MG Frequency is greater than O...................... VDF MG speed increases
EFFECT PARAMETERS
Descriptions of functions F 8 - 2 and F 8 - 4 are given in the Effect Parameter section following the EDIT
PROGRAM Mode chapter.
F8-1 EFFECT 1
Selects the effect type for Effect 1.
EFFECT 1 o
E Hall y OH EFFECT TYPE 01 — 33
y 8 с D E F 4 H No Effect
se (CE CE
SWITCH OFF/ON
[SELECT]
F 8 - 3 EFFECT 2
Selects the effect type for Effect 2.
Same as F 8 - 1 EFFECT 1.
F 8-5 EFFECT PLACEMENT
EFFECT FLACEMENT =
SERIAL PI =50:50 P4 = 50:58 Effect placement
A 8 с D E F G H PARALLEL
еее AD SERIAL
P3 Out 3 Panpot OFF
100:0 ~ 0:100
| РА Out4 Panpot OFF
100:0 ~ 0:100
This function sets the Effect Placement and Pan setting of Outputs 3 and 4. (See pp. 36-37 for more on Effect
Placement.) )
F 8 - 6 EFFECT COPY
EFFECT COPY | PROGRAM
from (COMBINATION) — 168 [COFY] COMBINATION
A B E D Ë F a H
a CAR] Fe Beara Fae SN TORR ri SONG
100 ~ 199
0-9
[COPY]
F 9-1 WRITE/RENAME
FROG 160 A.PIRHO Write Rename
[410k 1 EURITEI-->186
A E С D E F G H
sent reed bat re eee a Va Im
[a] Cursor Left Moves the rename cursor to the left
[D] | [+] Cursor Right Moves the rename cursor to the right
[WRITE] | Executing the WRITE
100 ~ 199 Program number to be written
C00 ~ C99
Writes the edited Program to internal memory or to the RAM card.
1. The Program can be named by using [ 4] (cursor key [C]). [» 1 (cursor key ), the VALUE slider and
UP (4)/DOWN (Y) keys.
* Letters, numbers and symbols, up to a maximum of 10 characters can be stored.
ERE Cy — 2B 234567091 14537
SABCDEFGHI JELMHDEGRSTUCMEYZ [1
*abodef9khi dk Imnorar= tuve d | +6
* The write function cannot be executed when the Program memory protect is set to ON. (Releasing the
memory protect can be done in the GLOBAL Mode, Function F 6-1.)
Program number to which the Program will be stored (cursor key ).
bo
* 150 to 199 cannot be selected when large sequence allocation is selected.
* Card memory programs (C00 to C99) can be selected when the formatted COMBI/PROG or
COMBI/PROG/SEQ RAM card is inserted in the PROG/SEQ slot.
. Press WRITE (cursor key [F]).
4. "Are You Sure ?" will show on the display. When you want to write, press [YES] (cursor key ).
La
* Note that the Program which previously occupied that number will be lost.
* The WRITE operation can be cancelled by pressing [NO] or cursor key H ;
The display "Write Completed” is shown when the write operation is finished.
* The original display is returned to when pressing any cursor key ( -- ).
* Select this page once more when writing another Program.
* When copying a Program within internal memory to another Program number, select the Program to be
copied in the PROGRAM Mode, then write to memory using this page.
35
3 -- EFFECT PARAMETERS
A two-system, two-channel Multi Digital Effect unit is built into the M1. Each effect has a wide range of effect
types that can be selected, such as reverb, delay, chorus, flanger, phase shifter, distortion and exciter, and fine
adjustment of all effect parameters is possible.
Since all effects can be assigned separately to each Program, Combination and song track, you can use the most
appropriate effect for each and every playing situation.
* The Effect functions can be considered together as an additional element in the sound making process
since effect settings can be changed for each Program.
* Assigning different effects to specific Programs is possible when using Drum Kit Programs,
Combinations and the sequencer.
Editing of the effect parameters is executed in the Edit Program Mode, Edit Combination Mode or Sequencer
Mode. (Details of editing and parameters are identical.)
The Effect section is comprised of 2 effects and 2 panpots with a 4-input (A, B, C and D) and 4-output (1/L,
2/R, 3 and 4) configuration.
For the placement of the 2 effects, there are 2 operation modes: serial and parallel. (All signal routing is digital;
the signal is changed from digital to audio with the D/A converter only after passing through the Effect section.)
EFFECT PLACEMENT
Serial Routing
A B= EFFECT [$7] EFFECT [™ 1/L
В 2 — 2/R
C в 3
p m— E A
Inputs A and B send signals to both Effect 1 and Effect 2 and are output from 1/L and 2/R.
Signals from C and D are output through 3 and 4 unprocessed. The output signals from 3 and 4 can also be
mixed with the A and B inputs to be routed together through Effect 2.
* Selected Programs can be processed through Effect 1 and other Programs not, while all Programs --
processed or not -- can be routed through Effect 2; this kind of setting is possible by using the C and
D inputs.
36
Parallel Routing
A M*| EFFECT »>+—— mm 1/L
В m ! Q—— am 2/R
ГРАМ 3 в
—e
C mM EFFECT d — в 3
PAN 4 | |
- 2 | ANA ‚
Different effects are used for each input pair, inputs A and B, and inputs C and D, and each of them are sent
directly to outputs 1/L, 2/R, 3 and 4. The outputs from 3 and 4 can be mixed with the Effect 1 outputs and sent
through the outputs 1/L and 2/R.
* There are two types of effects: effects 1 - 25 are stereo effects and 26 - 33 are dual effects in which
each channel has a different effect.
* Signal routing for inputs A through D is set by using the panpot functions in the Combination parameter
in the COMBINATION Mode and the Track parameter in the SEQUENCER Mode. Instrument Pan
(Global F 4) is available for Programs of the drum kit. Programs with the exception of drum kit are
input to A and B in a ratio of 5:5 and not input to C and D. | |
The following various settings are possible by setting the pans of each Program by using Output 3 Pan
and Output 4 Pan.
* Different sounds that are output to C and D can be mixed with the stereo output by adjusting the pan
setting of each Program with Output 3 Pan and Output 4 Pan. |
* When stereo effects have been selected for Effect 1 and 2, and the operation mode has been set to
Parallel, stereo out mixed outputs of Effect 1 and Effect 2 can be used by setting Output 3 Pan to 100
: 0, and Output 4 Pan to 0: 100.
When using an external effect or mixer, outputs 3 and 4 can be used as separate outputs by setting the
Output 3 Pan and Output 4 Pan to OFF,
F8-1 EFFECT 1
F |
|: Hall + : 0
A B С D E F с H
eme! bel me meme Ka al ai ben
Selects the effect type for Effect 1.
EFFECT TYPE | 01-33 Selecting effect type
No Effect Effect not used
SWITCH OFF/ON | Effect operation switch
[SELECT] | Executing the selection of effect type
* [SELECT] is indicated on the display when the EFFECT TYPE is changed.
* Select the EFFECT TYPE ( ) and press [SELECT] ( ); the effect type selected will now be in
operation. (The selection is cancelled when selecting other effect types instead of pressing [SELECT].)
37
* When selecting the effect type again, effect parameters will be set to the default value (see pp.56-57).
* Note that among the 2-system effects, when #24 Symphonic Ensemble and #25 Rotary Speaker are both
selected for one system, the Effect types which are marked with an asterisk on the following chart
cannot be selected for the second effect. (Likewise, when an asterisk-indicated Effect type is selected
for one system, #24 and #25 cannot be selected for the other. Refer to the Effect Parameter Default
Values Chart, pp.56-57, for more information.)
* See explanations about each effect type for details.
* When assigning the footswitch to Effect in GLOBAL Mode F 2 - 2, Pedal Assign, the effect is toggled
ON and OFF each time the footswitch is pressed.
Switch ([F] ) indicates and sets the condition of the switch.
* When selecting another Program, Combination or song, the ON/OFF setting returns to the condition
set in the effect parameter of each mode. |
* For all effects except Reverb (01 to 06), Overdrive (21), Distortion (22) and Ensemble (24), the
equalizer settings (Low EQ and High EQ) are effective even when the effect switch is OFF.
Set the effect type to No Effect when you want all effects, including the equalizer, to be off while editing
Programs.
F 8-2 EFFECT 1 PARAMETER
Sets the parameter of Effect 1.
* See explanations about each parameter type (starting on p. 40) since the details of the parameters differ
depending on the parameter type.
* The value set here is lost when selecting another effect type for Effect 1.
F 8-3 EFFECT 2 Selects the effect type for Effect 2.
Same as F 8 - 1 EFFECT 1.
F 8-4 EFFECT 2 PARAMETER
Sets the parameters of Effect 2.
* See explanations about each parameter (starting on p. 40) type since the details of the parameters differ
depending on the parameter type.
* The value set here is lost when selecting another ‘effect type for Effect 2.
F 8-5 EFFECT PLACEMENT
EFFECT FLACEMENT |
SERIAL FZ =50150 Pd = Sis
G H
A В с 0 E
|__|
[a]
Ti | ON
Effect Placement Selection of effect operation mode
PARALLEL Parallel |
SERIAL Serial
OUT 3 Panpot OFF Output 3 pan not used
100:0~0:100 Setting of output 3 pan (L:R)
OUT 4 Panpot OFF Output 4 pan not used
| 100:0~0:100 Setting of output 4 pan (L:R)
This function sets the Effect Placement and Pan setting of Outputs 3 and 4. (See pp.36-37 for more on Effect
Placement.) |
38
F 8-6 EFFECT COPY
EFFECT COPY
from (COMBINATION) - 168
LCOFY]
A в с 0 E F G H
nt veal Rn] US] ESOT IRA SE nl
PROGRAM Copying from Program
COMBINATION Copying from Combination
SONG Copying from song
100~199 Number of Program/Combinationto be copied
0-9 Number of song to be copied
[COPY] Executing the copy
Copies only effect parameters from the Combination, Program and song in the memory.
* The parameters are copied to Combinations, Programs and songs when editing here.
1. Select the mode which has parameter to be copied ( |B)).
2. Select the number to which the parameter will be copied. (Program number for the Program, Combination number for
the Combination and song number for the song stored in the sequencer.)
3. The parameter is copied from the specified effect parameter by pressing [COPY] (GJ).
39
NAMES OF THE EFFECT TYPES AND AN OUTLINE OF EFFECT PARAMETERS
(ORY)
REVERB Group mw.
EQ / REV
1. HALL
EFFECT 1 Hall Reverb Time [5]
Jeo DASE E46 HO4G L-65 H+e6 2:46
A B t D E F G H
Lf A
2. ENSEMBLE HALL
EFFECT 1 Ensemble Hall Fre Delas [mE]
2.5 DEE Ede HOSO 1-92 H+66 68:49
—A KB с D E F G H
НН НН еее АННА НЕЕ
3. CONCERT HALL
EFFECT 1 Concert Hall ER Level
3,6 0126 E46 HDdà L+B6 H-62 3:49
; A B с D E F 6 H
4. ROOM
EFFECT 1 Room High Dame [4]
| 8.5 DAZZ E76 HOLM |-+81 H-86 40:68
A В с D E F с H
=
5. LARGE ROOM
EFFECT 1 Large Room EQ Low [dB]
1.5 Desa Efé HOZA L+87 H+E4 60:48
A B с D E F G H
Неее еее НН НЕЕ)
6. LIVE STAGE
EFFECT 1 Live Stage ER High [dR]
<8 DEZE Eos HORE L+83 H+88 66:48
A B С 0 E F 6 H
— ff] a MD
PREDLY REVTIME
The natural, spacious ambience characteristic of a hall.
Similar to 41 Hall above, but especially suited for string
and brass ensemble sounds. |
Similar again to #1 Hall above, but with particular
emphasis on the early reflections characteristic of a large
hall.
The tight, well-defined reverberation patterns of a
relatively small room.
Emphasis here is on the relative density of the sound. An
effect similar to gating can be achieved when the reverb
time 1s set to 0.5 seconds.
Reverberation characteristics of a relatively large room.
Reverb Time 0.2~9.9 [Sec.] (HALL group)
0.2~5.0 [Sec.] (ROOM group)
Time before reverberation decays.
D | Pre Delay 0~200 [mSec] Time between the direct sound and the first early reflections.
E | E/R Level ‚| 0-90 Level of early reflections.
HD| High Damp 0-99 [%] The larger the value set, the faster the high frequencies are damped.
L |EQLow —12 — +12 [dB] Control for cutting or boosting the low frequency components.
H | EQ High —12 ~ +12 [dB] Control for cutting or boosting the high frequency components.
Dry: EFF Balance | DRY. 99:1 ~ 1:99. EFF
Output balance of direct sound and effect sound
* The equalizer parameters in the reverb group (Low EQ and High EQ) control the effect sound but not
the direct sound.
40
EARLY REFLECTION Group
Early Reflection 1s an effect that allows you to adjust only the early reflections, which are crucial in determining
the realism of the reverb sound as it would be heard in an actual room, separarte from the reverberant "wash."
Adjustment of the E/R TIME permits a wide range of effects, such as adding density to the sound or achieving
a "live" room sound with more discrete echoes and reflections. |
7. EARLY REFLECTION I
EFFECT 1 Early Fef 1 EE Time |
1785 ОС L+86 H+66 80740
A B С D E F G H
> (es res (ee (a a rs rite
8. EARLY REFLECTION II
EFFECT 1 Early Ref $ Fre Delay [m5]
2865 DEZA L+46 H+096 66:46
A 8 С D E F G H
— CD E CD a
9. EARLY REFLECTION III
EFFECT 1 Esrly Ref 3 ORY EFF Ezlance
1985 DATE L+86 H+66 £8:46
A B с D E F G H
This is an effective program for reinforcing the low
frequency range, as well as a general-purpose gating
effect for use on drum sounds.
Unlike EARLY REFLECTION I and EARLY
REFLECTION II, this effect uses a reverse envelope on
the early reflections. À reverse effect (similar to a tape
recorder being played backwards) can be applied to
sounds which have strong attack characteristics, such as
cymbals.
(ORY)
в
= nee
||
/ LN
PREDLY ERTIME
E/R Time 100~800 [mSec] | E/R time
D | Pre Delay | 0~200 [mSec] Time between direct sound and E/R sound
EQ Low —12 ~+12 [dB] Identical to corresponding parameters in the REVERB group
H | EQ High | -12 ~ +12 [dB] Gain to cut or boost the high range components
DRY:EFF | DRY.99:1~1:99. EFF | Output balance of direct sound and effect sound
Balance
* The equalizer parameters in the E/R group (Low EQ and High EQ) are applied to the effect sound but
not the direct sound.
41
DELAY Group
Delay patterns here make the use of a stereo configuration; the delay time can be set independently for the left
and right channels. The natural damping of high frequencies for more accurate reproduction of the decay of
high frequencies in an actual room can be achieved by using the high damp parameter.
10. STEREO DELAY
A stereo delay effect having two delay systems, each of which has a feedback circuit that sends part of the
sound back to the delay again. All parameters except delay time are set to the same value for the two delays.
EE 1 Stereo Delay Time L [MS] |
L +5
E
200 R268 F+56 HOLA L+38 H+06 78:39
A B D E F . G H
— 1 I |] bo
11. CROSS DELAY |
A stereo delay in which the feedback signal of each delay crosses over and is routed to the other delay.
EFFECT 1 Cross Delas — Feedback [7]
L186 R368 Р+88 НО19 L+08 H+09 78:38
A B с 0 E F G H
DIE EE A A DT AS N
L |Delay Time Left | 0~500 [mSec] Time between the direct sound and effect sound of the left
channel (Input A or C)
R |Delay Time Right | 0-500 [mSec] Time between the direct sound and effect sound of the right
- channel (Input B or D) |
F | Feedback —99 ~ +99 [%] Amount of feedback (negative values produce inverted
— | phase)
HD | High Damp 0-99 [7%] | | The larger the value set, the faster the frequencies are
| damped.
L |EQ Low —12 — +12 [dB] Control for cutting or boosting the low frequency
components.
H |EQHigh | —12 - +12 [аВ] Control for cutting or boosting the high frequency
components.
DRY:EFF Balance | DRY. 99:1 ~1:99, EFF | Output balance of direct sound and effect sound
42
CHORUS Group
This is a stereo effect that combines two chorus circuits and imparts a natural, warm and “fat” sound to any
instrument sound and is particularly effective with piano, strings and brass.
12. STEREO CHORUS I
A stereo effect that combines two chorus circuits. A swirling, constantly changing sound that moves between
the stereo outputs is created through phase inversion of the two circuits.
EFFECT 1 Chorus 1
М6 59.50 0910 ТВ]
Mod Depth
L+00 H+00 66140
В с D
E F в H
A
La ete frame (seal aa aren] ee samme]
13. STEREO CHORUS II
Similar to STEREO CHORUS I except that there is no phase inversion.
{ea}
EFFECT 1 Chorus 2
M20 52.48 DOGS SIN
tod Waveform
| +08 Н+08 69:40
= [co
A B С D
E F G H
ME ID IA e a A VD bays
M |Mod Depth 0-99 Intensity of modulation
[В] $ | Mod Speed 0.03~30 [Hz] Speed of modulation (frequency) |
D | Delay Time 0~200 [mSec] Time between direct sound and effect sound
Mod Waveform Selection of waveform
SIN Sine wave A
TRI Triangle wave Ay
L ¡EQLow —12-+12 [dB] Gain to cut or boost the low range components
H (EQ High |-12- +12 [dB] Gain to cut or boost the high range components
DRY:EFF Balance | DRY, 99:1 - 1:99, EFF | Output balance between direct sound and effect sound
43
FLANGER Group
This effect is achieved by the addition of feedback to the chorus effect. Since its pronounced swirling adds
color and motion, it is most effective with sounds that have many harmonics, such as cymbals.
14. STEREO FLANGER
A stereo effect that combines two flanger circuits. The swirling and swishing effect that moves expansively
between the stereo outputs is enhanced by phase inversion of the two flanger circuits.
EFFECT 1 Flanser Mod Derth
Me SA. 12 098 F-75 SIN L+86 H+G0 40:60
e
15. CROSS FLANGER
A flanger effect in which the feedback signal of each flanger circuit crosses over and is routed to the other
flanger. See #11 CROSS DELAY for more on feedback.
EFFECT 1 Cross Flanger Mod Speed [Hr]
Nr 58.21 025 F+8@ SIN L+00 H+0@ 25:7
M| ModDepth | 0~ 99 Depth of flanging effect
S | Mod Speed 0.03—30 [Hz] Speed of modulation
D | Delay Time 0~50[mSec] Time between direct sound and effect sound
F | Feedback _99 ~ +99 [%] Amount of feedback (negative values produce inverted phase)
Mod Selecting waveform
Waveform SIN Sine wave A
TRI Triangle wave A,
L | EQ Low —12 - +12 [dB] Gain to cut and boost the low range components
H | EQ High —12 — +12 [dB] Gain to cut or boost the high range components
H] DRY EFF DRY, 99:1 ~ 1:99, EFF Output balance between direct sound and effect sound
Balance
44
PHASE SHIFTER (Phaser) Group
Compared to the chorus and flanger programs, which use time delay to achieve their distinctive effects, the
phase shifter programs use both time delay and phase shifting to create a more pronounced swirling and
swishing sound than either chorus or flanger. It is most effective on electronic piano and guitar sounds.
16. PHASER 1
This is a stereo effect that combines two phaser circuits. The swirling and swishing effect that moves
expansively between the stereo outputs is enhanced by phase inversion of the two phaser circuits.
EFFECT | Fhaser 1 Maral
MHS9 SE.69 M6A F-75 SIN 25:75 Lo
D H |
+ PHASER |;
MOD
| = PHASER
E
17. PHASER II
Similar to PHASE SHIFTER I except that there is no phase inversion.
MESS 58.57 MES F+87 TRI — 66:46 в
EFFECT tL hacer 2 Feedback [X]
B
PE i i Es a a
и 4
PHASER
PHASER
MN [Manual 0~99 Center frequency which phase shift affects
S |Mod Speed 0.03~30 [Hz] Speed of modulation
M Mod Depth 0-99 Depth of phase shift |
F |Feedback —99 - +99 [%] Amount of feedback (negative values produce inverted phase)
Mod Waveform Selection of modulation
Ш waveform
SIN Sine wave NY
TRI Triangle wave A/
DRY:EFF Balance | DRY, 99:1 ~ 1:99, EFF | Output balance of direct sound and effect sound
45
TREMOLO Group
This effect periodically varies (or modulates) the volume.
18. STEREO TREMOLO I
This is a stereo effect that combines two tremolo circuits. The stereo effect is enhanced by phase inversion of
the two tremolo circuits and automatic panning between the left and right outputs.
EFFECT 1 Tremolo 1 Mod Depth
EFF
Ti
ME 51.59 SIN +59 L+98 H+08
D
A B с Е Е G H
19. STEREO TREMOLO II
Similar to STEREO TREMOLO I except that there is no phase inversion between the LFOs of the two tremolo
circuits.
EFFECT | Tremolo 2 Shape
MZ 54,08 TRI +88 L+96 H+96 EFF
- _
A 8 с Е Е G H
еее РНЕ DA CD CGT
Signal Level Waveform Shape
A SHAPE = -99
N с SHAPE = 0
SHAPE = +99
M | Mod Depth 0~99
Depth of tremolo effect
S | Mod Speed 10.03 ~ 30 [Hz]
Speed of modulation (tremolo effect)
Mod Waveform
Selection of modulation waveform
ISIN Sine wave VU
TRI Triangle wave /N/
S | Shape —99 - +99 Changing the modulation waveform (refer to the diagram above)
L | EQLow —12 — +12 [dB] Gain that cuts or boosts low range components
H | EQ High —12 — +12 [dB] _ Gain that cuts or boosts high range components
DRY:EFF DRY, 99:1 ~ 1:99, EFF
Balance
Output balance between direct sound and effect sound
46
EQUALIZER Group
20. EQUALIZER
This is a 2-band (low range and high range) equalizer. It decreases (cuts) or increases (boosts) the components
of each frequency range.
+80 5608
EFFECT 1 Eaualizer Low Gain [dB]
H+68 2K EFF
LOW GAIN HIGH GAIN
| +12dB
A B с D E F G
ii a a Rm Fea IN ZA зав
e Ne === - +
LOW Fc HIGH Fc
[A] L| Low Gain —12 — +12 [dB] | Gain which cuts or boosts low range components
Low Fc 250/500/1K [Hz] Low frequency point at which boost or cut will be made
(Low Cutoff)
H | High Gain -12 ~ +12 [dB] Gain that cuts or boosts the high range components
High Fc 1K/2K/4K [Hz] High frequency at which boost or cut will be made
DRY:EFF DRY, 99:1 ~ 1:99, EFF Output balance of direct sound and effect sound
Balance
47
OVERDRIVE Group
21. OVERDRIVE
This is an effect that simulates the overdrive used generally for guitars, and is particularly effective when
applied to guitar-like lines and solos.
EFFECT 1 Over Crive Orina
MAA LIZ M+EE 1K L+86 H+86 EFF us
EQ / OVERDRIVE |
D | Drive 0-99 Overdrive of input signal
L | Level 0-99 Output level of processed sound
L | EQ Low —12 — +12 [dB] Gain that cuts or boosts low range components
H | EQHigh | -12~ +12 [dB] Gain that cuts or boosts high range components
DRY:EFF | DRY, 99:1 ~ 1:99, EFF Output balance between direct sound and effect sound
Balance
22. DISTORTION
Compared with OVERDRIVE, this effect has a "dirtier" sound with more of a hard edge and is excellent for
simulating a fuzz distortion sound. As with OVERDRIVE, it is effective when used in solos.
EFFECT 1 Quer Drive Drive
DES Lis L+00 H+00 EFF va
EQ / DISTORTION |
Ne
| D | Distortion 0~99 Amount of distortion applied to the input signal
L |Level 0~99 Output level of distorted sound
L EQ Low —12 — +12 [dB] Gain that cuts or boosts low range components
DRY:EFF DRY, 99:1 ~ 1:99, EFF Output balance of direct sound and effect sound
Balance
48
EXCITER Group
23. EXCITER
This is an effect that increases the clarity of the sound, gives it greater definition and presence, and helps in
bringing the sound to the forefront.
EFFECT |
Е+39
A
Blend
L+86 H+4+G0 EFF
Exciter
ERES
Blend -99 — +99 Setting the balance of the unprocessed and the exciter signals
following the circuit.
Emphatic Point | 1-10 Central frequency emphasized by exciter
EQ Low ~12 ~ +12 [dB] Gain that cuts or boosts low range components
EQ High —12 — +12 [dB] Gain that cuts or boosts high range components
DRY:EFF DRY, 99:1— 1:99, EFF | Output balance of direct sound and effect sound
Balance
ENSEMBLE Group
24. SYMPHONIC ENSEMBLE
This effect is designed to be most effective for ensemble sounds like strings by applying greater modulation in |
a chorus-type program, |
EFFECT 1 Sumehonic Enz Mad Dept.
HE
Ft
L+56 H+6H
EQ / ENSEMBLE |
M | Mod Depth | 0-99 Depth of ensemble effect
L | EQLow —12 — +12 [dB] Gain that cuts or boosts low range components
H | EQHigh —12 ~ +12 [dB] Gain that cuts or boosts high range components
DRY:EFF DRY, 99:1 ~ 1:99, EFF Output balance between direct sound and effect sound
Balance |
49
ROTARY EFFECT
25. ROTARY SPEAKER
This effect is designed to duplicate the rotational (Leslie) speaker effect popular for organ sounds.
The speed changes characteristic of the Leslie speaker can also be made in real time with the use of a volume
pedal.
* The volume pedal normally assigned to control the dry sound/effect sound balance does not control
that parameter here, but is instead used to control the speed selection of the rotary effect. The pedal
works as a switch and the speed of the rotary effect gradually changes regardless of the speed with
which the pedal is moved.
EFFECT 1 Rotary SP Mod Depth
A в с D E F G H
DC UD A O o E MD
ROTARY SP
_/
M | Mod Depth 0-99 Depth of effect
R | SpeedRatio | ~10 ~ +10 Ratio of rotation speed of the high range speaker to the
rotation speed of the low range speaker
DRY:EFF DRY, 99:1 — 1:99, EFF Output balance of direct sound and effect sound
Balance
COMBINATION Effects Group
Effect programs 26 to 33 are combination effects in which different effects are assigned to the two channels.
Each effect can even be used in the two-system (Effect 1 and 2) configuration common to the other programs.
The diagram shows a parallel arrangement in which #26 DELA Y/HALL is selected for Effect 1 and #31
DELA Y/FLANGER for Effect 2.
* See the explanation of effect programs #1 to #26 for details about each effect.
* Parameters A to D correspond to one effect and E to H to the other one.
EFFECT 1
DELAY ML
REV 2/R
EFFECT 2
DELAY
FLANGER
50
26. DELAY/HALL
Reverb Time [5]
EFFECT 1 Oelas-Hal]
138 3.5 0855 НО48 68: 46
0258 F+56 HOLE 78
А В с о Е Е G H
=] |
DELAY
D | Delay time 0~500 [mSec] Time from direct sound to effect sound
F | Feedback -99 — +99 [%] Amount of feedback (negative values produce inverted phase)
Hp Hi oh Damp 0-99 [%] The larger the value set, the faster the high frequencies are
DRY:EFF Balance DRY, 99:1 — 1:99, EFF | Output balance of direct sound and effect sound
HALL
Reverb Time 0.2~ 9.9 [Sec] Time before reverberation decays.
D Pre Delay 0 ~ 150 [mSec] Time between the direct sound and the first early reflection.
HD High Damp 0-99 [%] The larger the value set, the faster the high frequencies are
damped.
DRY:EFF Balance | DR Y, 99:1 ~ 1:99, EFF | Output balance between direct sound and effect sound.
27. DELAY /ROOM
EFFECT 1 DCelaa-Room Pre Delay [má]
0259 F+3@ HOLA YESA 1,5 DEske HOSA sésd6
A 8 с D E F G H
— Ca EE CD A CD O
DELAY
D | Delay time 0 ~ 500 [mSec] Time from direct sound to effect sound
F | Feedback -99 — +99 [7] Amount of feedback (negative values produce inverted phase)
HD’ High Damp О - 99 [%| The larger the value set, the faster the high frequencies are
damped.
— | DRY:EFF Balance | DR Y, 99:1 — 1:99, EFF | Output balance of direct sound and effect sound
ROOM
Reverb Time . 10.250 [Sec] (ROOM) | Output level of processed sound
Pre Delay 0~150 [mSec] Time between the direct sound and first early reflections
HD | High Damp 0-99 [%] The larger the value set, the faster the high frequencies are
damped. |
DRY :EFF Balance | DRY, 99:1 ~ 1:99, EFF | Output balance between direct sound and effect sound.
Sl
28. DELAY/EARLY REFLECTION
EFFECT i DelazsE.Ref ER Tima [ms]
0z54 F+56 HOLA 79730 266 0838 ks dE
Ee i Sd i! A Баия
DELAY
D | Delay time 0-500 [mSec] Time from direct sound to effect sound
F | Feedback -99 ~ +99 [%] Amount of feedback (negative values produce inverted phase)
HD! High Damp 0-99 [%] The larger the value set, the faster the high frequencies are
damped.
DRY EFF Balance| DRY, 99:1 ~ 1:99, EFF | Output balance of direct sound and effect sound
EARLY REFLECTION
E/R Time | 100~400 [mSec] E/R time
[F]D | Pre Delay | 0~150 [mSec] Time between the direct sound and E/R sound
DRY:EFF | DRY, 99:1 -1:99, EFF Output balance of direct sound and effect sound
Balance
29. DELAY/DELAY
EFFECT 1
Delay Delay Time L [m3]
208 F+36 HOLA 79120 TEN F+568 HOLA 7er 3E6
A B с р E F G H
a EEE DE HD A DA aR EE
DELAY
Delay Time | 0 — 500 [mSec] Same as DELAY of #26 DELAY/HALL
F |Feedback | —99 — +99 [%]
[C] HD |High Damp | 0 ~ 99 [%]
[5] |DRY:EFF | DRY, 99:1 ~ 1:99, EFF
Balance |
DELAY
Delay Time | 0 ~ 500 [mSec] Same as above
[EJF |Feedback | -99 ~ +99 [%]
High Damp | 0 ~ 99 [%]
DRY :EFF DRY, 99:1 ~ 1:99, EFF
Balance
52
30. DELAY/CHORUS
EFFECT |
Olav Chorus
20 F+58 HOLA YECTO MÉS 6,38 TRI] 66:40
Mod Certh
A В с D E F G H
рее)
DELAY
Delay time | 0 ~ 500 [mSec] Same as DELAY of #26 DELAY/HALL
F | Feedback | —99 ~ +99 [%]
HD| High Damp | 0 ~99 [%]
[D] DRY:EFF | DRY, 99:1 ~ 1:99, EFF
Balance
CHORUS
M | Mod Depth 0 ~ 99 [7%] Intensity of modulation effect
Mod Speed 0.03 ~ 30 [Hz] Speed of modulation (frequency)
Mod Waveform Selection of waveform
SIN Mv Sine wave
TRI A, Triangle wave
DRY :EFF DRY, 99:1 ~ 1:99, EFF Sound volume balance of direct sound and effect sound
Balance
31. DELAY/FLANGER
EFFECT 1
DelasFlander
256 F+56 HDÍG 78:18 M70 9,18 F-75 48:
Mod Depth
6
yy
A B Cc D E F G H
A o A CD E a ОНЕОНИННИМ
DELAY
D ¡Delay time | 0-500 [mSec] Same as DELAY of #26 DELAY/HALL
Е |Feedback | —99 ~ +99 [%]
HD |High Damp | 0-99 [%]
DRY:EFF | DRY, 99:1 ~ 1:99, EFF
Balance
FLANGER
M | Mod Depth 0 ~ 99 [%] Depth of flanging effect
Mod Speed | 0.03 ~ 30 [Hz] Speed of modulation
Е | Feedback | -99 ~ +99 [%] Amount of feedback (negative values produce inverted phase)
DRY:EFF | DRY, 99:1 ~ 1:99, EFF | Output balance of direct sound and effect sound
Balance
53
32. DELAY/PHASER
EFFECT 1
la Phazer
Mod Speed Hz]
220 F+58 HD18 78:36 M6 0.69 F-75 25:75
A B С D E F G H
Pf meme mel fe se
DELAY
Delay time | 0 ~ 500 [mSec] Same as DELAY of #26 DELA Y/HALL
Е | Feedback | -99 ~ +99 [%]
HD | High Damp | 0 ~ 99 [%]
| DRY:EFF | DRY,99:1 ~ 1:99, EFF
| Balance
PHASER
М | Mod Depth | 0 ~ 100 [%] Depth of phase shift
[Е] Mod Speed | 0.03 ~ 30 [Hz] Speed of modulation
Feedback —99 — +99 [%] Amount of feedback (negative values produce inverted phase)
[H] DRY :EFF DRY, 99:1 ~ 1:99, EFF | Output balance of direct sound and effect sound
Balance
54
33. DELAY/TREMOLO
EFFECT 1 Delay/Tremolo Share
250 F+59 HDI 70:39 Mea 1.59 S+00 EFF
DELAY
D | Delay Time 0 ~ 500 [mSec] Same as Delay of 426 DELAY/HALL
F |Feedback -99 ~ +99 |
[€ HD | High Damp 0 ~ 99
DRY:EFF Balance | DRY, 99:1 ~ 1:99, EFF
TREMOLO
М [Mod Depth | 0 ~ 99 Depth of tremolo effect
Mod Speed | 0.03 ~ 30 [Hz] | Speed of modulation
$ |Shape -99 - +99 Changing the modulation waveform
DRY:EFF |DRY, 99:1 ~ 1:99, EFF | Output balance between direct sound and effect sound
Balance
55
RAMETERS DEFAULT VALUES CHART” 7
/ EFFECT PA
EFFECT A
HALL
ENSEMBLE HALL
CONCERT HALL
ROOM
LARGE ROOM
LIVE STAGE
EARLY REF 1
EARLY REF 2
EARLY REF 3
STEREO DELAY
CROSS DELAY
STEREO CHORUS 1
STEREO CHORUS 2
STEREO FLANGER
CROSS FLANGER
PHASER 1 *
PHASER 2 *
STEREO TREMOLO 1 *
STEREO TREMOLO 2 *
EQUALIZER
OVER DRIVE
DISTORTION
EXCITER
SYMPHONIC ENS
ROTARY SPEAKER *
DELAY/HALL
DELAY/ ROOM
DELAY/E. REF
DELAY/DELAY
DELAY CHORDS
DELAY/FLANGER
DELAY/PHASER
DELAY/TREMOLO
When using an effect marked with an asterisk (*) for one of the effects, neither #24 SYMPHONIC ENS nor #25
ROTARY SPEAKER can be selected for the other one.
NO.
57
4 --
COMBINATION MODE.
This mode allows you to select a Combination (combination of two or more Programs) and play it.
Combinations can be selected by the numeric keypad, UP/DOWN keys, footswitch (Prog/Combi Up/Down) or
MIDI program change.
*
Combinations within the internal memory are selected when the INT key is pressed, and Combinations
stored on card are selected when the CARD key is pressed.
To select Combinations by footswitch or MIDI, each function has to be set appropriately in the
GLOBAL Mode.
There is no limit on the number of simultaneous voices that can be sounded by each selected Program;
however, the total number of voices available cannot exceed 16. о
In the COMBINATION Mode, the effect setting of each Program is ignored and the effect setting in
the combination parameter is active.
When selecting and editing Programs in the PROGRAM and EDIT PROGRAM Mode and then moving
to the COMBINATION Mode, the selected Program will be indicated in COMBINATION Mode
displays by an asterisk in front of the Program number. (Edited programs can be monitored as part of
combinations in the COMBINATION Mode.)
In order to edit more than two programs, writing one program to memory is necessary before the
program can be called up again.
EDITING IN THE COMBINATION MODE
In the COMBINATION Mode, the program which is assigned to the Combination can be changed and the
volume of each Program can be adjusted.
*
E
All Combination parameters here can be edited in the EDIT COMBINATION Mode as well.
Writing the Combination to memory can only be done in the EDIT COMBINATION Mode.
The display indicating the COMBINATION Mode changes according to the setting of the Combination type.
(See p. 6] for more about Combination types.)
*
Changing the Combination type is done in the EDIT COMBINATION Mode.
SINGLE
COMBI ISA Basesingle Program
181 Е, Ваз Leus]=59
À с D E F G H
В р рр
Program 100 ~199 Selection of Program
C00~C99
[D] Level 0 ~ 99 Control of volume
LAYER
COMBI ISi Fiano+Tre Layer 1 Fro9ram
+188 A.Fiano L7a 192 Trumpet Laz
A В с D E F G H
a li li (ra Samed i il al
Layer 1 Program | 100-199 Program of layer 1
C00~ C99
L | Layer 1 Level 0 - 99 Volume of the Program assigned to layer 1
Layer 2 Program | 100-199 | Program of layer 2
C00~ C99
L | Layer 2 Level 0~ 99 Volume of the Program assigned to layer 2
58
SPLIT
COMET I62 UlnsT.Sax Ufrer Fro9ghram
#160 Violin L$3 IES Tenor Sax L99
Im Id umm [mesa ui) [am] ind
Lower Program | 100-199 Program assigned to the lower part of the keyboard
C00-C99 (lower than the split point)
L | Lower Level 0~ 99 Volume of the Program assigned to the lower part of the
keyboard
Upper Program 100 ~199 Program assigned to the upper part of the keyboard (higher
C00- C99 | than the split point)
L | Upper Level 0-99 Volume of the Program assigned to the upper part of the
keyboard
VELOCITY SWITCH
COMET IM FluterStr Loud Program
| #1688 Flute L99 IA Strings L79
A в Е Е H
ed el Бон be ee ee
[A] Soft Program 100 ~199 | Program that will sound when the keys are struck softly
| C00~ C99
L | Soft Level 0 — 99 Volume of the Program that will sound when the keys are
struck softly
Loud Program 100 ~199 Program that will sound when the keys are struck hard
C00~ C99
L | Loud Level 0-99 Volume of the Program that will sound when the keys are
struck hard
MULTI
COMET 164 Multilombi T1=E,Eass
181 182 10% 195 196 189 I1G 112
6 H
= с = SE =: ra (a
« Toggling between the two sets of displays is done by the
PAGE + key and the PAGE — key.
Timbre 1 Program | OFF/I00 ~I99, CO0~C99 Program assigned to Timbre 1
Timbre 2 Program | OFF/100 -199, C00 ~C99 Program assigned to Timbre 2
Timbre 3 Program | OFF/100 - 199, C00-C99 Program assigned to Timbre 3
[D] Timbre 4 Program | OFF/I00 ~I99, C00 ~C99 Program assigned to Timbre 4
Timbre 5 Program | OFF/100 ~199, C00 ~C99 Program assigned to Timbre 5
Timbre 6 Program | OFF/100 ~I99, C00 ~C99 Program assigned to Timbre 6
Timbre 7 Program | OFF/100- 199, C00-C99 Program assigned to Timbre 7
Timbre 8 Program | OFF/100 -199, C00-C99 Program assigned to Timbre 8
59
COMET 1684 MultiCombi Timbre 1 Level
9а 95 74 59 77 33 11 9%
A B С о Е Е G H
Timbre 1 Level | 0-99 Level of the Program assigned to Timbre 1
Timbre 2 Level 0-99 Level of the Program assigned to Timbre 2
Timbre 3 Level 0-99 Level of the Program assigned to Timbre 3
[D] Timbre 4 Level 0-99 Level of the Program assigned to Timbre 4
Timbre 5 Level 0-99 Level of the Program assigned to Timbre 5
Timbre 6 Level 0~99 Level of the Program assigned to Timbre 6
Timbre 7 Level 0-99 Level of the Program assigned to Timbre 7
Timbre 8 Level 0-99 Level of the Program assigned to Timbre 8
00
5 -- EDIT COMBINATION MODE
The COMBINATION Mode determines which and in what fashion Programs will be grouped together for play.
There are five Combination types: Single, Layer, Split, Velocity Switch and Multi. Each Combination has 1
to 8 Programs, parameters related to play and output (pan, level, MIDI channel, etc.) applicable to each
Program, and a pair of effect parameters.
* Only Programs that are selected in the COMBINATION Mode can be edited in this mode.
* After completion of any editing, write the Combination to memory using the Write Combination
function (F 9-1) and the Combination will be completed. (Combinations, which are not written to
memory, will be lost when selecting other Combinations in the COMBINATION Mode.)
When selecting Programs to make up a Combination, Programs in data cards can be selected 1f the data
card inserted has Program data stored on it. (Make certain that data cards used when playing have the
Programs needed by the Combinations you call up.)
COMBINATION TYPES
Single
A Combination type which is made up of only one
Program. Timbre
* When it is necessary (as in live performance) to
A
Program И =
switch quickly back and forth between a Program
and a Combination, store the Program beforehand TT
as a Single Combination so that any switching is
done strictly as a Combination change.
Layer Layer 1 | Program |
The playing of two Programs mixed or layered together. Layer 2 | Program] Effect
Split
The playing of two Programs separately depending
on which section of the keyboard is played. | [Program] | | [Program]
Lower mm + e Upper
l=
Velocity Switch Level
The playing of two Programs separately depending (volume) Sof oud
on how hard the keyboard is played. Program Program
: —
т > Velocity
Played softry < | 17, Played hard
Velocity switch point
Multi Key window
In Multi, up to 8 Programs can be assigned to any Timber 1 я | 7777 Pich range
MIDI channel, key range, or velocity range. Playing > ОТ of Program
the M1 as a multi-timbral synthesizer through
external MIDI control and other complex
possibilities not available in the other Combination > —»
types can be realized here.
61
COMMON FUNCTION OF EACH COMBINATION TYPE
* The first page of each function is selected when pressing the appropriate function number on the
numeric keypad (0 to 9). Select the page with the parameter to be edited by using the PAGE - key or
PAGE + key. |
* Refer to the explanation for each Combination type since Functions 1 through 7 differ depending on
which Combination type has been selected,
Page Parameter to be
Edited
0~1 | COMBINATION TYPE Selection of Combination type
8~1 | EFFECT 1 Selection of effect type for Effect 1
8 ~2 | EFFECT 1 PARAMETER Selection of Effect 1's parameter
8~3 | EFFECT 2 Selection of effect type for Effect 2
8~4 | EFFECT 2 PARAMETER Selection of Effect 2's parameter
8-5 | EFFECT PLACEMENT Assignment of Effects 1 and 2
8~ 6 | EFFECT COPY Copying of effect parameters
9-1 | WRITE COMBINATION Renaming and writing of Combinations
F 0-1 COMBINATION TYPE
COMBI I@@ COMBINATION TYPE
© SINGLE > [SELECT]
A в с 0 E F G H
COMBINATION TYPE | Selection of Combination type
SINGLE
LAYER
SPLIT
VELOCITY SW
MULTI
[С] [SELECT] Executing the selection
Select the Combination type. (See p. 61 for more on Combination types.)
Choose the type which differs from the present one, and press SELECT ( ); the type will then be changed.
(Any change is cancelled when moving to another page without pressing SELECT.)
EFFECT PARAMETERS
F8-1 Effect 1
F 8-2 Effect 1 Parameter
F 8-3 Effect 2
F8-4 Effect 2 Parameter
F 8 - 5 Effect Placement
F 8 - 6 Effect Copy
Descriptions of functions F 8 - 2 and F 8 - 4 are given in the Effect Parameter section following the EDIT
PROGRAM Mode chapter.
62
F8-1 EFFECT 1 EFFECT 1 |
cal: Hall » 0H
. A B € D E F 6. H
Selects the effect type for Effect 1.
EFFECT TYPE 01-33,
No Effect
SWITCH OFF/ON
[SELECT]
F 8-3 EFFECT 2
Selects the effect type for Effect 2.
Same as F 8 - 1 EFFECT |.
F 8-5 EFFECT PLACEMENT EFFECT FLACEMENT
SERIAL Fo =56:50 F4 = 56:56.
A B с D E F G H
ee re a) se] ve bases] el na]
Effect placement PARALLEL
| SERIAL
P3 Out 3 Panpot OFF
100:0 — 0:100
P4 Out 4 Panpot | OFF |
100:0 -0:100
This function sets the Effect Placement and Pan setting of Outputs 3 and 4. (See pp. 36-37 for more on
Effect Placement.)
F 8-6 EFFECT COPY EFFECT COPY |
| from (COMBINATION) — 166 [COPY]
fe)
A 8 с o E F G H
ol ma mal rares me me roses) nnd
PROGRAM
COMBINATION
SONG
[E] 100-199
0-9
[COPY]
See the Effect Parameter section (p.36) for descriptions of F 8 - 2 and F 8 - 4, as well as more about all of the
Effect functions. as |
*
Assigning effects to Programs can be done by Effect Copy (F 8 - 6).
63
F9-1 WRITE/RENAME (Write/Rename Combination)
COMET IGA Piano Ste Write Rename
L430 3 ГМЕТТЕЛ-- 2188
А В С D E F 5 H
[4] (Cursor left) Moving the cursor to the left for renaming
[>] (Cursor right) | Moving the cursor to the right for renaming
[Write] Executing the writing to memory
100 ~199, Writing to the Combination number
C00 ~C99
The write procedure stores the edited Combination in internal memory or RAM card.
1. The Combination name is written by using the [ 4] key ( [C]), [ » ] key ( [D] ), VALUE slider and the UP
and DOWN keys.
* Can be named with any numbers or characters up to a maximum of 10.
LEE (ok, AB ZTASETEGE 1 C=
ANECOEFGHIJE LANCER TUN ELE”
“abcdef9hidklmnopara tud |
bo
. Select the Combination number ( ) to be written to.
* 150 to I99 cannot be chosen when memory allocation is in the large sequence configuration.
* Card memory (C00 to C99 or CO0 to C49) can be selected when a formatted RAM card is inserted in
the front panel PROG/SEQ DATA slot.
3. Press Write ( [F]).
4. Press [YES] ( {G]) when the display shows "Are you sure?"
* The data which was written previously to the currently selected number is lost.
* The Write procedure can be cancelled by pressing [NO] ( ).
5. The message "Write Completed" appears when the Write procedure is finished.
* Select this page again when writing another Combination.
NOTE: In order to copy the Combination within the memory, select the Combination to be copied in the
COMBINATION Mode and write it to memory by using this page.
64
SINGLE TYPE FUNCTIONS
Page Parameter to be Edited
1-1 | PROG PANPOT Program number; output destination
F1-1 PROGRAM/PANPOT
COMBI 191 LAYER Layer 1 Program
169 A.Piano L78 162 Trumpet L82
A B с D E F a H
ers nese FEE [ZE Paro da eee bee
Program | 100-199, Selection of Program number
C00~C99
Level 0~99 Volume setting
Panpot A, 9:1 to Output destination
1:9, B, C,
C+D,D
NOTES:
Program selects the Program or preset voice.
Level sets the volume of the Program’s sound. The volume, when set to 99 is the full volume as set in the
Program parameter, and 0 mutes the Program completely.
Panpot determines the output to outputs A through D. Selection is as follows: A, A:B (in ratios from 9:1 -
1:9), B, C, C + D and D.
65
LAYER TYPE FUNCTIONS|
Page Parameter to be Edited
1-1 PROG/LEVEL Each Program's number and output level
1-2 PANPOT/DAMPER | Output destination (panpot); damper
F1-1 PROGRAM/LEVEL
COMET 161 LAYER Laser 1 Frogranm
194 4,Fiano L7 182 Trumeel LEZ
A B с D E f 6 H
mr haa mi o Pa Poo fo Co
Layer 1 Program 100-199, Selection of Layer 1's Program
C00-C99
L | Layer 1 Level 0-99 Layer 4's volume control
Layer 2 Program 100-199, Selection of Layer 2's Program
C00-C99
L | Layer 2 Level 0-90 Layer 2's volume control
F 1-2 PANPOT/DAMPER
COMBI 161 LAYER Lazer 1 Fanrot
5:5 ENA A EWA 1-12 0-58
A B ¢ р E F 6 H
aras swe Wessel o o ED E Do
| Layer 1 Panpot À, 9:1 to Layer l's output destination
1:9, В, С,
C+D, D
Layer 1 Damper DIS/ENA | Damper effect OFF/ON switch for Layer 1
Layer 2 Panpot A, 9:1 to Layer 2's output destination
1:9, В, С,
C+D, D
Layer 2 Damper DIS/ENA | Damper effect OFF/ON switch for Layer 2
I (Interval —12— +12 Adjustment of Layer 2's pitch in semitones over a range of +1 octave
[H]D Detune —50-+50 | Fine adjustment of Layer 2's pitch in
| | 1-cent steps
66
NOTES:
Program 1 selects the Program (preset voice) of Layer 1.
Layer 1 Level sets the level (volume) of Layer 1. The volume, when set to 99 is the full volume as set in the
Program parameter, and 0 mutes the Program completely.
Layer 2 Program selects the Program (preset voice) of Layer 2. (Same as Program 1.)
Layer 2 Level sets the level (volume) of the Layer 2. (Same as Level 1.)
Layer 1 Panpot assigns the output of Layer 1 to outputs A through D. The selection 1s as follows: A, A:B (9:1
to 1:9), B, C, C + D and D.
* When the Drum Kit Program is selected, the display shows "SND" and the Panpot setting in the
GLOBAL Mode is operative.
Damper has no effect on the Program of Layer 1 when Layer 1 Damper is set to DIS.
Panpot 2 assigns the output of the Layer 2 to outputs A through D. The selection is as follows: A, A:B (9:1
to 1:9), B, C, C + D and D.
Damper has no effect on the Program of Layer 2 when Layer 2 Damper is set to DIS.
Interval permits changing of the pitch of Layer 2’s Program by semitone steps within the range of -12 to +12.
By changing the pitch of Layer 2 in this way, automatic harmonies can be played.
Detune allows for even finer adjustment of the pitch of Layer 2 in 1-cent steps within a range of -50 to +50.
A thick sound can be obtained by slightly detuning Layer 2 relative to Layer 1.
67
SPLIT TYPE FUNCTIONS
Page Parameter to be Edited
PROG/SPLIT
1-1 Selection of Program number, split point
1-2 |LEVEL/PANPOT/ DAMPER Each Program's output level, destination and danper setting
F1-1PROGRAM/SPLIT
COMET IAZ KEY SPLIT
169 Violin SP=C4
Lower Frodram
195 Tenor Sax
A B с D E E G H
a (o fans brest mate ben) bone ee
| Lower Program | 100-199, Selection of the Program lower than the split point
C00-C99
Split Point C-1to G9 | Setting the split point
Upper Program | 100-199, Selection of the Program higher than the split point
С00-С99
F 1 -2 LEVEL/PAN/DAMPER
COMEI 162 KEY SFLIT Louer Level
L39 1:2 ENA Le? E EMEA
A B С 0 Е F G H
re ho o Io E be DD jm
L | Lower Level
0-99 The lower Program's volume control
Lower Panpot | A,9:1to | Lower Program's output destination
1:9, B, C,
C+D,D
Lower Damper | DIS/ENA | Damper effect OFF/ON switch for lower Program
Upper Level 0-99 The upper Program's volume control
Upper Panpot A, 9:1 to Upper Program's output destination
1:9, B, C,
C+D,D
Upper Damper | DIS/ENA | Damper effect OFF/ON switch for lower Program
68
NOTES:
Lower Program selects the Program which sounds when playing keys lower than the split point.
Split point sets the keyboard position at which the sounds are separated.
Upper Program selects the Program which sounds when playing keys higher than the split point.
* Split point is the lowest key in the upper Program.
Lower Level sets the level (volume) of the lower Program. The volume, when set to 99 is the full volume as
set in the Program parameter, and 0 mutes the Program completely.
Lower Panpot assigns the output of the lower Program to outputs A through D. The selection is as follows: A,
A:B (9:1 to 1:9), B, C, C + D, and D. |
Damper has no effect on the lower Program when Lower Damper is set to DIS.
Upper Level sets the level (volume) of the upper Program. The volume, when set to 99 1s the full volume as
set in the Program parameter, and 0 mutes the Program completely. |
Upper Panpot assigns the output of the upper Program to outputs A through D. The selection is as follows: A,
A:B (9:1 to 1:9), B, C, C + D, and D.
Damper has no effect on the upper Program when Upper Damper is set to DIS. |
69
VELOCITY SWITCH TYPE FUNCTIONS
Page Parameter to be Edited
1-1 |PROGRAM/ VELOCITY Each Program's number, velocity switch point
1-2 |LEVEL/PANPOT/ DAMPER Each Program's output level, destination (panpot), damper setting
F1-1 PROGRAM/VELOCITY
COMBI IB3 VELOCITY SW
143 Flute .
UP=0985
Soft Program
118 Strings
A В с 0 Е Е
— —]]—]..[—]——]——] a
Soft Program 100-199, | Selection of the Program that sounds when playing softer than the velocity
CO0~C99 | switch point
VP | Vel. Sw. Point | 1-127 Setting the velocity value of the velocity switch
Loud Program — | 100-199, | Selection of the Program that sounds when playing harder than the
| C00-C99 | velocity switch point
F 1-2 LEVEL/PAN/DAMPER
LES
COMBI 143 VELOCITY Su
BE EMA
Las
L | Soft Level 0-99 The soft Program's volume control
Soft Panpot A, 9:1 to | Soft Program's output destination
1:9, В, С,
C+D, D
Soft Damper DIS/ENA | Damper effect OFF/ON switch for soft Program
[E]L | Loud Level 0-99 The loud Program's volume control
Loud Panpot A, 9:1to | Loud Program's output destination
| 1:9, В, С,
C+D,D
Loud Damper | DIS/ENA | Damper effect OFF/ON switch for loud Program
70
NOTES:
Soft Program selects the Program which sounds when playing at a velocity lower than that of the velocity switch
point.
Velocity SW (Switch) Point sets the velocity value at which the two Programs are separated.
Loud Program selects the Program which sounds when playing at a velocity higher than that of the velocity
switch point.
* If the Velocity SW point is set to 1, the soft Program will not sound.
Soft Level sets the level (volume) of the soft Program. The volume, when set to 99 is the full volume as set in
the Program parameter, and 0 mutes the Program completely.
Soft Panpot assigns the output of the soft Program to outputs A through D. The selection is as follows: A, A:B
(9:1 to 1:9), B, C, C + D, and D.
* When the Drum Kit Program is selected, the display shows "SND" and the Panpot setting in the
GLOBAL Mode is operative.
Damper has no effect on the soft Program when Soft Damper is set to DIS.
Loud Level sets the level (volume) of the loud Program. The volume, when set to 99 is the full volume as set
in the Program parameter, and 0 mutes the Program completely.
Loud Panpot assigns the output of the loud Program to outputs A through D. The selection i is as follows: A,
A:B (9:1 to 1:9), B, C, C + D, and D. |
Damper has no effect on the loud Program when Loud Damper is set to DIS.
71
MULTI TYPE FUNCTIONS)
Page Parameter to be Edited
1-1 | PROGRAM SELECT Program which is assigned to each Timbre
2-1 | MIDI CH MIDI receiving channel of each Timbre
3-1 | KEY WINDOW TOP Top key setting of each Timbre's range
2 | K WINDOW BOTTOM Bottom key of each Timbre's range
3 | VEL WINDOW TOP Top velocity value of the velocity switch of each Timbre
4 | V. WINDOW BOTTOM Bottom velocity value of the velocity switch of each Timbre
4-1 | OUTPUT LEVEL Level of each Timbre
5—1 | KEY TRANSPOSE Transpose setting of each Timbre
2 | DETUNE Detune setting of each Timbre
6—1 | PANPOT Output destination of each Timbre
7-1 | MIDI PROGRAM CHG MIDI program change receiving switch of each Timbre
2 | DAMPER Damper effect receiving switch of each Timbre
3 | AFTER TOUCH After touch effect receiving switch of cach Timbre
4 | CONTROL CHANGE Control effect receiving switch of each Timbre
F 1-1 PROGRAM SELECT
COMET IS4 FROGRAM SELECT
ln. ooo frame! Gaves Бонни
A
T1=E.Eass г
«тег lee lez 168 106 109 MA 112 Timbre 1 | OFF/100 ~199 | Selection of the
11 = = = . - - нее 23 HE : C00 ~C99 | Program for each
e o aa — Timbre
Timbre 2 | OFF/I00 ~ 199
C00 ~ C99
Timbre 3 | OFF/I00 ~ 199
C00 ~ C99
Timbre 4 | OFF/100 - 199
C00 ~ C99
Timbre 5 | OFF/100 - 199
C00 ~ C99
Timbre 6 | OFF/100 - 199
C00 ~ C99
Timbre 7 | ОЕЕЛОО - 199
C00 ~ C99
Timbre 8 | OFF/100 ~ 199
| C00 ~ C99
Selects the Program (sound color) of each Timbre. Timbres set to "OFF" do not sound.
72
F 2-1 MIDI CH (MIDI Channel)
COMBI IG4 MIDI CH Ti=E,Bazs
16 = q il ld 15 16
A B с D H
a Ee ee ed oe) i Ea) Ба
This function sets the MIDI receiving channel for each Timbre.
channel is set for each Timbre.
Timbre 1 |1~16
Timbre 2 |1~16
Timbre 3 | 1~ 16
Timbre 4 | 1 ~16
Timbre 5 |1 +16
Timbre 6 |1~ 16
Timbre 7 |1~16
Timbre 8
1-16
Selection of the MIDI
receive channel of
each Timbre
Playing eight separate Programs
simultaneously is possible with multi-channel MIDI data received through MIDI IN, when a different MIDI
Program change, pitch bend, after touch and control change parameters receive data over the MIDI channel set
for each Timbre. (Reception of this data can be turned off in functions 7-1 through 7-4.)
When playing the keyboard of the M1, only the Timbres which are set to the same channel as the MIDI Global
channel (GLOBAL Mode, F 5-1) will sound.
Real time performance controls such as joy stick and after touch affect only the Timbres whose channels are
the same as the Global channel. (It is possible to turn these controls off in functions 7-1 through 7-4.) -
When the receiving channelis the same as the Global channel, "G" is displayed after the number.
F3-1 KEY WINDOW TOP
COMET 184 KEY MIHDOM TOR T1=E
[]
Baz
DEA Gi EZ Dd GS E6 &
fe
G2
A B É a] E F G H
lumen o Ju hac o Da (DS eee
Timbre1 |C -1~G9
Timbre 2 |C -1~G9
Timbre 3 |C -1~G9
Timbre 4 |C -1~ G9
Timbre 5 | C -1~G9
Timbre 6 | С -1~ G9
Timbre 7 | С -1~ G9
Timbre 8 | С -1 ~ G9
Selection of the top key of
cach Timbre's range
73
F3-2 KEY WINDOW BOTTOM
COMET 164 K.WINDOW BOTTOM T1=E.Bass
C-1 ES GH CI E4 G#S CF Es
Timbre 1 | C-1~ G9 | Set the bottom key of each
Timbre's range
Timbre 2 | C-1~ G9
Timbre 3 | C-1 ~ G9 |
Timbre 4 | C-1- G9
Timbre 5 | C-1~ G9
Timbre 6 | C-1~ G9
Timbre 7 | C-1 ~ G9
= ©) =] | [=] | [a] | [a] | [=]| E)
Timbre 8 | C-1 ~ G9
Key Window sets the range over the keyboard at which a Program will sound (key window) and shuts off the
sound outside of that range. Through the use of this function, several Programs can be played at different key
positions.
ЧР
OE ae EE
Li Range of sound that will be output
1
I
Key Window Bottom Key Window Top
(Only the range defined by the key window top and the key window bottom will sound.)
*
The key window top point cannot be set to a lower value than the key window bottom point. (When
the key window top value is set lower than the key window bottom, the key window bottom value 1s
automatically adjusted to a semitone below key window top.)
F 3-3 VEL. WINDOW TOP (Velocity Window Top)
COMED 184 UEL.WIMOOW TOF T
B16 921 033 057 972 092
A B с D Е F G
Timbre 1 | 1 ~ 127 Sets the maximum
velocity value at which
Timbre 2? | 1 — 127 each Timbre will sound
pa
il
2 IT]
| ad
i=
fry
Fi
==
ny
=.)
>]
Timbre 3 |1 ~ 127
Timbre 4 | 1 — 127
Timbre 5 | 1 ~ 127
Timbre 6 | 1 ~ 127
Timbre 7 | 1 ~ 127
[=] | [€] | 7] | =] | [5] | (o) | e
Timbre 8 | 1 ~ 127
J
>
F3-4 V. WINDOW BOTTOM (Velocity Window Bottom)
COMBI 104 U.WIHDOW BOTTOM T1=E.Bass
gal 6160 cl? B20 B31 851 069 076
A B с 0 E F G H
fumas] ha bas jo We CD hos Benne)
VELOCITY WINDOW
Timbre 1 | 1 ~127
Timbre 2 | 1 ~127
Timbre 3 | 1- 127
Timbre 4 | 1- 127
Timbre 5 | 1~ 127
Timbre 6 | 1~ 127
Timbre 7 | 1 ~ 127
Timbre 8 | 1 ~ 127
Sets the minimum velocity
value at which each Timbre
will sound
Velocity Window sets the range at which Timbres will sound according to the strength at which the keyboard
is played.
keyboardist maximum expressive control.
» EXAMPLE
Bottom = 25 Top = 100
In other words, different Timbres can be sounded with different playing strengths to give the
(The Timbre will sound only when playing with at a
velocity value between the velocity window top and the
velocity window bottom.)
* The velocity window top point cannot be set to a
lower value than the velocity window bottom point.
Level
(Volume)
Velocity
0 > 127
Under 25€ Over 100
Velocity range over
which timbre will sound
F4-1 OUTPUT LEVEL
COMET 194 OUTPUT LEVEL Т1=Е. Е
a5
AUT E
Ра 36 FF 50 1196
С G
B D E F H
himen a Co hr base me eee bee
Zi
= =
A
Timbre 1 | 0-99
Timbre 2 | 0-99
Timbre 3 | 0-99
Timbre 4 | O~ 99
Timbre 5 | 0~99
Timbre 6 | 0-99
Timbre 7 | 0~99
Timbre 8 | 0~99
Control of the output level
of each Timbre
* This sets the level (volume) of each Timbre. The volume, when set to 99 is the full volume as set in
the Program parameter, and the Timbre does not sound at a setting of 0.
75
F 5-1 KEY TRANSPOSE
COMBI 194 TRANSPOSE T1=E.Eazz
+12 +61 -869 -12 +66 -G1 +6G +00
À a С 0 E F G H
[A] |Timbre 1 |-12-+12
Timbre 2 |-12 ~+12
Timbre 3 | -12~ +12
[D] | Timbre 4 | -12~+12
Timbre 5 | -12—+12
Timbre 6 | -12 ~+12
Timbre 7 |-12-+12
Timbre 8 |-12-+12
Adjusts the pitch of each
Timbre in semitone steps
over a range of +1 octave
* Allows for transposition of each Timbre in semitone steps either up or down one octave.
F 35-2 DETUNE
COMET 184 DETUNE
+88 -62 +14 -56
+54 +19
A B
F G H
С
E ha ha Eo Cor oro a
Timbre 1 |-50 ~ +50
Timbre2 |-50-+50
Timbre 3 | -50 ~ +50
Timbre 4 | -50 ~ +50
Timbre 5 | -50~ +50
Timbre 6 | -50 ~ +50
Timbre 7 | -50~ +50
Timbre 8 | -50- +50
Adjusts the pitch of each
Timbre in 1-cent steps over
a range of +50 cents
* Allows for fine setting of the pitch of each Timbre in units of | cent within a range of -50 and +50 (one
semitone).
76
F 6-1 PANPOT
COMET 184 PANFOT T1=E, Bass
в 8:2 C 37 BEC C+D OD
A B C
D E F G H -
po == [|
Timbre 1 | A, (9:1 to 1:9), Sets the output
B, C, C+D, and D. | destination of each
Timbre
Timbre 2 | A, (9:1 to 1:9),
B, C, C+D, and D.
Timbre 3 | A, (9:1 to 1:9),
B, C, C+D, and D.
Timbre 4 | A, (9:1 to 1:9),
| B,C, C+D, and D.
Timbre 5 | A, (9:1 to 1:9),
B, C, C+D, and D.
Timbre 6 | A, (9:1 to 1:9),
B, C, C+D, and D.
Timbre 7 | A, (9:1 to 1:9),
B, C, C+D, and D.
Timbre 8 | A, (9:1 to 1:9),
B
,C, C+D, and D.
* Timbre Pan assigns the output of each Timbre to outputs A through D. The selection is as follows: A,
A:B (9:1 to 1:9), B, C, C + D, and D.
GLOBAL Mode is operative.
F7-1 MIDI PROG CHG (MIDI Program Change)
COMET 194 MIOI FROG CHS
When the Drum Kit Program is selected, the display shows "SND" and the Panpot setting in the
Ti=E, Bass
EMA DIS EMA EME DIS DIS CIS EMEA
A B с D E F G H
rss o Vol fo ee) [DD esse
Timbre 1 | DIS/ENA | Determines whether or not
MIDI program change (and
Timbre 2 | DIS/ENA | Combination change)
— messages are received.
Timbre 3 | DIS/ENA
Timbre 4 | DIS/ENA
Timbre 5 | DIS/ENA
Timbre 6 | DIS/ENA
Timbre 7 | DIS/ENA
Timbre 8 | DIS/ENA
* A Timbre for which MIDI PROG CHG (MIDI Program Change) is set to DIS does not change its .
Program when MIDI program change messages are received.
NOTE: When receiving program change messages over the Global Channel, Combination changes are
‘executed regardless of the setting made here.
77
F7-2 DAMPER
COMBI 184 DAMPER Т1=Е. Ва=5
DIS DIS DIS DIS DIS EHR EMA DIS
o a я Ня Бон оны
F7-3 AFTER TOUCH
COMET Imá AFTER TOUCH Ti=E, Bass
EMA EMA EMA EMA EMA ENA DIS EMEA
A B с D E EF 6 H
Fi A ED VEA CEDE re ed re
Sets whether the after touch effect is available or not.
function.)
F7-4 CONTROL CHANGE
COMET 184 CONTROL CHANGE
EME EMA DIS ENA DIS
Ti=E, Bass
EHR CIS EHNA
A a E о Е Е 6 H
[om ha Co jo (a ie Ca en fn
a
>
Timbre 1
DIS/ENA
Timbre 2
DIS/ENA
Timbre 3
DIS/ENA
Timbre 4
DIS/ENA
Timbre 5 |
DIS/ENA
Timbre 6
DIS/ENA
Timbre 7
DIS/ENA
Timbre 8
DIS/ENA
Determines whether the
damper effect is active or not
(Damper will not affect
Timbres that are set to DIS
1n this function.)
>]
Timbre 1
DIS/ENA
Timbre 2
DIS/ENA
Timbre 3
DIS/ENA
Timbre 4
DIS/ENA
Timbre 5
DIS/ENA
Timbre 6
DIS/ENA
Timbre 7
DIS/ENA
| | [=] | [5] | Lal | [=]
Timbre 8
DIS/ENA
Determines whether after
touch control will be active
or not
(After touch will not affect Timbres set to DIS in this
Timbre 1
DIS/ENA
Timbre 2
DIS/ENA
Timbre 3
DIS/ENA
Timbre 4
DIS/ENA
Timbre 5
DIS/ENA
=) | el [=| [a] | [=] | >]
Timbre 6
DIS/ENA
Timbre 7
DIS/ENA
+ Timbre 8
DIS/ENA
Determines whether or not
control change messages
(joy stick, MIDI volume,
etc.) will effect each Timbre
(Control change has no
effect on Timbres set to DIS
in this function.)
78
SEQUENCER MODE
Since an 8-track sequencer is installed in the MI, you can easily create your own songs complete with
multi-timbral instrumentation by specifying the Program that will be used on each track and by recording play
data from the M1's keyboard.
* In this mode songs (play data) can be recorded, played back and edited; moreover, other song
parameters (such as effect settings to be used for playback) can be edited.
* In this mode the memory is edited directly.
* The Program used when playing the keyboard for recording is the Program that will be assigned to the
current track of the selected song.
* The amount of data that can be memorized is limited as to the total number of songs, patterns and steps
(music notes).
STRUCTURE OF SONGS
Sequencer play data together with related parameters recorded in 8 or less tracks is referred to as a "song."
Fos SONG = =m mom me ol ;
| |
[ ]
| Song Parameter TRACK 1 Parameter Play data of Track 1
| [Tempo, beat, etc.] (Program no., Program, MIDI channel, etc.) |
. |
| TRACK 2 Play data of Track 2 |
|
| TRACK 3 Play data of Track 3 '
| |
| TRACK 4 Play data of Track 4 |
i - 1
| TRACK 5 — | Play data of Track 5 |
| I
] = 1
| TRACK 6 Play data of Track 6 |
|
| TRACK 7 Play data of Track 7 |
~~ EFFECT ----- - о
| ! Setting the effect to | TRACK 8 Play data of Track 8 |
| | be used in the song |
* 1 Program (1 sound color) can be assigned to 1 track. It is possible to change | each track’s Program
in the middle of the song.
* Each track can store play data of up to 250 measures.
* 1 song can consist of up to 8 tracks.
* 10 songs, numbered from 0 to 9, can be created.
* The Ml’s internal sound source can provide a maximum of 16 oscillators for use in all the tracks
combined.
* In the Sequencer Mode the effect setting of each program is ignored and the effect setting within the
song parameter 1s active. :
Each track of a song can be made in the 3 following ways:
(1) Real time recording
This is the most basic method in that the data played by keys is directly memorized. The real time recording
page is selected by default when the SEQUENCER Mode is called up.
(2) Step recording
~ This is a recording method that specifies, step by step, the length and velocity (volume) of each note by numeric
value, and the pitch by key.
(3) Pattern method
79
Rhythmic patterns, loops, verse/chorus sections and so on can be made by combining patterns (made up of play
data of 1- to 8-measure lengths).
STRUCTURE OF PATTERNS
The MI can store 100 kinds of patterns (made up of play data of 1- to §-measure lengths) in addition to the
play data capacity of 10 songs. When the same phrase appears more than twice in a song, memory can be
economized by replacing the phrase to a pattern.
eer PATTERN
|
| Pattern Parameter Play data
| (Rhythm, number of measures etc.)
|
|
LH 0m = 0
* As long as the rhythm is the same, the created pattern can be used for any track of the song.
* It is possible to make a track which includes both play data and patterns but both cannot occupy the
same measure.
Patterns can be made in the following three different ways:
(1) Real time recording
Notes played on the keyboard are directly memorized as data. As opposed to the normal recording of tracks,
patterns can be recorded by repeated overdubbing. (Patterns of the Drum Kit can be recorded by using drum
sounds.)
(2) Step Recording
This method is used to input each note by specifying its pitch and length.
(3) Copying from track
Patterns can be made by copying the play data in the track.
EDITING SEQUENCER DATA
There are two kinds of editing methods used in the SEQUENCER Mode: 1) changing of parameters and 2) direct
editing of the play data itself.
TO BE EDITED EDITING PARAMETER EDITING PLAY DATA
Song Song Parameter | Initialize
Track Track Parameter Copy, Bounce, Erase
Measure Assignment of pattern
or Copying, etc.
Pattern Copy, etc.
Event Event Edit
When it is neccesary to erase the existing play data in order to edit the play data, the following display appears
on the screen, upon pressing of [EXEC] ( IG] key)
SONES SOHG IHITIALIZE
Are You Sure 7 EYES] INGOT
A В с D E F 6 H
re ra ose Ew er] Mums] u ei
Existing data will be deleted when pressing [YES] (|G [С] key) and editing will be executed. It can be cancelled
by pressing [NO] ( [H| key).
80
FUNCTIONS OF SEQUENCER MODE
* The first page of each function is selected when pressing the numeric keypad (0 to 9). Select the page
to be edited by using these keys along with the PAGE + and PAGE - keys.
F0-1 | REC/PLAY (REAL TIME) | Play/real time recording/punch-in recording
F0-2 | REC SET UP (PUNCH) | Setting resolution, metronome, punch in/out
F0-3 | REC MULTI CHANNEL Setting multi-channel recording (Rec/Play)
F1-1 | TRACK PROGRAM Program number of each track
F1-2| TRACK VOLUME Volume of each track
F1-3| TRACK STATUS MIDI output, ON/OFF of internal voices on each track
F1-4 | MIDI CH | MIDI channel of each track
F2-1|STEP RECORDING Step recording
F3-1{SONG PARAMETER Setting song name, tempo and following song
F3-2 [SONG INITIALIZE Returning to default settings of the song (erases existing data) and sets the
time signature
F4-1| TRACK PARAMETER Setting Program, volume, etc. of each track
F4-2 [TRACK COPY/BOUNCE Copying and bouncing from track to track
F4-3 TRACK ERASE Erasing track data
F5-1|PUT/COPY PATTERN Assignment and copying of patterns to measures
F5-2| MEASURE COPY Copying of the specified measure
F5-3| MEASURE INS/DEL/ERA Inserting/deleting/erasing the specified measure
F5-4 MEASURE QUANTIZE Adjusting automatically the timing of all notes in a specified measure
F6-1 | PATTERN REAL TIME Real time recording of patterns
F6-2| PATTERN STEP REC Step recording of patterns
F6-3| PATTERN INITIALIZE Erasing patterns and setting time signature and length of patterns
F6-4| PATTERN GET Copying data in track to patterns
F6-5| PATTERN COPY/BOUNCE Copying and bouncing from pattern to pattern
F7-1| EVENT Editing events
F8-1| EFFECT 1 (TYPE) Selecting effect
F8-2| EFFECT 1 PARAMETER Parameter of Effect 1
F8-3| EFFECT 2 (TYPE) Selecting Effect
F8-4| EFFECT 2 PARAMETER Parameter of Effect 2
F8-5| EFFECT PLACEMENT | Assigning Effects 1 and 2
F8-6{ EFFECT COPY Copying the effect parameter
F9-1 EXCHANGE ALL SEQ Exchanging sequencer data between internal memory and card
F9-2| LOAD 1 SONG Loading 1 song from card
F9-3| LOAD 1 PATTERN Loading 1 pattern from card
81
F0-1 PLAY/REAL TIME RECORDING
SURGE Hew Sora ISA Fes
RP Sora Tri MBBi J=128 *IGái 1929 CH1]
H
A в с - о Е Е G
Cra bs ha o Va De Es E
Mode R/P Regular play/recording
P.IN Punch-in recording
| Song (Song Number) 0-9 Song number to be played recorded
Tr | Track (Track Number) 1-8 Track number to be used
MLT Specifying multi-channel recording
Measure 1-250 Measure number
Tempo (tempo) 40-208 Tempo (beats per minute)
Prog = … (Program) OFF, 100 to 199| Program number of current track
C00 to C99 |
V | Volume (volume) 0-99 Volume of current track
[» <] Returning to the beginning of the song (first measure)
(Measure Reset)
Play
Select the song number to be played ( ) and press the START/STOP key. Play is stopped by pressing the
START/STOP Key while playing and is restarted by pressing the STAR T/STOP key again. When the song 15
finished playing, another song is played (if song change is set), or the sequencer stops and resets the measure
back to zero (if another song is not set). |
* Pressing the START/STOP key in any mode automatically accesses this page and starts playing a song.
* Other modes or functions cannot be selected during play.
* Tempo ( ), Program ( ) and volume ( ) can be changed during play. However, when these
data are included as part of the play data, the values are fixed.
* Songs inside the card can be selected for play by pressing the card key when the memory card which
has sequence data is inserted in the PROG/SEQ DATA slot.
Starting Play from Midway Point of Song
Change the measure number ( ) when the sequencer is stopped and press the START/STOP key; play will
start from that measure. However, the Program selected or controller value might be different from the original
recording when program changes or control changes are included in the play data.
The sequencer of the M1 can be played simultaneously along with rhythm machines or external sequencers
connected by MIDI. (This is referred to as synchronization or "syncing.") Set the clock source of the MI to
"internal" and the other to "external" (in the GLOBAL Mode), then connect the MIDI OUT terminal of the M1
with the MIDI IN terminal of the external device.
MIDI MIDI |
| OUT IN
Clock Source = em E Source = External
* Set the clock source of the M1 in the GLOBAL Mode (F 5-1). (Refer also to the owner’s manual of
the MIDI device to be connected.)
* Operations such as START/STOP should be executed from the device on which clock source 1s set to
internal.
82
* If the MIDI device to be used supports song select or song position pointer functions, the sequencer
can be started from the same point in the same song even when changing measures.
Real Time Recording
When recording a new song, first erase the data of the previous song by using F 3 - 2, INITIALIZE SONG and
set the time signature.
1. Set the mode ( [A]) to R/P and select the song ( |B] ) and the track ( |C]) to be recorded.
2. Set the tempo ( ) of the song and set the Program ( ) and the volume ( ) of the track.
3. Press the START/STOP key after pressing the REC key; it will light up.
4. Recording starts after a lead-in of two measures, In addition to note data (from playing from the keyboard),
after touch, joy stick, foot controller, tempo ( |E [E] ) (over a range of -50% to +50%), Program change (|F| [F] ),
and volume ( [С ), as well as external data from MIDI IN are recorded. If other tracks have been already
recorded, they also are played at the same time. |
5. The measure is reset when stopping the recording by pressing the START/STOP key. A recorded song can
be played back immediately by pressing the START/STOP key again. When re-recording, press the
START/STOP key after pressing the REC key.
* When recording on tracks which already have recorded song data, the previous data is erased.
* Setting resolution or metronome to ON/OFF in the next page affects the recorded tracks.
* Recording in the R/P mode is always executed from the first measure. (Recording from the middle can
be done by punch-in recording.)
* Other modes or functions cannot be selected while recording.
* Tempo change affects all 8 tracks, no matter on what track it is recorded. (Therefore, unnatural and
unexpected effects may result when several tracks include tempo change.)
NOTE: Memory space equal to 1 step is taken up by a single bar line. Memory of 2 steps is taken up by notes
which bridge over the bar line. |
NOTE: After touch and other controller data comsume a great deal of memory. № is recommended to set the
after touch in the GLOBAL Mode function F 5-2, MIDI Filtering, to DISABLE, especially when recording v with a
Program that does not use after touch or other controllers.
Punch-In Recording
Punch-in recording is used to re-record parts on which mistakes were made or to continue recording on the
track which has already been recorded. Recording is done only between the punch-in point and the punch-out
point and the song is played back between these points.
1. Set the mode ( [A] ) to P.IN and select the song ( [B] ) and the track ( [C] ) to be recorded.
2. Move to the next page by pressing the PAGE + key and set the punch-in measure ( [F]) and the punch- out
measure ( ), and move back to the previous page by pressing the PAGE - key.
3. Set the measure number ( ) to a point a few measures before the punch-in measure.
4. Press the START/STOP key after pressing the REC key.
5. Punch-in recording starts after a lead-in of two measures.
* There is a lead-in only when the punch-in measure is set to "1."
6. Stop recording by pressing the START/STOP key after passing the punch-out point.
Punch -in measure Punch-out measure
INN |
Play — Recording Play
83
NOTE: The data in the fixed punch in/punch out range is lost upon recording. Notes begun and held from one
measure before the punch-in measure remain without being erased, but only for the duration of the punch-in
measure. Notes held continuously past the punch-out measure point will be recorded only for one measure
following the punch-out point.
CL T7]
Г ПОЙ
New play data
* Only the measure immediately following the punch-out point (in other words, the punch-out measure
itself) can be recorded and added to the previous play data, and only when the notes are held over the
punch-out point.
* It is impossible to punch in from a measure in the middle of a pattern.
NOTE: Damper or pitch bend effects might occur when playing if settings of damper = off or pitch bend = 0 are
included in the specified range. In such cases correct the data by measure edit or event edit.
FO0-2RECSET UP
SOMGE RECORDING Metronome
Res=d4-48 MH:OFF FUNCH. 361-3516
A a с D E F G H
Ce
Res | Resolution J /48-J/1 Quantization of rhythm at recording
MM | Metronome OFF/ON Metronome switch
P - In Measure (Punch In Measure) 1~250 Measure at which punch in is set
P - Out Measure (Punch Out Measure) 1-250, End Measure at which punch out is set
* Resolution determines whether the rhythm is quantized during recording. When set to J/1, it is
quantized to the nearest quarter note. When set to //48, it is recorded more or less as it is played.
* Unexpected results might occur when setting to a coarse resolution (such as J/1) for recording tracks
that include joy stick or control data. In such cases, record at a finer resolution setting and quantize
only notes using F 5 - 4, QUANTIZE.
* The metronome sound is reproduced during playback/recording when setting the Metronome to ON.
* The metronome sound can also be routed through effects.
* The available simultaneous voice amount decreases by 1 when using the metronome.
* P-In Measure (Punch-in Measure) and P-Out Measure (Punch-out Measure) specify the measures to be
punched in and punched out when selecting P. IN in function F 0-1 REC/PLAY.
84
F 0 - 3 MULTI CHANNEL RECORDING
SONSE MULTI CH RECO Track 1
REC EEC FLAY PLAY FLAY PLAY PLAY FLAY
a Em ——]—]——]—]]]]]—
Track 1 PLAY/REC Setting the track to be recorded to "REC."
Track 2 PLAY/REC
Track 3 PLAY/REC
Track 4 PLAY/REC
Track 5 PLAY/REC
Track 6 PLAY/REC
Track 7 PLAY/REC
He FE EE = 6
Track8 | PLAY/REC
* Displayed when F 0 - 1 PLAY/REC ( [C]) is set to "MLT."
The M1’s sequencer can also record MIDI data from external devices. The data which matches the MIDI
channel of the current track is usually recorded, but also it is possible to record MIDI data on several
corresponding tracks at the same time by using the multi-channel recording function.
This function is used when recording multi-channel MIDI data from an external MIDI device. (See F 0 - 1,
PLAY/REAL TIME RECORDING for controlling recording parameters when using external MIDI devices.)
1. Set the track to MULTI in F 0-1 PLAY/REC.
2. Select this page by pressing the PAGE + key twice and set the track (1 through 8) to be recorded to REC.
3. Select the MIDI Channel page by pressing the PAGE + key and set the MIDI channel of each track to be
recorded to different channel numbers.
4. Record by using F 0-1 PLAY/REC.
* When there is a concentration of MIDI data in each track, the memory space may be filled up before
using up all the memory. It is best to record tracks in the order of the amount of data they will contain.
In other words, first record tracks that will have little data, and record tracks with much data later.
* Internal operations, such as playing the M1’s keyboard, are handled as MIDI data of the Global MIDI
channel. :
* Punch-in recording is also possible in the multi-channel recording function.
* All the tracks are played during playback.
* MIDI messages that can be be recorded are: note on/off, pitch bend, program change, channel pressure
and control change (0 to 101).
85
F1-1TRACK PROGRAM
SUHGE
+166
161
TRACK PROGRAM
192 193
[94
Fila
TIGE
ú
A B с D E H
baena] Ciria jm meen] Parra wl Som Em]
Tl=.. OFF, 100-199
(Track 1) ©00 - С99
[В] | Т2 =... OFF, 100-199
(Track2) С00 - C99
[C] |T3=... — ОЕЕ, 100 - 199
(Track 3) C00- C99
T4=... ОЕЕ, 100 - 199
(Track4) C00 - C99
T5=... OFF, 100-199
(Track 5) C00- C99
T6=.. OFF, 100-199
(Track 6) C00 ~ C99
T7 =.. OFF, 100-199
(Track 7) C00 ~ C99
T8 =... OFF, 100 ~ 199
(Track 8) C00 ~ C99
Setting the Program of
each track
This indicates the Program setting for each track. The Program of each track can be changed temporarily while
~ playing.
* This value changes when changing the Program using F0-1 REC/PLAY, if program change is included
in the data which is being played.
* When changing the song by F0-1 REC/PLAY, the Program number in the song parameter is reset.
F 1-2 TRACK VOLUME
SONGS
29
73
TRACK VOLUME
99 99
29
Track
34
1
a9
23
| Track 1
A —B с D E F G H
NT | [——
0-99
Track2 | 0-99
Track 3 | 0-99
[D] | Track4 | 0-99
Track 5 | 0-99
Track 6 | 0-99
Track 7 | 0-99
Track 8 | 0-99
Setting the volume of each track.
This determines the volume control setting for the Program of each track. The volume of each track can be
changed temporarily while playing.
* This value changes when adjusting the volume using F 0-1 REC/PLAY, if volume control is included
in the data which is being played.
* When the song is changed by F 0-1 REC/PLAY, the volume value in the song parameter is reset.
86
F1-3 TRACK STATUS
SONGS TRACK STATUS Track 1
ON ON ON ON ON ON OH ON
A . B с D E F G H
A] | Track 1 | OFF/EXT/INT/ON | OFF: play disabled
EXT: only MIDI OUT
Track 2 | OFF/EXT/INT/ON | INT: play using only internal
| sound origin
Track3 | OFF/EXT/INT/ON | ON: play using both internal
, sound origin and MIDI
Track4 | OFF/EXT/INT/ON OUT
[E] | Track5 | OFF/EXT/INT/ON
[F] | Track6 | OFF/EXT/INT/ON
Track 7 | OFF/EXT/INT/ON
Track 8 | OFF/EXT/INT/ON
There are four selections: play disabled (OFF), play only MIDI OUT (EXT), play using only internal sound
origin (INT) and play using both (ON) for the play data of each track.
* This setting is memorized as part of each song as a song parameter.
* If another MIDI device is being used -- for example, another 16-voice multi-timbral synthesizer --
additional voices in each track can be allotted to the device, allowing a total of 32 voices that can be
played simultaneously.
Track 1 INT ---—
Track 2 INT ---+;- M]'s internal voices are played
Track 3 INT ---æ
Track 4 INT ---»
Track 5 EXT --»- |
Track 6 EXT --» | External MIDI sound sources are played
‘Track 7 EXT --»
Track 8 EXT --»-
* When the currently played track is set to EXT, internal voices do not sound when playing the keyboard.
Moreover, when the current track is set to INT or OFF, note data (from playing the keyboard) is not
output through MIDI OUT.
F 1-4 MIDI CH (MIDI channel)
SONGO MIDI CH Tr
ce 1
As 2 3 4 9 7 E
B D
ad id ed Cr
Track 1 | 1-16 | Setting MIDI channel of each track
[>]
Ti ой
Track 2 1-16
Track 3 | 1-16
Track 4 | 1-16
Track 5 | 1-16
Track 6 | 1-16
Track 7
[Ее |2 ее | La) | El
Track 8
Sets the MIDI channel for playback of each track. (Sequence data and the set MIDI channel corresponding to
the sound origin change at the same time.)
87
* This setting is memorized as part of each song as a song parameter.
* Usually different channels are assigned to each of the eight tracks. However, layering of sounds is
possible by assigning two tracks to the same channel.
Example
Track 1 | ch. 1 | Program 00 Play data of track 1
Track 2 | ch. 1 | Program 01 (no data is entered)
Plays Program 00 and Program 01 together in layered fashion from the play data of track 1.
* It is possible to input play data separately by setting more than two tracks to the same channel. (The
Program of the other track should be set to "OFF.") |
Example
TR 1 ch. 1 | PROG 00 Note data
TR 2 | ch. 1| OFF Control data
Program 00 can be played with the combined note and control data.
F 2-1STEP RECORDING
SOHGE — STEF RECORDING
Track=1 Messure=dei
Е
А a с D E G Ho
ETT VE DS DEE CE TD A a
Track 1-8 Track number to be recorded
Measure 1-250 | Measure number
SOHGE Trl Me@l 1:80 Step Time
Step=1/4 ———— mf Ten IRSTILTIENM: 4 1
A В С D E F G H
Неее (re (rer re ra
— |Step Time 1/32-1/1 | The basic length of a note (a thirty-second to a whole note)
Triplet/Dot Changing the length of a note
| _--- Note specified by step
TRIP Triplet of the specified note by step
| DOT Dotted note of the specified note by step
Key Dynamics Strength (volume) of sound
| ppp - fff | (very weak to very strong)
Staccato/Tenuto Style of play
Stac Staccato (cut short)
_… Regular playing style
Ten Tenuto (holding to full note-value)
[RST] | Setting rest marks
[TIE] Setting ties (only if a note has been input)
[<] Goes back one step (step back)
88
In step recording, the length and the strength of each note is input by specifying the value and the pitch is input
by specifying the key.
* The data included in the measure which was recorded 1s erased.
1. Sets the track ( ) to be recorded and the measure number ( ) at which recording Will start.
2. Press the START/STOP key after pressing the REC key; 1t will light up.
* Shown at the top of the display are: the measure number of the step to be recorded, the time signature,
and the clock position in the beat. (The value of 1 clock is 1/48 of a quarter note.)
MOO? 1:24
Measure Beat Clock
3. Sets the type (length) of the note to be input by step time ( |B] ) and triplet/dot ( |C ©). (The value of a triplet
is 2/3 of the step time, and the value of a dot is 3/2 of the step time.)
7-77 A ? / d o
32 16 3 4 2 1
TRIP Ä J ? / J o
DOT Л ? ? J d Q
4. Sets the length each note sounds (staccato/tenuto) ( ).
Length of Sound
stac (50 % of the step time)
Key ON Key OFF
[Step Time —— 1
oe e = | (80% of the step time)
Key ON Key OFF
ten ke > (same as the step time)
Key ON Key OFF
5. Sets the sound strength (volume) by key velocity ( ).
Strength Velocity value
ppp | Pianississimo (very weak) 24
[р | Pianissimo 44
р Р1апо 54
mp | Mezzo piano (slightly weak) 64
mf | Mezzo forte (slightly strong) 74
f Forte 84
ff | Fortissimo 04
ff | Fortississimo (very strong) 114
89
+
In step recording the strength at which the keyboard is played is ignored.
6. Use the keyboard to input the notes while step recording. (Likewise, play a chord when inputting chords.)
All the keys that are played until their release are recorded together in the same step regardless of the actual
timing of playing the keys.
7. Recording proceeds to the next step when all the keys are released. Repeat operations 3 through 6 as many
times as you want.
*
8.
*
*
When entering rests, recording proceeds to the next step by pressing rest ( ).
After finishing all step inputs, press the START/STOP key to complete the recording.
Step is forwarded as many times as set by the step time when pressing Rest ( ).
The note input in the previous step lengthens by the amount of the step time when pressing tie ([G] ).
There are two ways of inputting longer notes than the note value set by step time. One method is to
reset the note by step time and the other is to lengthen by using tie. The length of the note as determined
by each method is shown below: |
When step time =1/2: When lengthening by tie,
step time = 1/4:
<— | Da —
80 % of 2 beats 1 beat 80 % of 1 beat
Tie can also be set while playing the keys, and the note becomes longer according to the amount of
step time. In this case, the tie affects only the played key’s sound, making it possible to change chords
around the held key.
== (ME — (ee — =, LE
УТ
Stabs on
The step can be moved back as far as set by the step time when pressing step back ( |H [H] ). Any notes
or steps starting from and occupying the space moved back to are deleted. |
po
stay on
Step Time =1/2 ve Time =1/4 Step Time =1/4
М =, АИ
This is used not only for deleting mistakenly entered notes, but also used for inputting succeeding
notes, in such applications step back is used to shorten the step time.
90
*
In step recording, control data cannot be input. Record the control data on another track in real time
and bounce or insert the control data by using event edit.
F 3 -1SONG PARAMETER
SONGA Hew Song
C4130 F1 Hext=0FF J=128
A в C р Е F . 46 H
ve eee men [ae ban me) Game bem
[«] Moving cursor to the left
[>] Movingcursor to the right
=) | 9) | ©
Next Song OFF, 0-9 Following song to be played
CO - CO
[=]
a
|
Tempo 40 ~ 208 Initial tempo of the song (beats per minute)
+
*
+
Input the song name (up to ten characters) by using [ <]( [C] ) and [>] ( ). (Identical to PROGRAM
Mode F9 - 1, RENAME.)
In Tempo set the initial tempo of the song.
Tempo can be changed by the tempo change function as part of the play data.
When recording in real time, set the tempo in this function before recording.
Setting tempo has no effect when clock (in GLOBAL Mode F5-1) is set to MIDI.
Next Song sets the song that will follow the present song”s completion.
When playing song 0, 5 and 2 continuously:
F 3 - 2 SONG INITIALIZE
Song 0 |= Song 5 peta Song 2 Next = OFF
If the first song is set as the next song, it will continue to play repeatedly.
When the memory card which has sequence data in it is inserted in the PROG/SEQ DATA slot, songs
in the card can be selected. (It is necessary to to create sequence data inside the M1.)
When Next Song is set, a short break may occur between the playing of successive songs.
SORE SONG INITIALIZE
Song=8 Beat=4 [EXEC]
A B с D E F G H
(an hs Co e o haa ha ha
Song (¡0-9 Selection of song
Beat |2/4 ~6/4 Setting time signature (2/4 ~ 6/4)
[EXEC] Executing the initialization
91
This function erases all song data (including data on all of the tracks) and sets the time signature (number of
beats per measure) at the same time.
1.
2.
3.
*
*
*
Select the song to be initialized ( [B]).
Set the number of beats per measure of four ( ) of the song in the range of 2/4 and 6/4.
Execute INITIALIZE by [EXEC] ( [G] ).
The display prompts for confirmation if the song to be initialized has data in it.
~The time signature set here cannot be changed unless it is initialized again.
The protect function (F 4-1) for each track is ignored here.
F4-1TRACK PARAMETER
SONG TRACK PARAMETER Track
Trl [ва Wa "7406 (+88. À Frat: OFF
в с D E F G H
Fa iz a dia
Track 1-8 Selecting the track to be edited
Program OFF,I00 - 199 Program (sound color) of current track
C00 ~ C99
Volume 0~99 Volume of current track
Transpose —12 + +12 Transposition (in semitones) current track
Detune —50 — +50 Minute adjustment of pitch of current track
Panpot A/9:1-1:9/B/C/C+D/D | Output destination of current track
Track Protect | OFF/ON Prevents recording on current track
This function edits the parameter of each track.
*
Select the track whose parameter is to be edited by using Track. The parameter of each track 1s
indicated by the number of the track.
Program sets the Program (sound color) of the track. The Program set here is played until any program
changes appear in the play data.
If real time recording is executed, the Program used at that time is set here.
When the memory card having Program data stored in it is used, Programs in the card can be selected.
(Make sure the correct card is inserted when playing Programs from the card.)
Volume controls the volume of the track.
When recording in real time, the volume used in recording is set to the same level here.
Transpose and Detune adjust the pitch of the track. (Tranpose adjusts in semitone steps, and Detune
in cent steps.)
Panpot (pan) sets the output destination of the track. Settings are: A, A:B (1:9 - 9:1), В, С, С + D, and
D.
Recording and editing are prevented when Protect is ON.
It is recommended to set Protect to ON for tracks which have been recorded to avoid erasing or
rewriting data by mistake.
92
F 4-2 TRACK COPY/BOUNCE
=ONGE CORY BOUNCE Source Track
CORY 2 Тре -—— Tel EERECI
B с D E F G H
er > | |... AM ———|
Copy/Bounce COPY/BOUNCE | Switching between copy and bounce
Tr Source Track 1~8 Track number to be bounced
Tr Dest Track 1~8 Track number of bounce destination
[EXEC] Executing the bounce
This function lets you copy or bounce the play data from track to track.
Track Copy
This copies the play data from one track to another,
1. Select the COPY function ( |A [A] ) and set the source track (the track that will be copied) ( |C [С] ), and the
destination track (the track to which the copy will be made) ( |E, E) Е |).
2. COPY is executed by pressing [EXEC] ( [G] ).
Track Bounce
This combines the play data of two tracks into one.
1. Select the BOUNCE function ( |A [A] ) and set the source track (the track that will be pounced) ( [С] C|), and the
destination track (the track to which the selected track will be bounced) ( |E E] ).
2. BOUNCE is executed by pressing [EXEC] ( |G] [G| ).
Source Track LCL A
Destination Track RY
Source Track
| | Data is cleared
DestinationTrack y
[XR IAA]
The data on the source track is cleared after the bounce operation.
Setting of destination track is effective for track parameters like track Program (sound color) and MIDI
channel. (Note that after bouncing tracks which have different Programs or MIDI channels, the track
bounced to is assigned only one Program or MIDI channel and the original assignments cannot be
recovered.
Bouncing may cause an unnatural effect when control change data is included in both of the tracks.
(Control change data can be deleted by Measure Erase, F 5 - 3.)
When patterns are included in the source track, that track cannot be bounced unless the corresponding
measures of the destination track are empty. (An error message results.)
93
F 4-3 TRACK ERASE
SONGS TRACK ERASE
Track = 1 [EXEC]
A В с D E F 6 H
mo Iv. a Sn cual) Fass nsw er
Track |1~8 Track number whose play data is to be erased
[EXEC] | Executing the erase
This function erases one track in the current song.
1. Select the track to be erased (D ).
2. Execute ERASE by [EXEC] ( [G]).
* A prompt for confirmation appears when the track to be erased has data.
F 5 - 1 PUT/COPY PATTERN
SUNGE FUT-COPY PAT
¢ PUT» FEB --+ Tri MGGI LEXECI
A B С D E F 6 H
mel pete mat re re RD ¡E —
PUT/COPY Selection of pattern function (put or copy)
PUT Assigning pattern
COPY Copying pattern
P Pattern 0-99 Pattern number
Tr | Track 1-8 Track number
M Measure 1 - 250 Measure number
[EXEC] | Executing PUT or COPY
Patterns can be connected or strung together in the measure of the specified track. There are two ways of
connecting patterns: PUT and COPY. PUT writes the pattern number to the track, and COPY copies the play
data of the pattern to the track.
* In the case of PUT:
Track
* Consumes little memory.
* Play changes when pattern is revised.
* In the case of COPY: Track A
* Play data can be revised on the track.
* Play does not change even if the pattern is revised.
1. Specify whether PUT (writing in the pattern number) or COPY (writing in the play data of the pattern) will
be used ( ).
2. Specify the pattern ( ), track ( ) and measure ( ) to be written in.
3. Execute by [EXEC] € [G] ).
* The play data included in the measure, which is in the specified measure, will be lost. (A prompt for
confirmation will appear when the play data is included.)
94
* Measures move to fill the space left by the pattern measure after executing.
* If the time signature of the song and the pattern differ, PUT/COPY cannot be executed.
* Patterns which do not have data cannot be used with PUT. (Create a pattern before using PUT.)
* When using PUT to assign a pattern of longer than two measures, specific measures within the pattern
cannot be erased or edited while they are part of the track; they must be edited separately.
F 5-2 MEASURE COPY
SHE MERSURE COPY Source Song
Sors& Tr1 Mé&1 Lôdd-—Tr1 HèdS [EXEC]
À B С D E G H
maana es A Mo ho eee masse mn
SONG |Source Song |0-99 | Song number which has the measure to be copied
Tr Source Track | 1~8 | Track number which has the measure to be copied
M Source Measure | 1 ~ 250 | First measure number to be copied
L Length 1 ~ 250 | Length of measures to be copied (in measures)
Tr Dest Track 1-8 Track number to which measure is to be copied
M Dest Measure | 1 ~ 250 | First measure of destination
[EXEC] Executing the copy
Copies the specified range of the play data.
1. Specify the song ( ), track ( ) and the first measure ( ) of the copy source, and specify the track
( ), the first measure of the destination ( [F]) and number of measures to be copied ( ) to the destination.
2. Execute COPY by [EXEC] ( [G]).
Source song SOURCE MEASURE
SOURCE | ZA
h— LENGTH
Current song COPY
777 —
DESTINATION MEASURE
* The data included in the destination copy will be lost. (A prompt for confirmation will appear when
play data is included.)
* When there is a tied note which lays between the inside and outside of the specified range, the tie is
deleted when copying. | |
* Copy cannot be executed when the pattern lies between the inside and outside of the specified range.
* Copy cannot be executed when the time signatures of the source and destination differ.
* When copying within the same track, the copy function cannot be executed if the range of the
destination measure and the range of source measure overlap.
95
F 5-3 MEASURE INS/DEL/ERASE (Measure Insert/Delete/Erase)
SORGE 1H5.DEL ERASE
CIMSERTY Tri MBEi LOBÍ EXEC]
A 8 C D E F G H
INS/DEL/ERASE Selection of function (insert/delete/erase)
INSERT Inserting measure
DELETE | Deleting measure
ERASE Erasing data
Tr | Track 1~8 | Track number
ALL
M | Measure 1 - 250 Measure number
L |Lengih 1 - 250 Length (in measures)
Erase Data Types of data to be erased (Erase only)
ALL All data (effectively puts a rest at the specified point)
NOTE Note data (key information)
CTRL Control data (joy stick, after touch, etc.)
[EXEC] Executing insert/delete/erase
This function inserts and deletes measures and erases play data. First select the desired function, -- insert,
delete, or erase -- by using INS/DEL/ERASE ( |A| ). |
MEASURE INSERT
This function inserts an empty measure of a specified length.
|. Set the track ( ), measure ( ) and number of measures ( ).
2. Executes insert by [EXEC] ( ).
MEASURE
y
А |
TRACK
Rest mark Ls |
FLENGTH —]
* The measures following the specified measure move over to accommodate the inserted measures.
* When setting TRACK to ALL, insert is executed to all the tracks.
* Insert cannot be executed to a measure in the middle of a pattern.
* When there is a tied note which lies between the inside and outside of the specified measure, the tie is
deleted and the note is divided into two.
MEASURE DELETE
This function deletes play data in the specified range.
1. Specify the track ( ), the first measure ( ) and the number of measures ( ) to be deleted.
2. Execute delete by [EXEC] ( [G]).
* A prompt for confirmation appears when there is data in the measure to be deleted.
96
MEASURE
L— LENGTH
TRACK WA Delete 77777
> |
]
И
* The data following the deleted measure is moved to fill the space left by the deleted measure.
* When setting the TRACK to ALL, Delete is executed for all the tracks.
* Delete cannot be executed on a measure in the middle of a pattern.
* When patterns are included in the deleting range, the measures occupied by the patterns are erased.
* When there is a note lying between the inside and outside of the specified range, the part of the note
in the range is deleted.
MEASURE ERASE
This function deletes the specified measures from the play data in the specified range.
1. Specify the track ( ), the first measure ( ) and the number of measures ( |[E|) to be erased.
2. Specify the data to be deleted ( [F]).
ALL: all data
NOTE: note data (from keyboard)
CTRL: control data (pitch bend, after touch, modulation wheel, etc.)
3. Execute ERASE by [EXEC] ( [G]).
MEASURE
J LENGTH |
TRACK |
JL Erase the dala
specified by DATA
* Erase is executed for all the tracks when TRACK is set to ALL.
* This function cannot erase the measure in the middle of the pattern.
* When setting DATA to ALL, and when there are patterns included in the range to be erased, the measure
that the patterns occupy is erased. (When selecting NOTE or CTRL, patterns are not erased.)
* When there is a note lying between the inside and outside of the specified measure, the part of the note
inside the range 1s erased.
* As a result of editing measures with these functions, messages such as damper = off and pitch bend =
0 may be lost, thus continuing those effects indefinitely. When this happens, erase the appropriate
data, or revise by event edit.
97
F 5 - 4 QUANTIZE
ENAGO GUAHTIZE Guantize Data
Trl M381 LAA] Res=4-48 ALL [EXEC]
B
dF Se dad
Tr | Track 1-8 Track number which has the measure to be quantized
ALL Al! the tracks of current song
M | Measure 1~250 First measure number to be quantized
L Length 1~250 Length of the measures to be quantized (in measures)
Res | Resolution e/48 -d/1 Quantization of rhythm
Quantize Data Types of data to be QUANTIZED
ALL All the data
NOTE Note data (keyboard information)
CTRL Control data (joy stick, after touch etc.)
[EXEC] | Executing the quantization
~ This function automatically corrects the timing of measures in the specified range to a pre-selected beat length.
The data recorded in real time with
* aresolution setting of 4/8.
<— —> —> < < |
Quantization of the above data with
* a resolution of 4/2.
ии рр,
| | | Ï } | | |
1. Specify the track ( [A] ), first measure ( [B] ) and number of measures ( [C] ) to be quantized.
2. Set the preciseness of quantization by using Resolution ( [D] ). (When is set, notes are quantized to the
nearest quarter note.)
3. Specify the data to be quantized ( [F]).
ALL: all data
NOTE: note data (from keyboard)
CTRL: control data (pitch bend, after touch, modulation, etc.)
4. Execute QUANTIZE by [EXEC].
* When two events of the same kind of control data are moved to the same note-value as a result of
quantizing the control data, they are put together into one. Because of this itis possible to thin down
the amount of control data and thus economize memory by use of quantization. (The quantization
resolution of 7/48 is provided for this purpose.)
98
F 6-1 PATTERN REAL TIME REC (Pattern Real Time Recording)
FATTERM REAL TIME REC Resolution
PEZ 2-45 MMIOFF 5126 M1 CAOO)CERAI
A B c D E F G H
herve eme rames ass mel meme moe ns ——
P Pattern Number 00-99 Pattern number to be assigned
Resolution | Jj48~ 4/1 Quantization of rhythm
MM Metronome OFF/ON Metronome sound
[E] )= TEMPO 40 — 208 | Tempo (in beats per minute)
M Measure Number 1-8 Measure number
Add/Remove ADD Adding to pattern data
RMV Deleting pattern data
[ERA] Erasing pattern data
This function allows real time recording, deletion and changing of pattern data. In creating a new pattern, set
the time signature and the length (number of measures) in F 6-3 PATTERN INITIALIZE and erase the play -
data beforehand. |
1. Select the pattern to be made ([A] ||). Patterns made by step write and copy are also selectable. |
2. Set the resolution ( |B] ), metronome ON/OFF (IC) ) and tempo ( (E! E] ). These are changeable in real time,
3. Start recording by first pressing the REC key, then the START/STOP key; the START/STOP key will light
up. In Pattern Real Time Recording, when the last measure is finished, the first measure is returned to and you
can continue recording. In this case, all data recorded on the second pass is overdubbed onto the initially
recorded data. When mistakes are made in recording, revise by erasing the data. |
* In Pattern Real Time Recording, erasing of data can be done in the following two ways:
All existing sequence data is erased by pressing the [ERA] ( ) key.
Select RMV by pressing ADD/REMOVE ( ) and play the notes to be erased on the keyboard. The notes
played will be the notes erased; if an F3, for example, is part of the sequence data, playing an F3 in this
function will erase or remove that note. Only note data, and no other sequence data, is erased here.
4. Recording stops when pressing the START/STOP key. The pattern can be played back by starting play
without pressing the REC key. When adding more data, repeat operations 2 through 4.
* In pattern real time recording, the setting of the tempo cannot be memorized.
99
F 6-2 PATTERN STEP RECORDING
PATTERN STEP RECORDING
Pattern = EZ
A B e В Е Е G H
— de] 1 EA ——
Pattern 0-99 Pattern number to be step recorded
Pattern Number
FATTERH Mi 1:98 Ster
Ster=174 ---- mf Ten [IRSTICTIEIL 4 1
A В с DB E F & H
hem ho jos o TA DET Do beat
Step 1/32— 1/1 | Length of the basic note (thirty-second note — whole note)
Triplet/Dot Changing the length of the note
---- Note specified by step
Trip Triplet of specified note by step
Dot Dotted note of the specified note by step
Key Dynamics Strength (volume) of sound
ppp ~ HF (very weak — very strong)
Staccato/Tenuto Style of playing
Stac Staccato (cut short)
=== Regular way of playing
Ten | Tenuto (held to full note-value)
[RST] Inputting Rest
[TIE] Setting tie
[«] Going back 1 step (Step back)
Patterns are made by Step Write here. When making new patterns, first set the time signature and length
(number of measures) by F 6 - 3, INITIALIZE and erase the existing play data before recording.
1. Select the pattern to be created ( ). Patterns made by real time recording or by the GET function can be
also selected.
2. Press the REC key (so that it lights up) and then press the START/STOP key.
3. Operation steps from this point are identical to steps 3 through 8 of F 2-1 STEP RECORDING. However,
when recording of the set length (number of measures) is finished, the first measure is returned to and
overdubbing begins.
* The operations of rest ( ) and tie ( ) are the same as that in F.2-1 STEP RECORDING.
* The step can be moved back as far as set by the step time when pressing step back ( ). Any notes
or steps starting from and occupying the space moved back to are deleted. |
* The Program used at the time the pattern is created is the one used for the current track. (When
inserting a pattern in the track, the Program becomes the same as that used in the track.)
100
F 6-3 PATTERN INITIALIZE
PATTERN IMITIALIZE
Fattern=82 EBeat=4 Length=1 [EXEC]
A B с D Е F G H
mes meme E AN EN zo masse
Pattern 1 0~99 Pattern number to be initialized
Beat 26 Selection of time signature (2/4 — 6/4) -
[Е] Length 1~8 Length of pattern (in measures)
[EXEC] Executing the initialize function
This function sets defaults for the pattern (and erases any existing data). It also sets the time signature and the
pattern length (up to eight measures) of each pattern here.
1. Select the pattern number to be initialized ( ).
2. Set the time signature ( ) and the number of measures ( ) of the pattern.
3. Initialize by [EXEC]. |
* The time signature and the length set here cannot be changed unless re-initialized.
+
When the specified pattern is used in the song, the dis play will show, "Pattern used in song.” All the
patterns in the song are erased by pressing YES ( [С] ). Pattern initialize is cancelled by pressing NO
(В).
F 6 - 4 GET PATTERN
PATTERN GET FROM TRACK Pattern
Sora Tri Mél —+ POG [EEL]
A С D E F G H
1]
[A| Source Song 0-9 Song number which has the measure to "GET"
Tr | Source Track 1-8 Track number which has the measure to "GET"
M | Source Measure 1 ~250 Number of the first measure to "GET"
P | Pattern 0-99 Pattern number from which data is taken
| [EXEC] Executing the GET PATTERN function
This function transfers play data to the pattern by copying from a track. Patterns can easily be created from
data on the track.
1. Set the time signature and the length of the pattern by using Pattern Initialize (F 6-3) beforehand. Also set
the time signature to be the same as the song that will be copied from and set the length to the number of
measures desired.
2. Specify the song ( [A] ), track ( [B] ) and the first measure ( [C] ) of the source song and specify the pattern
(IE E] ) of the destination.
3. Copy by pressing the [EXEC] ( ) Key.
101
* A prompt for confirmation appears when data already exists in the destination pattern.
* The copy function cannot be executed when the time signature of the song and the pattern differ.
* The copy function cannot be executed when there are patterns in the specified source range.
* When there is a tied note lying between the inside and outside of the specified range, it is copied after
deletion of the tie.
* Edits which cannot be executed on the pattern (quantization, for example) can be accomplished by
copying the pattern to an empty track, editing it there, then copying it back to the original track.
F6-5 PATTERN COPY/BOUNCE
PATTERN COPY-BOUNCE
¢ COPY 3 FBB ==» FOB [EXEC]
A В с D E F G H
ee (re =e] ee fe ee Mal
COPY/BOUNCE | Selection of the function (copy or bounce
COPY Copying from pattern to pattern |
BOUNCE Bouncing from pattern to pattern
Source Pattern 0-99 Pattern to be copied (bounced)
Dest. Pattern 0-99 Destination pattern to be copied (bounced)
[EXEC] Executing the copy or bounce
This function copies and bounces the play data from pattern to pattern.
* Copying or bouncing cannot be executed when the time signatures or the lengths of the source and
destination patterns are different. |
Pattern Copy
— Copies from pattern to pattern.
1. Specify the source pattern ( ) and destination pattern ( ).
2. Copy by pressing the [EXEC]( ) key.
Pattern Bounce
This function combines the play data of two patterns into one pattern.
1. Set the source pattern (for bouncing) ( ) and the destination pattern (for bouncing) ( ).
2. Bounce by pressing the [EXEC] ( [G] ) key.
* As opposed to the track bounce function, the pattern which was specified as a source is not erased.
102
F7-1EVENT EDIT
EVENT ELIT
{ TRACK 3 = 1
E
A - 8 Cc D F G H
iD o o CE A A Cs Ma
TRACK/PATTERN Selection of material to be edited
TRACK Track of current song
PATTERN Pattern
Track No./ 1-8 Setting track number (when track is selected)
5 Pattern No. 00-99 Setting pattern number (when pattern is selected)
EVENT EDIT
1
Measure
MEG] #061 1:98 Р#4 ЧВЕЯ 6:74 CINSICOEL]
A В с D E F a H
M | Measure 1-250 Measure to be edited
# | Index 1~ Selection of event to be edited
Location TIE, 1:00 ~ 6:47 Position of event in measure
Event Type of event
C-1 — G9 Note
BEND Pitch bend
AFTT After touch
PROG Program change
CTRL Control change
V | Velocity 2-126 (for note)
Bend —8192 - 8191 (for pitch bend)
| After touch 0~127 (for after touch)
Program 100--199/C00-C99 (for program change)
C | Control 0-107 (for control change)
Length 0:00 ~ 6:00 TIE Length of note (for note)
Data 0-127 Control data (for control change)
[INS] Inserting event
[DEL] Deleting event
Sequence data having a length of 1 step is called an event. For instance, a note assumes a value of 1 even
though it has a combination of data types, such as pitch (note number), volume (velocity) and the length of the
sound. Control data also assumes a step value of 1 even though it is a combination of type and value.
* For control data, 1 MIDI message corresponds to 1 event.
Event edit is a function that changes, inserts and deletes any event in the play data of tracks or patterns.
* In event edit, any and all events can be edited: moreover, sequence data is re-written directly. This
editing, as a result, is both convenient and dangerous -- dangerous in that play data prior to editing
cannot be recovered. Double checking of to-be-edited material is advised.
103
Event Operation |
1. Select either editing of track data or pattern data ( ) and specify the track number or pattern number
(ED.
2. Press the REC key, and, when it lights up, press the START/STOP key. You have now called up the EVENT
EDIT Mode.
* Other modes or functions cannot be selected until event editing is finished by pressing the
START/STOP key again.
3. Specify the measure to be edited ( ). The first event of that measure is indicated.
4, By increasing the Index ( ) from #001, the events in the measure can be seen in the order of their location
(their position in the measure).
* The location 1s indicated by the beat number within the measure and by the clock number in the beat.
One clock pulse is the same as 1/48 beat. (One MIDI clock pulse is equal to two M1 clock pulses.) -
EVENT EDIT Event
1001 #084 1:04 BEND +4095 EINSJEDELJ
A 8 с D E F a H
o homo o bos oa ho Ez omo
Note __1 8 E PP > JS J dio doo
Length "0:12 0:18 0:24 0:36 1:00 1:24 2:00 3:00 4:00
* Note events include: note name (the pitch of the note) ( ), velocity (the strength at which the keys
are hit) ( [E|), and duration (length of sound) ( [F]).
* Odd numbers are not available for velocity value settings.
* When pitch bend, after touch or program change are selected by , their values are indicated above
|
EVENT EDIT Event
Medi #004 1:04 BEND +4895 CIHSILDEL]
A B с D E F & H
Ie (rs hm hos joo Co a
* When control change is selected by , the type of control change (control change number) is shown
above [E] and its value above
104
MEDI #885 1:02 CNTL Cod 64
EVENT EDIT Event,
CINSIECELJ
A B С 0 Е Е G H
karl ka Sennen! born] eased ean) sean Ive
Control Type of Control Value
Number
1 Pitch Modulation 0 (OFF) ~ 127 (Max.)
2 VDF Modulation 0 (OFF) ~ 127 (Max.)
7 Volume 0 (Min.) ~ 127 (Max.)
64 Damper Switch 0 (OFF), 127 (ON)
102 VDF Cutoff 0 (LOW) ~ 64 ~ 127 (HIGH)
103 Effect 1 Switch 0
104 Effect 2 Switch 0
105 Effect 1 Control 0 (Min.) ~ 64 ~ 127 (Max.)
106 Effect 2 Control 0 (Min.) ~ 64 ~ 127 (Max.)
107 Tempo Change 0 (50%) ~ 64 ~ 127 (+50%)
* The control numbers not listed in this chart are the data of control change recorded from MIDI IN.
* MIDI does not input or output 102 to 107.
* The measures without events are indicated as below. (Edit functions, with the exception of insert
cannot be executed.)
2e
EVENT EDIT
MPB: --- Ho Event
Measure
LE -—-- [IHS 1
a ed el a me pe ee ha
+ The measures occupied by patterns are indicated as below. (No editing is possible. Changing patterns
should be done in F 5 - 1.)
EVEMT EDIT
4 -—— Pattern 8H
E
i
Measur
Ey
TT
=
Мас
>
ОЕ
a ee ee Бе ее а) Бо Ба
Editing Events
When Event is selected, the pitch of the sound and type of event can be changed by DJ and the data of the
event can be changed by (El E and [E]. (Sec the Event Operation section for more information.)
Moving Events
The indicated event can be moved within the measure by using Location ([С]).
* When the order of events changes by moving of an event from one location in the measure to another,
the index numbers of the events shift accordingly. (Though the index numbers change, this is
completely different than changing the index numbers directly by Index ( ).)
Moving events between measures can be accomplished by using the Delete and Insert functions.
105
Deleting Events _
When an event is selected, the event can be deleted by pressing [DEL] ( H ).
* The index value of events that follow the deleted event in the measure will decrease by 1. (Location
does not change.) |
* If you mistakenly make a deletion, pressing immediately after the deletion will restore it.
Inserting Events |
When an event is selected, the same event can be inserted to another location (or the same one, if desired) by
pressing [INS] ( ). Any events can be inserted by moving the location or editing the event.
* When using the insertion function right after deleting, the deleted event will be inserted.
* The index value of events following the inserted event in the measure will be increased by 1. (Location
does not change.) |
* New tracks can be made by Event Insert. In this case it is necessary to create an empty measure
- beforehand by using Insert Measure (F 5-3).
* A note lying over two measures is treated as 2 notes connected with a tie. When editing such notes,
follow the procedure below:
A EVENT EDIT Index
Mopl #002 1:60 C4 VUDE4 TIE EINSIEDELI
A B с D E F 6 H
Cama essed sieved o ha Soo a Ca
EVENT EDIT Length
MBOZ #001 TIE C4 9:24 [INS]
A B С Е F a H
be fee! ha ho items] Sessa Fans) fasse
1. Edit the note number and velocity of the note in A. The note in B is automatically revised.
2. When changing the note length, edit note in B.
3. When deleting both in A and B, do it in the order of A and B. When deleting only in B, set the note length
in A to a value 1 unit smaller than "TIE," then delete in B.
4, When inserting both in A and B, set the note length in A to "TIE" after inserting in À and B separately.
106
EFFECT PARAMETERS
F 8 - 1 Effect 1
F 8 - 2 Effect 1 Parameter
F 8-3 Effect 2
F 8 - 4 Effect 2 Parameter
F 8 - 5 Effect Placement
F 8 - 6 Effect Copy
Descriptions of functions F 8 - 2 and F 8 - 4 are given in the Effect Parameter section following the EDIT
PROGRAM Mode chapter.
F8-1 EFFECT 1
EFFECT 1 |
Hall ) 5 CN
cal:
8 с D E F 9 H
A
snes) see Semel meses Sesame! seamen bo er)
Selects the effect type for Effect 1.
KF 8-3 EFFECT 2
Selects the effect type for Effect 2.
Same as F 8 - 1 EFFECT 1.
F 8-5 EFFECT PLACEMENT
EFFECT PLACEMENT
SERIAL
РЗ =50:50 Р4 = 50:56
A 8 € D E F G H
Раннее неее A A 1 1... Fk
This function sets the Effect Placement and Pan setting of Outputs 3 and 4. (See pp.
Placement.)
107
EFFECT TYPE 01-03
No Effect
SWITCH OFF/ON
[SELECT]
Effect Placement
; PARALLEL
SERIAL
P3 | Out 3 Panpot OFF
100:0 ~ 0:100
P4 | Out 4 Panpot OFF |
100:0 ~ 0:100
36-37 for more on Effect
F 8-6 EFFECT COPY
EFFECT COPY B|
from (COMBINATION) — 198 [COPY] oN
A 8 с D Ë Е G H
uc a ba ba a a a Боонлинанный SONG
100-199
0-9
[COPY]
See the Effect Parameter section (p.38) for descriptions of F 8 - 2 and F 8 - 4, as well as more about all of the
Effect functions.
*
Assigning effects to Programs can be done by Effect Copy (F 8 - 6).
F 9 - 1 EXCHANGE ALL SEQ (Exchange All Sequences)
“THOHGE € CET re
EXCHANGE ALL SEC
EXEC] [EXEC] Executing the exchange
A B С D E F G H
onal Eevee Evan Ee EEE er
Exchanges the sequence data of RAM card and that of internal memory.
*
Save and Load functions for sequence data and formatting of the RAM card are done in the Global
Mode (F 8-1 to F 9-2).
This function cannot be done when the sequence data of internal memory is greater than the capacity
of the RAM card or when the sequence data of the RAM card is greater than the capacity of the internal
memory.
The data of Next Song in the song parameter is replaced: that of internal to card, and card to internal.
Make sure to store the songs you want to edit in the internal memory since creating or editing the
sequence data directly to the RAM card is impossible.
108
F 9-2 LOAD 1 SONG
Load 1 Zong = ЧЕ
[Card Song 4 —> Int Song 1 [EXEC] Card Song |0-9 Specilying the song ed
Ä В С D E F G H
ee EC
Int Song 0-9 Specifying destination
song number
in the internal memory
EXEC | Executing the load
This function loads 1 song from the card.
* When loading a song that has patterns, load those patterns beforehand (F 9-3).
* The data of the specified internal song before loading is lost.
1. Specify the song in the card to be loaded ( ) and the internal song number to which the song will be
loaded ([F]).
2. Load by pressing [EXEC] ( [G] ) key.
When there are different time signatures or pattern lengths used in the song to be loaded from the patterns in
the internal memory, the display prompts for confirmation of the load.
Some Patterns Will Not Be Assigned
Are You Sure ? [YES] [HO]
A 8 € 0 E F G H
Ce SE
“Selecting YES ( ) erases these patterns and loads. Load can be cancelled by pressing NO ( [H|).
F 9 - 3 LOAD 1 PATTERN
Card Pat. o EEE Al [EYED] Card Pattern| 0 ~ 99 |Specifying the pattern in the
card to be loaded
A B с 0 E F 6 H
ess ame base Benassy Seven fee mme
Int. Pattern | 0 ~ 99 |Specifying the destination
pattern number in the internal
memory
[EXEC] |Executing the load
Loads 1 pattern in the card.
* The data of the specified internal pattern before loading is lost.
1. Specify pattern in the card to be loaded ( ) and the internal pattern number to which the pattern will
be loaded ( |F]).
2. Load by pressing [EXEC] ( ) key.
Loading cannot be executed when the internal pattern before loading is presently used in the song.
109
7 -- GLOBAL MODE
In this mode, parameters relating to the M1 as a whole (master tuning, MIDI settings, etc.) and assignment of
drum sounds to the Drum Kit are handled.
* Since all parameters in this mode with the exception of a few of the MIDI parameters are stored in
memory even when the power is turned off, there is no need to reset them.
FUNCTIONS IN THE GLOBAL MODE
*
The first page of each function is selected by using the numeric keypad (0-9). Select the page where
parameters to be edited are by using the PAGE + and PAGE - keys.
Page Parameter to be set
0-1 | Master Tune Adjustment of the entire instrument's pitch
1-1 | Key Transpose Transpose setting of the instrument
2-1 | Damper Polarity Setting the polarity of tHe foot switch for damper
2 | Pedal Assign Assignment of each function for the two pedals
3-1 | Scale Type Selection of scale (Equal temperament, pure major, etc.)
2 | User Scale Setting the user scale
4-1 |DrumKit 1 Assignment of drum sounds
2 | Drum Kit 2 Assignment of drum sounds
3 | Drum Kit 3 Assignment of drum sounds
4 | Drum Kit 4 Assignment of drum sounds
5-1 | MIDI Global Setting MIDI global channel, local ON/OFF and MIDI clock
2 | MIDI Filtering Receiving switch for each type of MIDI message
6-1 | Program Memory Protect Prevents saving of Program parameters (ON/OFF)
2 | Combination Memory Protect Prevents saving of Combination parameters (ON/OFF)
3 | SEQ Data Memory Protect Prevents saving of sequence data (ON/OFF)
4 | Memory Allocation Changing the memory allocation | |
7-1 | MIDI Data Dump Transmission of all parameters or sequence data by MIDI system exclusive
8-1 | Load from CARD Loading from ROM/RAM card to memory
9-1 | Save to CARD Saving from memory to card
2 | Format CARD Formatting RAM card
F 0-1 MASTER TUNE
Master Tune = +68
A
mme kes
с D E F G H
[nm os Ho | = en) ba)
Master Tune
-50 ~+50 Tuning the overall pitch of the M1 (in cents)
* Master Tune is used to adjust the overall tuning of the MI in the range of +/- 50 cents. This is used
when tuning to match the pitch of other instruments.
110
F1-1KEY TRANSPOSE
Bey Transrose = +1
E F
A B с D 6 H
Key Transpose —12 , +12 Transposition of the overall pitch of the M1 (in
semitones)
* Key Transpose sets the overall pitch of the M1 over a range of +/- 1 octave (-12 to + 12) in semitone |
steps. This function can be used to change keys to make the playing of music in difficult keys easier.
* This affects the data recorded to the sequencer and the MIDI OUT data from the keyboard. However,
it does not affect the data played by the sequencer.
F 2-1 DAMPER POLARITY
Damper Switch Polality = +
A B £ D E F G H
merma heee ham fa [| Sem basse [| Sess So
Damper Polarity —, + Selecting the polarity of the footswitch to be inserted in
the damper jack.
~ Damper Polarity -, + Selecting the polarity of the footswitch to be inserted in the damper jack.
* Corresponds to the polarity of the footswitch for the damper. Set this to [- ] when using ( y type)
such as KORG PS-1, and set to [ + ] when using other types (4 type). |
F2-2PEDAL ASSIGN
PEDAL ASSIGN Pedal 1
(Program Up » «Effect 1 OH/DFF)
A B с D E F G H
| =
Pedal 1 Function assigned to Pedal 1
Program Up ВЕ Footswitch -- Program (Combination) up |
Program Down Footswitch -- Program (Combination) down
SEQ Start/Stop Footswitch -- Start/Stop of sequencer —
Effect 1 ON/OFF Footswitch -- ON/OFF of Effect 1
Effect 2 ON/OFF | Footswitch -- ON/OFF of Effect 2
Volume Volume Pedal -- volume control
VDF Cutoff Volume Pedal -- VDF cutoff frequency control
Effect 1 Control | Volume Pedal -- Effect 1 balance control
Effect 2 Control Volume Pedal -- Effect 2 balance control
Data Entry Volume Pedal -- adjusting parameter values
111
Pedal 2 Functions assigned to Pedal 2
(Same as Pedal 1) (Same as Pedal 1)
* Selects the function to be assigned to Pedal 1 and Pedal 2.
* Connect footswitch or foot controler to the jack of Pedal 1 or 2 depending on the function to be selected.
* The range controllable by the foot controler may sometimes be limited by the corresponding parameter
settings.
* Program Up: Switches to the next Program (or, in PROG/COMBI Mode, Combination) by footswitch.
When this is selected, MIDI program change data is sent from MIDI OUT.
* Program Down: Selects the previous Program (or, in PROG/COMBI Mode, Combination) by
footswitch.
* SEQ Start/Stop: Starts and stops the sequencer by footswitch.
* Effect 1 ON/OFF: Toggles Effect 1 on and off by footswitch.
* Effect 2 ON/OFF: Toggles Effect 2 on and off by footswitch.
* Volume: Controls the volume of M1 by foot controler.
* VDF Cutoff: Changes the cutoff frequency by foot controler. Cutoff frequency is raised by pressing
down the pedal. (The sound color becomes brighter.) |
* Effect 1 Balance: Determines the overall balance between the direct sound and the effect sound of
Effect 1 by foot controler. The ratio of the effect sound to direct sound becomes greater when pressing
down the pedal.
* Effect 2 Balance: Determines the overall balance between the direct sound and the effect sound of
Effect 2 by foot controler. The ratio of the effect sound to direct sound becomes greater when pressing
down the pedal.
* Data Entry: Allows changing and adjustment of parameter values (usually controlled by the VALUE
slider on the panel) by using the foot controler. The value of each parameter can be controlled by foot
controler while playing if the parameters to be changed are selected beforehand.
* Make sure to match the footswitch/foot controler connection to the assigned functions.
* Use the KORG EXP-2 for the foot controler.
NOTE: When no pedals or footswitches are connected to the rear panel jacks, set this function’s parameters to
correspond to footswitch operation functions (Program Up, Program Down, SEQ Start/Stop, Effect ON/OFF).
112
F3-1SCALE TYPE
SCALE TYFE
€ Fure Minor 2 Keu= E
A В с 0 E F G H
ERAN NTE IDEN RRR race fe IT (ra
Equal Temp. (Equal Temperament) | | Equal Temperament
Equal Temp. 2 (Equal Temperament, Random detuning applied to each tone of Equal
Random Pitch) Temperament scale
Pure Major Pure Major
Pure Minor Pure Minor
User Programmable | Scale in which pitch can be set for every key
Key С-В
* Equal Temp. (Equal Temperament): A widely used tuning for keyboard instruments in which chords
can be played in any key to the same effect. |
* Equal Temp. 2 (Equal Temperament, Random pitch): This equal temperament scale has random
detuning applied to each note of the scale; in other words, every note that is played is detuned from
the equal temperament scale by a randomly assigned amount. This is especially useful in reproducing
the errors of intonation that occur in the playing of many acoustic instruments or in reproducing
instruments whose pitch is slightly unstable. 5 |
* Pure Major: Pure Major is a tuning for which chords played in the selected key are most closely in
tune. Select the key from C to B.
* Pure Minor: Select the key from C to B.
* User Programmable: Original scales can be created by setting the pitch of each of the 12 tones from
C to B in the range of +/- 50 cents (based on equal temperament). With this function, the playing of
specific or unique scales besides the preset scales 1s possible. |
* Scale type is operative in the same way for all Programs.
F 3 - 2 USER SCALE
USER 48 -78 +98 +25 +41
#1 -390 -39 -10 +08 +16 +33 +00
A В с 0 E F G H
CT a CO A DAS A ne a
[#] Moves cursor to the key a semitone above present key
C/C# ~50 ~+50 Pitch (in cents) of each sound compared to equal temperament
D/D# —50 - +50
E —50 — +50
F/F# —50 — +50
G/G# —50 -+50
AJAY 50 ~ +50
B —50 - +50 |
113
* Sets the pitch of each scale when selecting User Scale in the Scale Type function (F 3-1).
User 40 -20 +08 +25 +41
[ # ] -50 -30 -10 +00 +16 +33 +50
— | |
an
| A ror to C#/Db | | DE/ Eb F#/Gb | | GE Ab A#/Bb
the next key.
C D E F G A B
* The 12 tones set here are assigned with the same relative settings to all octaves over the entire range
of the instrument.
F4-1DRUMKIT 1
DRUM KIT 1 = Kick 1
#30 81 CHE -128 L+48 D+13 4:6
A B E 0 E F 6 H
Index 0-29 Drum sound to be edited
Inst ---, 01 — 44 Selection of drum sound
| Кеу CO ~ G8 Key to which drum sound is assigned
Tune —120 — +120 Adjustment of pitch within +1 octave
Level ~99 ~ +69 Level adjustment of each sound
Decay ~99 ~ +99 Adjustment of decay time of each sound
Pan | A,A:B,B,C,D+D,D Selection of output
This function is used to edit the Drum Kit sounds and assign them to Programs of the Drum Kit mode. Up to
30 kinds of drum sounds can be assigned to each of the 4 Drum Kits (1 to 4).
*
Index selects the drum sound to edit.
*
Select the drum sound by using Inst (instrument). (See the back cover for the list of drum sounds.)
*
When using the PCM card (optional) which has drum sounds stored in it, sounds in the card can be
selected by adjusting the VALUE dial. (When playing the sound color which uses a drum sound from
the card, make sure to put the correct card in the slot.) |
Set all the instruments of the index which do not need to be assigned to "No Assign".
Key sets the key (CO to G8) to which the sound is assigned. The name of the key is indicated when the
octave is set to 8”. |
Two or more sounds cannot be assigned to the same key.
Any sound assigned to a key will also occupy all unassigned keys beneath it, or up to the next assigned
key. | - |
It is possible to assign the same sound with the same pitch to several different keys.
114
SL
Hi Hat | SNARE
Snare 1 1s assigned to all of these keys (the pitch changes accordingly).
* Tune, Level and Decay are the parameters which set the volume, pitch and VDA decay time of each
drum sound.
* When changing the corresponding Program parameters, the parameters (volume, for instance) of the
whole Drum Kit change. |
* Other Program parameters. control the entire Drum Kit as well.
* Tune sets the pitch of assigned key in the range of -120 to +120 (in 10-cent units, +/- 1 octave). |
* Level sets the relative value to the oscillator level in the PROGRAM Mode over a range of -50 to +50.
* Decay sets the relative value to the VDA EG Decay setting in the PROGRAM Mode over a range of
-50 to +50.
* Pan determines the output destination from the selection of A, A:B (9:1 to 1:9), B, C, C + D and D.
F 4 - 2--4 DRUM KIT 2--4
* Identical to F 4-1 DRUM KIT 1.
F5-1MIDIGLOBAL
MIDI GLOBAL — Common CH
CH= 1 CLK:INT Local:OFF
A B с D E F G H
Channel 1-16 Input/Output channel of internal play data
Clock Source INT/EXT Selection of transmission or reception of MIDI clock for sequencer
Local OFF/ON MIDI local mode switch
* Channel sets the sending and receiving channel of MIDI.
* When the type is set to Multi in the COMBINATION PLAY Mode or when in the SEQUENCER Mode,
MIDI data other than that of channel set here may be handled.
* When Local is set to OFF, the MI's keyboard and controllers (joy stick, after touch, etc.) will not
control the internal sound generation of the MI. (However, MIDI information is both sent and
received.) Usually this parameter should be left ON.
* When Local is set to OFF, the sequencer sends and receives only MIDI data.
* The default setting, or the setting when power is turned on, is ON.
* Clock Source should be set to EXT when receiving the play tempo from external sequencers as MIDI
clock data. (With this setting the internal tempo of M1 is not operative.) This is used to synchronize
with external sequencers and rhythm machines. |
* Make sure to set this function to INT when other MIDI devices are not connected to MIDI IN.
* The MI will receive start, stop, continue, song select, and song position data from external MIDI
devices only when this function is set to EXT. -
* The default setting, or the setting when power is turned on, is INT.
115
FS
- 2 MIDI FILTERING
PROG:ENA AFTT:DIS ENTL:ENA EXCL:DIS
MIDI FILTERING CMB-PROG Change
A 8 с
D E G H
bats rss boseme/ bee homes has an
Combination/Program Change | DIS/ENA | When set to DIS, the selected MIDI data is not received or sent.
After Touch DIS/ENA
Control Change DIS/ENA
[H] | Exclusive DIS/ENA
*
*
*
This function prevents the particular MIDI data from being sent or received. (This 18 called filtering.)
Data is filtered when recording to the sequencer, but is not filtered during playback.
Combination (or Program) change messages are not sent or received when setting
Combination/Program Change to DIS.
Control change messages are not sent or received when Control Change is set to DIS.
After touch messages are not sent or received when setting After Touch to DIS.
Parameter change messages by system exclusive are not sent or received when setting Exclusive to DIS.
NOTE: Parameter change by system exclusive is used to edit Programs with the use of a computer. When
connecting 2 M1s and setting Exclusive to ENA, Program editing is done on both Mis at the same time. Set it
to DIS when connecting MIDI instruments other than the M1.
F 6 - 1 PROGRAM MEMORY PROTECT
PROGRAM MEMORY PROTECT
Internal: OFF Card: 0H
A В с О Е Е G H
———T—[———l—]—— A ZE. rar
Internal OFF/ON Internal memory protect (prevents writing to memory)
Card OFF/ON Memory protect of memory card (prevents writing to card)
This function prevents Programs and Program parameters from being written to internal memory or
RAM card.
When Internal is set to ON, writing to internal memory cannot be executed.
When Card is set to ON, writing to RAM card cannot be executed.
Writing to RAM card is also prevented by the protect switch in the top part of the card.
116
F 6 - 2 COMBINATION MEMORY PROTECT |
* This function prevents Combinations and Combination parameters from being written to internal
memory or RAM card.
* Identical to F 6 - 1 Program Memory Protect.
F6-3 SEQ DATA MEMORY PROTECT
* This function prevents sequencer data from being written to internal memory or RAM.
* Identical to F6-1 Program memory Protect.
F 6-4 MEMORY ALLOCATION
Memora Ellocation
ClEOFROG-1ABCOMEBT <4 4885E0 LESECI
A B с D E F G H
J 1 | ——] — "|— "[T"——|——"!
100 PROG/100 COMBI/4400 SEQ | Selection of large program allocation
50 PROG/50 COMBI/7700 SEQ Selection of large sequence allocation
[EXEC] Executing Change
Changes the structure of the internal memory of the M1. (See p.16 for more details.) Select the memory
structure desired, then press [EXEC] ([G] ).
Save all data to a blank, formatted card before switching the memory allocation setting, since much of your
precious data could be irretrievably lost.
* All sequence data will be lost if total sequence data is more than 4400 steps when switching to the 100
PROG/100COMBI/4400 SEQ (large program allocation) setting. (When there are songs you wish to
keep, you can erase or initialize only the unnecessary songs before switching settings.)
* [YES] ([G]) executes, [NO] ([H] ) cancels.
* Data written to numbers 0 - 49 are copied to Program numbers 50 - 99 and Combination numbers 50 -
99 after executing.
The data written to Program numbers 50 - 99 and Combination numbers 50 - 99 are lost when selecting the 50
PROG/50 COMBI/7700 SEQ (large sequence allocation) setting. |
* [YES] ([G] ) executes, [NO] (El ) cancels.
117
F 7-1 MIDI DATA DUMP
MIDI DATA DUMP |
¢ PROGRAM > EDUMPY
. А B с D E F
ee a da ete esse homme) bee
G
H
nan
Program Transmission of all Program parameters
Combination Transmission of all Combination parameters
Global Data Transmission of Global Mode data (FO-1 — F5-2)
SEQ Data Transmission of all the sequence data
All Data Transmission of all the Program/Combination/Sequence data/Global parameters
[DUMP] Executing the Dump
Transmits (or dumps) all parameter/sequence data to another M1 connected through MIDI.
MIDI data dump can be sent and received when this page is selected regardless of the Exclusive
parameter setting of F 5 -2, MIDI Filtering.
For receiving, no particular operations are necessary except for setting the memory protect to OFF.
Program sends all the Program parameters.
Combination sends all the Combination parameters.
SEQ data sends all the sequence data.
All Data sends all Program parameter, Combination parameter and sequence data at the same time:
Dump is executed by pressing the [DUMP] ( IG] )
Program data and sequence data can be saved on external devices, providing that MIDI devices which
can save system exclusive data (such as the KORG SQD - 8) are used.
Type of Data Length of Exclusive
Message
(Large Program Allocation)
Program (100) | Approximately 16 K
Combination (100) - Approximately 14 K
Global Data Approximately 1 K
Sequence Data 2K~22K
All Data 33K~53K
(Large Sequence Allocation)
Program (50) Approximately 8 K
Combination (50) Approximately 7 K
Global Data Approximately 1 K
Sequence Data 2K~37K
All Data 18 K~ 53K
*
*
Transmission and reception through the Dump function will not occur if the memory allocation of the
M1 in reception differs from that of the device that is sending.
See the end of the manual for details on system exclusive data.
118
F 8 - 1 LOAD FROM CARD
LOAD from CARD
CPROG COMBIZSEL)
[LOAD]
A
F G H
B с D E
Ш ие Co is e E Io A jo
PROG/COMBI Loading of all Programs and Combinations (When PROG/COMBI Card,
PROG/COMBI/SEQ Card are used)
SEQUENCE Loading all seguence data (songs, patterns) w hen SEQ Card, PROG/COMBI/SEQ
Card are used)
PROG/COMBI/SEQ | Loading all Programs, Combinations and sequence data (When PROG/COMBI/SEQ
Card are used)
[LOAD] Executing the load
*
This function loads (or writes in) the data in the ROM card or RAM card to internal memory.
NOTE: This function erases any and all data existing in internal memory. It is recommended that you save al
internal memory data to a RAM card before loading.
*
follows:
the sending device.
The display prompts for confirmation after pressing [LOAD] ( [G G) ). Press [YES] ( G G| ) to save and
[NO] ( [H] ) to cancel.
When the format of the card differs from the structure of the internal memory, loading is executed as
Programs and Combinations are loaded and assigned according to the memory capacity available.
No sequence data is loaded at all if the memory space of the receiving device is smaller than that of
* Programs C00 - C99 used in the Combination parameters are loaded and replace 100 - 199.
(See F 9 - 2 FORMAT CARD for information on formatting.)
(See p. 16 for more about cards and the structure of the internal memory.)
119
F 9 - 1 SAVE TO CARD
SAUVE to CARD
© FROG-COMBI >
[SAVE]
A B С D
E
F H
G
be) Ken een kn) br) er) kn) ke
PROG/COMBI Saving all Programs and Combinations (When PROG/COMBI Card,
PROG/COMBI/SEQ Card are used)
SEQUENCE Saving all sequence data (songs, patterns) (When SEQ Card, PROG/COMBI/
SEQ Card are used)
PROG/COMBI/SEQ Saving all Programs, Combinations and sequence data (When
PROG/COMBI/SEQ Card are used)
[SAVE] Executing the save
* Saves (or writes) the data stored in the internal memory to RAM card.
* When saving to a new, blank card, format the card first following the instructions of F 9-2, then save.
* Save cannot be executed when the card memory protect is set to ON. (Cancelling the card memory
protect is done in functions F 6 - 1 through F 6 - 3.)
* Set the Protect Switch at the top of the card to OFF beforehand.
NOTE: This function erases any and all data existing in the card. It is recommended that you retain all important
data and save new data to a blank RAM card.
* The display prompts for confirmation after pressing [SAVE] ( ). Press [YES] ( ) to save and
[NO] ( ) to cancel.
* Global parameters (F 0 - 1 through F 5 - 2) are saved together at the same time when selecting
PROG/COMBI or PROG/COMBI/SEQ.
* When the the format of the card differs from the structure of the internal memory, saving is executed
as follows:
* Programs and Combinations are saved and assigned according to the memory capacity available.
* No sequence data is saved at all if the memory space of the receiving device is smaller than that of the
sending device.
(See F 9-2 FORMAT CARD for information on formatting.)
(See p.16 for more about cards and the structure of the internal memory.)
120
9 - 2 FORMAT CARD
FORMAT CARD
<S0PROG/SOCOHBI/4200SEQ?
CFORMATI
В С D
A E Fo G H
[rome | rms | epee | oir hs oa Cora E
100PROG/100COMBI
Selection of PROG/COMBI Card format
7700STEP SEQUENCE Selection of SEQ Card format
SOPROG/SOCOMBI/4200SEQ | Selection of PROG/COMBI/SEQ Card format
G|| [FORMAT] Executing the format
* Sets the format of the RAM card and formats the card.
(See p. 16 in the BASIC OPERATION chapter for more information on formatting RAM cards.)
* Use the KORG MEMORY CARD RAM (256 KBytes) MCR-03 for the RAM card.
* Newly purchased blank RAM cards must be formatted before they can be used for saving or writing.
NOTE: This function erases any and all data existing in the card. It is recommended that you retain all important
data and format blank RAM cards only. | |
* The display prompts for confirmation after pressing [FORMAT] ( ). Press [YES] ( ) to format
- and [NO] ( ) to cancel.
121
cel
MIDI IMPLEMENTATION
1. TRANSMITTED DATA
1-1 CHANNEL MESSAGES
1-3 SYSTEM REALTIME- MESSAGES
Status Second Third Description ENA
1000 nnnn | Okkk kkkk| 0100 0906 | Note Off A
kkk kkkk=24~108 (61Key + Transpose)
1001 mnnn | Okkk kkkk | Ovvy vvvy | Note On | A
kkk kkkk=24--108 (B1Key + Transpose)
vyv vvvv=10--127
1011 nnnn | 0000 0001 | Ovyv ууму | Pitch Modulation (Joy Stick(+Y)) С
1011 nnnn | 0000 0010 Ovyvwv vvyv | VDF Modulation (Joy Stick(-Y)) С
1011 nnnn | 0000 0110 | Ovvv vvyv | Data Entry (MSB) (BE. Slider, A. Pedal} x] E
1011 nann | 0000 0111 | Ovvv vvvv | Volume {Assignable Pedal) С
1011 nnnn | 0010 0110 | Ovvv vvvv| Data Entry (LSB) (E. Slider. A Pedal) *1 E
1011 nnnn | 0100 0000 | 0000 0000 | Damper Off ( Damper Pedal ) С
1011 поло | 0100 00900 | 9111 1111} Damper On { Damper Pedal ) С
1011 nnnn (| 0110 0000 1 0000 0000 ! Вата Increment ( UP Switch ) *l E
1911 nnan | 9110 0001 0000 0000 | Data Decrement ( DOWN Switch ) *1 E
1011 nonn | Occc cece | Ovvy vvvy | Control Data (Seg. Recorded Data) #3 Q
ccc cccc=00-—101
1100 nnnn | Oppp pppp | ---- ---- Program Change (Program or Combi) *2 Р
1101 nnnn | Ovvy vvvy | ---- ---- " Channel Pressure ( After Touch ) С
1110 nnan | Obbb bbbb | Obbb bbbb | Bender Change ( Joy Stick(X) ) ¥3 | €
Status Description
1111 1000 Timing Clock xd
1111 1919 Start *4
1111 1011 Continue ЖА
1111 1100 Stop YA
1111 1110 Active Sensing
*4 : Transmits when in Sequencer Mode (Internal Clock)
1-4 UNIVERSAL SYSTEM EXCLUSIVE MESSAGE (DEVICE INQUIRY)
Byte (Hex)
Description
1111 0000 (FO)
0111 1110 (7E)
0000 896% (0%)
0000 0110 (06)
0000 0010 (02) | IDENTITY REPLY
0100 0010 (42) | KORG ID
0001 1001 (19) E MI ID
EXCLUSIVE STATUS
NON REALTIME MESSAGE
MIDI GLOBAL CHANNEL (
INQUIRY MESSAGE
0000 0000 (00) { -
0000 0000 (DO)
0000 0000 (00% Co
Ok LIL (EX) | ROY No. lv
0000 0000 (00) ¢ -
Ok de CAR) | SOFT VER lv
0000 0000 (00) (
1111 0111 (ЕТ) | END OF EXCLUSIVE
DEVICE 1D
)
(MANUFACTURERS ID)
(FAMILY CODECLSB))
- (#58))
(MEMBER CODE(LSB))
- (HSB)
( Minor Yer. (LSB))
- (¥SB))
{ Major Ver. (LSB))
- (MSB))
noann : MIDI Channel No. (0-15) Usually Global Channel. When using Seguencer, each tracks channel.
ENA = A : Always Enable
C: Enable when Control is On
P : Enable when Program is On
E : Enable when Exclusive is On
Q
- Enable only when Sequencer is Playing(T), Recording(R)
*l : Prog, E. Prog, Combi, E. Combi Mode Only
*2 : When Memory Allocation = L. Prog -- pop pppp=0--99
- - - ® 1. бед. =+то)! ppp pppp=0~48
*3 : Only Seg. Recorded Data use all c=0-101 area
1-2 SYSTEM COMMON MESSAGES
Status Second Third Description
1111 0010 | O111 1111 | Ohhh hhhh Song Position Pointer
111 1111 : Least significant
hhh hhhh : Most significant
1111 9011 1 000s ssss | ---- ---- Song Select
s ssss : Song No. = 0~19 (10~19:Card)
Transmits when in Sequencer Mode (Internal Clock)
Transmits when INQUIRY MESSAGE REQUEST Received
1-5 SYSTEM EXCLUSIVE MESSAGES
NI SYSTEM EXCLUSIVE
Ist Byte = 1111 0000 (FO) :
3rd Byte = 0611 nnnn (31)
“4th Byte = 0001 1001 (19) : Hl
5th Byte = Offf fiff (ff)
LastByte = 1111 0111 (F7) :
Function Code List
Exclusive Status
2nd Byte = 0100 0010 (42) : KORG
ID
ID
: Function Code
6th Byte = (ddd dddd (dd) : Data
End of Exclusive
: Format ID n:Global ch.
a...
Func Description RICIDIE
42 | MODE DATA ©
47 ALL DRUM SOUND(PCM CARD) NAME O
45 | ALL MULTISOUNDCPCM CARD) NAME |O
dE | MODE CHANGE O
41 | PARAMETER CHANGE О
40 | PROGRAM PARAMETER DUMP ОГО
4C | ALL PROGRAM PARAMETER DUMP O O
49 | COMBINATION PARAMETER DUP Oo
4D | ALL COMBINATION PARAMETER DUMP | O O
48 | ALL SEQUENCE DATA DUMP O O
51 | GLOBAL DATA DUMP O O
50 | ALL DATACGLB, CKB, PRG, SEQ) DUMP | O O
26 | RECEIVED MESSAGE FORMAT ERROR | © (O,
23 | DATA LOAD COMPLETED O
24 | DATA LOAD ERROR O
21 | WRITE COMPLETED O
22 | WRITE ERROR O
EX. Header
EOX _
Transmit when
В: Request Message is received
C : Mode or No. is changed by SW
D : Data dump by SY
( Doesn't respond to
Exclusive On, Off)
E : EX. Message is received
CI
2. RECOGNIZED RECEIVE DATA
2-1 CHANNEL MESSAGES
2-2 SYSTEM COMMON MESSAGES
Status Second Third Description
1111 0010 | 0111 1111 | Ohhh Ahhh! Song Position Pointer
111 1111 : Least significant
hhh hhhh : Host significant
1111 0011 + 000s ssss | ---- ---- Song Select
s ssss : Song No. = 0~19 C10-19:Card)
Receive when in Sequencer Mode (External Clock)
2-3 SYSTEM REALTIME MESSAGES
Status Description
1111 1000 | Timing Clock *4
1111 1010 [ Start *4
1111 1011 | Continue ЖА
1111 1100 | Stop *4
1111 1110 | Active Sensing
*4 : Receive when in Sequencer Mode (External Clock)
2-4 UNIVERSAL SYSTEM EXCLUSIVE MESSAGE (DEVICE INQUIRY)
Byte Description
1111 0000 (FO) | EXCLUSIVE STATUS
0111 1110 (ТЕ) | NON REALTIME MESSAGE
Oks dk (kk)
0000 0110 (06)
0000 0001 (01)
1111 0111 (F7) |
MIDI CHANNEL
INQUIRY MESSAGE
INQUIRY REQUEST
END OF EXCLUSIVE
(DEVICE 1D)%5
*5 = OF
= TF
: Receive if Global Channel
Status Second Third Description ENA
1000 nnnn | Okkk kkkk | Oxxx xxxx | Note Off À
1001 nnnn | Okkk kkkk : 0000 0000 | Note Off Â
1001 nnnn | OKKk Kkkk | Ovvv vyvyv | Note On À
vvv vyvv=l-127
1011 monn | 0000 0001 | Ovvy муху + Pitch Modulation С
1011 nnnn | 0000 0010 | Ovvv vyvv | VDF Modulation С
1011 nnnn | 9000 0110 | Ovwy vwv | Data Entry (HSB) *1, 3 E
1011 nnnn |: 0000 0111 | OQyyv vwyy | Volume С
1011 nnan | 0010 0110 | Ovvy vvww | Data Entry (LSB) 1, 3 E
1011 nnnn | 0100 0000 | O0xx xxxx Damper Off С
1011 nnan | 0100 0000 | Olxx xxxx | Damper On С
1011 nnnn | 0110 0009 | 0000 9000 | DATA Inciement *1,3 E
1011 nnnn | G110 0001 | 0000 0000 | DATA Decrement ЖЕ, 3 E
1011 nono | 0110 0190} 0000 0001 RPC Parameter No. (LSB) CM. Tune) *3 E
1011 nnnn | 0110 0101 | 0000 0000 | RPC Parameter No. (MSB) CM. Tune} *3 E
1011 nnnn | Occc cece! Ovvv vvyv | Control Data (For Seg. Recording) Q
cee ceee=00~101
1011 nnnn | 0111 1010 | 0000 0000 | Local Control Off A
1011 nnnn | O111 1010: 0111 1111 | Local Control On À
1011 nnnn | QIli 1011 | 0000 0000 | All Notes Off A
1011 nnnn | O111 110x | 0000 0000 { (All Notes Off) A
1011 подп | 9111 1110 | 000m mmmm (All Notes Off) A
m mmum=015
1011 nonn | Ol 1111 0000 0000 | (All Notes Off) Á
1100 nnnn | Oppp pppp | -——- ---- Program. Combination Change +2, 3 P
1101 попа | Омуу муму | ---- —— Channel Pressure (After Touch) €
1110 nnnn | Obbb bbbb | Obbb bbbb | Bender Change С
x : Fandom
ENA + Same as TRANSMITTED DATA
x] : Prog, E. Prog, Combi, E. Combi Mode Only
*2 : Memory Alioc. =L. Prog ems Data beyond value of 99 are assigned a new value by subtracting 100.
ex. 100—00, 127—27
Memory Alloc. =L. Seg. Data beyond value of 49 are assigned a new value by subtracting 50,
until the value is less than 50. ex. 50—00. 127—27
*3 : After Processing (While Exclusive On).
Transmits Exclusive Messagel DATA LOAD CONPLETEDJor [DATA LOAD ERROR]
: Receive any Channel
2-% SYSTEM EXCLUSIVE MESSAGES
* Not received when Sequencer is playing, recording
Function Code List
Func Description GICIPIS
12 | MODE REQUEST OOOO
IF ALL DRUK SOUND(PCM CARD) NAME DUMP REQUEST OOOO
16 | ALL MULTISQUNDCPCM CARD) NANE DUMP REQUEST OICIOTtOo
10 | PROGRAM PARAMETER DUMP REQUEST O
IC | ALL PROGRAM PARAMETER DUMP REQUEST OOOO
19 | COMBINATION PARAMETER DUMP REQUEST O
1D | ALL COMBINATION PARAMETER DUMP REQUEST O10 |0O
18. | ALL SEQUENCE DATA DUMP REQUEST GO} 01010
OE | GLOBAL DATA DUMP REQUEST © | ООО
OF | ALL DATACGLOBAL, COMBI, PROG, SEQ. )DUMP REQUEST ОТО ТОТО
11 | PROGRAM WRITE REQUEST | O
1A COMBINATION WRITE REQUEST O
40 | PROGRAM PARAMETER DUMP O
4C | ALL PROGRAM PARAMETER DUMP OIOCIOLTO
49 | COMBINATION PARAMETER DUMP O
4D | ALL COMBINATION PARAMETER DUMP О ОО
48 | ALL SEQUENCE DATA DUMP © 01010
51 | GLOBAL DATA DUMP : ©0100
50 | ALL DATACGLOBAL, COMBI, PROG, SEQ. ) DUMP OOOO
4E | MODE CHANGE O10|10|/0
41 | PARAMETER CHANGE OJO
Received when in
G : GLOBAL MODE
(© :Does not respond to
Exclusive On, Off in
DATA DUMP Page)
C : COMBI, E. COMBI MODE
P : PROG, E. PROG MODE
S : SEQUENCER MODE
vel
3. MIDI
EXCLUSIVE FORMAT
R : Receive, T : Transmit
(1) MODE REQUEST R
Byte Description
FO, 42, 3n, 19 EXCLUSIVE HEADER
0001 0010 MODE REQUEST 12H
1111 0111 EOX
Receives this message, and transmits Func=42 message.
(2) PROGRA¥ PARAMETER DUMP REQUEST R
Byte Description
FO, 42. 3n, 19 EXCLUSIVE HEADER
9001 0000 PROGRAM PARAMETER DUMP REQUEST 10H
HÍI 0111 EOX
Receives this message. and transmits Func=40 message. or
(3) ALL DRUM SOUND(PCM Card) NAME DUMP REQUEST R
Byte Description
FO, 42, 3n, 19 EXCLUSIVE HEADER
0001 1111 ALL DRUM SOUND{Card) NAME DUMP REQ. 1FH
1111 0111 EOX
Receives this message. and transmits Func=47 message. or
(4) ALL MULTISOUND(PCM Card) NAME DUMP REQUEST R
Byte Description
FQ, 42, 3n. 19 EXCLUSIVE HEADER
0001 0110 ALL MULTISOUND(Card) NAME DUMP REQ. 16H
1111 0111 EOX
Receives this message. and transmits Func=45 message. or
(5) ALL PROGRAM PARAMETER DUMP REQUEST R
Byte Description
FO, 42, 3n, 19 EXCLUSIVE HEADER
0001 1109 ALL PROGRAM PARAMETER DUMP REQUEST ICH
0000 000c Bank (See NOTE 3-1)
1111 0111 EOX
Receives this message. and transmits Func=4C message. or
(6) COMBINATION PARAMETER DUMP REQUEST R
Byte Description
À FO. 42, 3n, 19 EXCLUSIVE HEADER
0001 1001 COMBINATION PARAMETER DUMP REQUEST 19H
1111 0111 EOX
Receives this message, and transmits Func=49 message. or
(7) ALL COMBINATION PARAMETER DUMP REQUEST R
Byte Description
FO, 42. 3n. 19 EXCLUSIVE HEADER
0001 1101 ALL COMBI. PARAMETER DUMP REQUEST 1DH
0000 000c Bank (See NOTE 3-1)
1111 0111 EOX
Receives this message. and transmits Func=4D message. or
transmits Func=24
transmits Func=24
transmits Func=24
transmits Func=24
transmits Func=24
transmits Func=24
message.
message.
NESSALE.
message.
message.
message.
(8) ALL SEQUENCE DATA DUMP REQUEST
Byte Description
FO. 42, 3n. 19 EXCLUSIVE HEADER
0001 1000
0000 000c Bank
1111 0111 EOX
ALL SEQUENCE DATA DUMP REQUEST 18H
(See NOTE 3-1)
Receives this message. and transmits Func=48 message. or transmits Func=24 message.
(9) GLOBAL DATA DUMP REQUEST
R
Byte Description
FO, 42. 3n.19 EXCLUSIVE HEADER
0000 1110 GLOBAL DATA DUMP REQUEST
0000 000с Bank
1111 Q111 EOX
(See NOTE 3-1)
ФЕН
Receives this message. and transmits Func=5! message. or transmits Func=24 message.
(10) ALL DATACGLOBAL, COMBI. PROG. SEQ. ) DUMP REQUEST R
Byte Description
FQ. 42. 3n, 19 EXCLUSIVE HEADER
0000 1111
0000 000€ Bank
1111 0111 EOX
ALL DATACGLB, CMB, PRG. SEG. ) DUMP REQ. OFH
(See NOTE 3-1)
Receives this message. and transmits Func=50 message. or transmits Func=24 message.
(11) PROGRAM WRITE REQUEST
R
Byte Description
FO. 42, 3n. 19 EXCLUSIVE HEADER
0001 0001 PROGRAM WRITE REQUEST
0000 0006 Bank (See NOTE 3-1)
Oppp pppp ¥rite Program No. (0-99 or 0-49)
1111 Q111 EOX
11H
Receives this message. and writes the data and transmits Func=21 message. or transmits Func=2?2 message.
(12) COMBINATION WRITE REQUEST
R
Byte Description
FO, 42, 3n, 19 EXCLUSIVE HEADER
0001 1010 COMBINATION WRITE REQUEST IAH
0000 DONE Bank (See NOTE 3-1)
Oppp pppp Write Combination No. (0-99 or 0-49)
1111 911 EOX
Receives this message, and writes the data and transmits Func=21 message. or transmits Func=22 message.
(13) PROGRAM PARAMETER DUMP
R, T
Byte Description
FO, 42, 3n. 19 EXCLUSIVE HEADER
0100 0000 PROGRAM PARAMETER DUXP
Qddd dddd Data
1111 0111 EOX
(See NOTE 6)
40H
Receives this message & data, and transmits Func=23 message. or transmits Func=24 message.
Receives Func=10 message, and transmits this message & data.
When changing the program no. by SW. transmits this message '& data.
Sel
(14) ALL PROGRAM PARAMETER DUMP К, т
Byte Ш Description
FO, 42, 3n. 19 EXCLUSIVE HEADER
0100 1100 ALL PROGRAM PARAMETER DUMP 4CH
0000 00mc Kem. Allocation, Bank (See NGTE3-1, 3-2)
Oddd dddd Data (See NOTE 7)
1111 0111 EOX
Receives this message & data, and transmits Func=23 message. or transmits Func=24 message.
Receives Func=1C message. and transmits this message & data.
Transmits this message & data by DATA DUMP.
(15) COMBINATION PARAMETER DUMP R, T
Byte Description
FO, 42. 3n. 19 EXCLUSIVE HEADER
0100 1001 COMBINATION PARAMETER DUMP 49H
Oddd dddd Data (See NOTE 8)
1111 0111 | EOX
Receives this message & data, and transmits Func=23 message. or transmits Func=24 message.
Receives Func=19 message, and transmits this message & data.
¥hen changing the Combi no. by S¥, transmits this message & data.
(18) GLOBAL DATA DUKP R, T
Byte Description
FO, 42. 3n, 19 EXCLUSIVE HEADER
0101 0001 GLOBAL DATA DUMP 91H
0000 000c Bank (See NOTE 3-1)
Oddd dddd Data (See NOTE 11)
1111 0111 EOX
Receives this message & data. and transmits Func=23 message. or transmits Func=24 message.
Receives Func=0E message, and transmits this message & data. Transmits this message & data by DATA DUMP.
(19) ALL DATACGLOBAL, COMBI, PROG, SEQ. ) DUMP К, т
Byte Description
FO, 42, 3n, 19 EXCLUSIVE HEADER
0181 0000 ALL DATA(GLBL, COMBI. PROG, SEQ. ) DUMP 50H
9000 00mc Ken. Allocation, Bank (See NOTE3-1, 3-92)
0sss ssss Seg. Data Size (See NOTE 10-1)
Oddd dddd Data (See NOTE 12)
1111 011% EOX
(16) ALL COMBINATION PARAMETER DUMP rR, T
Byte Description
FO, 42. 3n. 19 EXCLUSIVE HEADER
0100 1101 ALL COMBINATION PARAMETER DUMP 4DH
0000 00mc ¥em- Allocation, Bank (See NOTE3-1,3-2)
Oddd dddd Data (See NOTE 9)
1111 0111 EOX
Receives this message & data, and transmits Func=23 message. or transmits Func=24 message.
Receives Func=1D message. and transmits this message & data.
Transmits this message & data by DATA DUP.
(17) ALL SEQUENCE DATA DUKP R, T
Byte Description
F0, 42, 3n, 19 EXCLUSIVE HEADER
0100 1000 ALL SEQUENCE DATA DUNP 48H
0000 000c Bank (See NOTE 3-1)
0sss ssss Seg. Data Size (See NOTE 10-1)
0ddd dddd Control Data (See NOTE 10-2)
0ddd dddd | Sequence Data (See NOTE 10-3)
1111 0111 | ox”
Receives this message & data. and transmits Func=23 message. or transmits Func=24 message.
Receives Func=18 message. and transmits this message & data.
Transmits this message & data by DATA DUMP.
Receives this message & data. and transmits Func=23 message. or transmits Func=24 message.
Receives Func=0F message, and transmits this message 4 data. Transmits this message & data by
DATA DUMP.
(20) MODE CHANGE R, T
Byte Description
FO, 42, 3n. 19 EXCLUSIVE HEADER -
0100 1110 MODE CHANGE 4EH
000b Ommm Mode Data (See NOTE 1,2)
000b 00nc Mem. Alloc. Bank (See NOTE 2.3-2.3-1)
1111 0111 EOX
Receives this message & data. and changes the Mode, Bank and transmits Func=23 message. or transmits
Func=24 message.
¥hen changing the Mode by SY, transmits this message $ data(b of Mode=0, b of Bank=1).
When changing the Wem Alloc by SW, transmits this message 4 data (b of Bank & Mode=1).
When changing the Bank by SW. transmits this message & data(b of Mode=1, b of Bank=0).
(21) PARAMETER CHANGE R, T
Byte Description
FO, 42. 3n. 19 EXCLUSIVE HEADER
0100 0001 PARAMETER CHANGE 41H
Oppp pppp Parameter Page (See TABLE 5,6)
0000 pppp Parameter Position (See TABLE 5.6)
Ovvv vvvy Value (LSB bit6-0) (See NOTE 13)
Ovvv vvvv Yalue (MSB bit15-7) (See NOTE 13)
1111 0111 EOX
Receives this message & data. and transmits Func=23 message. or transmits Func=24 message.
When changing the parameter no. by SF, and transmits this message a data.
(22) ALL DRUM SOUND(PCH Card) NAME T
Byte Description
FO, 42, 3n. 19 EXCLUSIVE HEADER
0100 0111 ALL DRUM SOUND(PCH Card) NAME 47H
0555 $555 Sound Number {See NOTE 14)
Oddd dddd Data (See NOTE 14)
1111 0111 EOX |
Receives Func=1F message, and transmits this message & data. or transmits Func=24 message.
9cl
(93) ALL HULTISOUND(PCH Card) NAME
Byte Description
0ddd dddd | Data
111) 0111 EOX
FO, 42, an. 19 EXCLUSIVE HEADER
0100 0101 ALL MULTISOUNDCPCM Card) NAME 45H
0sss ssss Multi Sound Number
(See NOTE 15)
(See NOTE 15)
Receives Func=16 message, and transmits this message & data. or transmits Func=24 message.
(24) MODE DATA
T
Byte Description
FO, 42. 3n, 19 EXCLUSIVE HEADER
0100 0010 NODE DATA
0000 Ommm Mode Data
0000 000m Memory Allocation
0011 00mm Card Variation
0000 00ce PCM Card Yariation
1111 OIL! EOX
(See NOTE 1)
(See NOTE 3-2)
(See NOTE 4)
(See NOTE 5)
42H
Receives Func=12 message. and transmits this message à data.
(25) MIDI IN DATA FORMAT ERROR
T
Byte Description
FO, 42. an. 19 EXCLUSIVE HEADER
0010 0110 MIDI IN DATA FORMAT ERROR
1111 0111 EOX
26H
Transmits this message when there is an error in the MIDI IN message (ex. data length).
(26) DATA LOAD COMPLETED T
Byte Description
FO, 42. 3n, 19 EXCLUSIVE HEADER
0010 0011 DATA LOAD COMPLETED 23H
1111 0111 EOX
Transmits this message when DATA LOAD, PROCESSING have been completed-
(27) DATA LOAD ERROR
T
Byte Description
РО, 42, Зп, 19 EXCLUSIVE HEADER
0010 0100 DATA LOAD ERROR
1111 0111 BOX
24H
(28) WRITE COMPLETED
Transmits this message when DATA LOAD, PROCESSING have not been completed(ex. protected).
T
Byte . Description
FO, 42.3n.19 | EXCLUSIVE HEADER
0010 0001 WRITE COMPLETED
1111 01H EOX
21H
Transmits this message when DATA WRITE BY MIDI has been completed.
(29) WRITE ERROR
T
Byte Description
FO, 42. 3n, 19 EXCLUSIVE HEADER
0010 OCIO WRITE ERROR
1111 0111 BOX |
22H
Transmits this message when DATA WRITE BY MIDI Incompleted.
NOTE 9 :
NOTE 1 : mmm = 0 : COMBINATION 3: EDIT PROG.
1 : EDIT COMBI. 4 : GLOBAL
2 : PROGRAN - ° 6 : SEQUENCER
NOTE 2 : b = 8 : Change the Kode, Bank
= 1 : Don' t change the Mode, Bank
NOTE 3-1 : c = 0 + Internal
= 1 ee Card
NOTE 3-2 : в = Q 100Combination & 100Program
|= | +... 50 - 8 50 -
NOTE 4 :11,mm= 0,0 : Card Off
= 0,1 : NG Card (ROM)
= 0,2: - - (RAM) я
11 = 1 : ROK Card um = 0 : Glb. +100:100
= 2 : RAM Card (Protect Off) = 1 : Gib. + 50: 50+Seq.
=3: - - € - ба) = 2 : Sequencer
NOTE 5 : cc = 0 : Card Off
= 1 : NG Card
ОЕ 8 ! РС Сат@ Imo eins
DUMP DATA FORMAT n=0~ for NOTE 6, 7. 8, 9, 10-2,10-3, 11, 12, 14, 15 |
DATA ( 1set = 8bit x 7Byte )
b7 me ом BT e bd Ш b0 Bb ~ BO |
(TIT EEES EPI II NE
1030 Tnt! Int2 > Tnt5 1nt6
| ] ;
MIDI DATA £ lset = 7bit x 8Byte ) | 1 |
b7b7b7b7b7b7b7 b6 a 50 b6 BO 55 m b0
Pol TIT oo Let in PILLO:
____Tnt6,5,4,3,2,1,0_________Tnt0 ов сто ТЫ 1111000211 TatS enanas
NOTE 6 : PROGRAM PARAMETER DUMP FORMAT { See TABLE !
[Parameter No. 00], ---— , [Parameter No. 142]
143Byte = Tx20+3 — Bx20+1+3) = 154Byte
NOTE 7 : ALL PROGRAM PARAMETER DUNP FORMAT
[Prog. No. 00 ¿143Byte)], 344 ; [Prog.
Mem- Alloc = L. Prog :
= L. Seq.
No. 99 or 49 (143Byte)]
14300Byte = 7x2042+6 — 8x20421(146) =
7150Byte = 7x1021+3 — 8x10214(1+3) =
NOTE 8 : COMBINATION PARAMETER DUNP FORMAT
(5. 2Sec)
(2. 6Sec}
16343Byte
8172Byte
( See TABLE 2 )-
[Parameter No. 00], -----* ‚(Parameter No. 123]
124Byte = Tx1745 — 8x17+(145) = 142Byte
ALL COMBINATION PARAMETER DUMP FORMAT
(Combi. No. 00 (124Byte)], ----- , [Combi. No. 99 or 49 (124Byte)]
Hem. Alloc - L. Prog :
= L. Seq.
12400Byte = 7x1771+3 — 8x1771+(143)
6200Byte = Tx 88545 — 8x 885+(1+5)
14172Byte (4. 5Sec)
7086Byte (2. 3Sec)
Le
NOTE 10 :
NOTE 11 =
NOTE 12 :
NOTE 13
Value
MIDI Data
NOTE 14
NOTE 15
( See TABLE 4)
ZByte
ALL SEQUENCE DATA DUMP FORMAT
: Sequence Data Size
(Data Size (bit65-0)1.
[Data Size (bit12-7)]
: Control Data Dump Format (1522Byte)
(Song Size(95) x 10 = 960Byte)l,
[Pattern Data (200Byte)],
[Song0-Track! Address(2Byte)], . [Song0-Track8 Addrl.
[Songl-Trackl Addr], ---- . [Song9-Track8 Addr!1(160Byte).
[Pattern0 Addr(2Byte)], ------ , [Pattern99 Addr(200Byte),
[Pattern End Addr { 2Byte )]
[Control Data
+ Sequence Data Dump Format
[Sequence Ist Data(4Byte)]. == , [Seq. nth Data]
n : Seg. Data Size = 0 ~ 4400 (Mem. Alloc = L. Prog)
= 0 ~ T700 (Mem Alloc = L. Seg. Seq. Card)
= (0 ~ 4200 (Frog Combi, Seq. Card)
TxA+B — 8xA+(1+B)Byte
. 19-1.10-2, 10-3 = 218xA+(11B)Byte
{ See TABLE 3 )
1522Bytet+4x[Seg. Data SizelByte =
GLOBAL DATA DUMP FORMAT
[Global Data (19+2Byte)].
[Drum Kit Data <7x120Byte)]
21+840Byte =
ALL DATA (GLOBAL, COMBI. PROG, SEQ) DUMP FORMAT
[Global Data] (See NOTE 11),
(All Combination Parameter Data] (See NOTE 9),
[All Program Parameter Data] (See NOTE 7),
[All Sequence Datal (See NOTE 10-2. 10-3)
L. Prog : 861+12400+14300+1522+4x[Seq. Data Size iByte =
— 8xC+(1+D)Byte
: 8614 62004 7150+1522+4x[Seg. Data SizelByte =
— 8xE+(1+F)Byte
Seg. Card : 861+ 82004 7150+1522+4x[Seg. Data SizelByte =
— 8BxG+(1+H)Byte
7x123+0 — 8x123 = 984Byte
TxC+D
(10. 7-17. 1Sec)
TxE+F
( 5. 8-17. 0Sec)
TxG+H
( 5. 8-11. 9Sec)
Mem. Alloc =
u
L. Seq.
Prog, Comb,
: VALUE DATA FORMAT
Bitl5-13 of Value Data is Sign Flag. and they have same value
Data PL HF LI LEILA
TE] TTT
or TT 1
ddd IT
LP TEJA ELIT
: ALL DRUM SOUND(PCK Card? NAME DATA FORMAT
[Drum Sound 1 Name (10Byte)].
п: Drum Sound Number
: ALL MULTISOUND(PCM Card) NAME DATA FORMAT
[Multisound 1 Name (10Byte}],---- , [¥ultisound п Name (10Byte}]
n : Multisound Number
PROGRAM PARAMETER ( TABLE I)
No. PARAMETER DATACHex) : VALUE OSC-1 PITCH EG
00 | PROGRAM NAME (Head) | 20~7F : = ~~" 63 | START LEVEL 90-83 : -99--098
: 64 | ATTACK TIME 00-63
09 | PROGRAM NAME (Tail) 65 | ATTACK LEVEL - 9D-63 : -997-99
OSCILLATOR 66 | DECAY TIME 00-683 |
10 | OSCILLATOR MODE 0.1,2 *2 87 | RELEASE TIME 00~53
jp LoASSIGN | bit0=0:POL =1:MON | | 68 RELEASE LEVEL 9D-63 : -99--99
HOLD bitl=0:0FF, =1:0N 89 | TIME VELOCITY SENSE | 9D--63 : -99--99
12 | 0SC-1 KULTISOUND | 00-83: Int, 64r—:Card 70 | LEVEL VELOCITY SENSE | 9D~~63 : -99--99
13 | 0SC-1 OCTAVE | FF~01 : 16 ~4’ VDF-1 |
14 | osc-2 MULTISOUND .| 00~63: Int, 64~ Card 71 | CUTOFF VALUE 00-53
15 | 0SC-2 OCTAVE FF~01 : 18 4 72 | KBD TRACK CENTER 00-7F : C-1--69
16 | INTERVAL F4—0C : -12-+12 73 | CUTOFF KBD TRACK 9D—63 : -99-+99
17 | DETUNE CE~32 : -50~50 74 | EG INTENSITY 00-53
18 | DELAY START 00-63 75 | EG TIME KBD TRACK 00-63
PITCH MG 76 | EG TIME VEL. SENSE 00-63
| WAVE FORM ~~ | bitl,0=0.1,2,3 *3 77 | EG INT. VEL. SENSE 90-63 : -99--09
19 |-OSC-1 MG ENABLE — | bit5=0:0FF. =1:ON_ VDF-1 EG
|_0SC-2 MG ENABLE ___ _ bit6-0:0FF, =1:0N _ 18 | ATTACK TIME 007-63
KEY SYNC bit7=0:0FF, =1:0N 79 | ATTACK LEVEL * 90-63 : -99--99
20 | FREQUENCY 00-63 80 | DECAY TINE 00-53
21 | DELAY 00-63 81 | BREAK POINT 9D--63 : -99--99
22 | INTENSITY 00-63 82 | SLOPE TIME 00-63
CUTOFF MG 83 | SUSTAIN LEVEL 90-63 : -99--99
| WAVE FORE | bitl,020,1,2.3 *3 84 | RELEASE TIME 00~63
93 |_OSC-1 MG ENABLE | bit5=0:0FF. =1:0R__ 85 | RELEASE LEVEL 9D~63 : -98~99
|_OSC-2 MG ENABLE | bit6=0:0FF, =1:ON УРА-1
KEY SYNC bit7=0:0FF, =1:0N 85 | OSCILLATOR LEVEL 00-63
24 | FREQUENCY 00-63 — 87 | KBD TRACK CENTER 00-7F : C-17-69
25 | DELAY 00-63 88 | AMP. KBD TRACK INT. | 9D--63 : -99--99
26 | INTENSITY 00-63 89 | ANP. VELOCITY SENSE | 9D-63 : -997.99
AFTER TOUCH 90 | EG TIME KBD TRACK 00-63
27 | PITCH F4—0C : -12-—19 91 | EG TIME VEL. SENSE 007-63
28 | PITCH KG 00-63 VDA-1 EG
29 | VDF CUTOFF 90-83 : -99-.99 92 | ATTACK TIME 00-63
30 | VDF HG 00~63 93 | ATTACK LEVEL 007-63
31 | VDA AMPLITUDE 9D--83 : -99— 99 94 | DECAY TINE 00~63
JOY STICK 95 | BREAK POINT 00~63
32 | PITCH BEND F4-—0C : -129-+12 96 | SLOPE TIME 007-63
33 | VDF SWEEP INT gD~63 : -99^-99 97 {| SUSTAIN LEVEL 007-63
34 | PITCH MG INT. 00-83 98 | RELEASE TIME 00-63
35 | PITCH MG FREQUENCY | 00-03 0SC-1 EG TIME KBD TRACK. VEL. S¥ & POLARITY
36 | VDF HG INT. 00-63 99 | F.EG TIME K. T SW&POL | bit7-+0 x]
37 | VDF MG FREQUENCY 00~03 100 | F. EG TIME VEL. SW&POL | bit7~0 *1
EFFECT PARAMETER 101 | AEG TIME K. T SW&POL | bit7~0 *1
38 102 | A. EG TIME VEL. SW&POL | bit7~0 *l
*11 0SC-2 PARAMETER
62 103 SAME AS 0SC-1(63~102)
*l : bit0 : ATTACK TINE SW =0:0FF, =1:0N :
bitl : DECAY TIME 142
bit? : SLOPE TIME
bit3 : RELEASE TINE *2 : 0 : SINGLE *3 : 0 : TRIANGLE (A)
bitd : ATTACK TIME POLARITY =0:+, =1:- I : DOUBLE [= UP SAY (AAD
bits : DECAY TIME 2 : DRUM 2 : DOWN SAY. (NIN)
bit6 : SLOPE TINE 3 : RECTANGLE (TLD
bit7 : RELEASE TiME
eci
COMBINATION PARAMETER GLOBAL PARAMETER SEQUENCER CONTROL DATA ( TABLE 4)
о ( TABLE 2 ) ( TABLE 3 ) No. | PARAMETER [DATA(Hex) : VALUE 1520 | End Pattern Addr(L)
№ | PARAMETER | DATACHex) : VALUE No. | PARAMETER | DATACHex) : VALUE SONG 0 CONTROL DATA 15211 - A
"COMBINATION CONTROLLER | GLOBAL PARAMETER 00 | MIDI Channel (Tr. 1) | 00—0F : 1-16
00 | COMBI. NAME (Head) | 2077 : * «— | | 00 [ WASTER TUNE CE~32 : —50~50 : т tau till iE ти
: 01 | KEY TRANSPOSE F4-V0C : -12-12 07 |. HIDI Channel (Tr. 8) SEQUENCE DATA I X)
09 | COMBI. NAKE (Tail) 02 | DAMPER POLARITY 0 1: f 1 08 | STATUS (Tr. 1) | 0003 x9 = SAT UD о
10 | COMBINATION TYPE 007-04 #4 03 | ASSIGNABLE PEDAL 1 | 007-09 #7 ; aa TATA (Lo) FO
EFFECT PARAMETER 04 | ASSIGNABLE PEDAL 2 | 00-09 #7 15 | STATUS (Tr. 8) E DATA C2-L) о
11 05 | SCALE TYPE 007-04 +8 18 | BEAT 02~06 : 2 ~ 6 TES | DATA (ob) 0
$11 06 | PURE TYPE KEY 00~0B : C~B 17 | TEMPO 28--D0 : 407-208 SEQUENCE DATA 2 >
35 07 | USER SCALE CE~32 : -50~50 PROTECT (Tr. 1) | bit0=0:ENA. =1:DIS
HORE | PARARETER 18 : : 1526 | SAME AS SEQUENCE DATA 1(1522--1625)
36 | PROGRAM NO. 00-07 : *I2 18 PROTECT (Tr. 8) | bit7-
37 | OUTPUT LEVEL 007-63 19 (№, › 00 19 | NEXT SONG NO. 00~~14: [1~C10, OFF
38 | KEY TRANSPOSE F4r0C : -12~12 20 ( NUL ) 00 20 | SONG NAME (Head) 20~ TT 7 | 49 : 0 : Off
39 | DETUNE CE~32 : -50--50 DRUM KITI-INDEX#0 ! : Internal
но [-71MBRE,INST . |Dit7-0:TIM -1:1NS| | 21 INST NO. | 00:0FF, 01--2C: INT, 2D-:CARD 29 | SONG NAME (Tail) 2 : Extern
PAN hit3~0 : 0~0D *5 22 | KEY 0073 : CO—G8 30 (№) 3 : Both
41 | KEY WINDOW TOP 00~T7F : C-1~69 | | 23 | PAN 00~0D %5 31 | EFFECT PARAMETER
12 | KEY WINDOW BOTTON | 00~7F : C-1-69 | | 24 | TUNE 88-78: -120--120 ; ap | HE aa) DATAGZ-L)
43 | VEL. WINDOW TOP O1TF 25 | LEVEL CE~32 : -50--50 55
44 | VEL. WINDOW BOTTOM | 01—7F 26 | DECAY CE~32 : -50~50 TRACK 1 CONTROL DATA m0-1 NOTE on/oRr
45 | CONTROL FILTER bit3—0 «6! | 27 ( NUL ) 00 56 | PROGRAN, NO. 007 : 100-099 | y PT erec tee Tak kk 1 [10 1]
16 |. TIMBRE ON.OFF | bit4=0:0N, =1:0FF DRUM KITI-INDEX#2 — DRUM KIT4-INDEX#29 57 | OUTPUT LEVEL 00-63 часто” Brent Tine Key No. Length
MIDI CHANNEL bit3~0 : 1~16 28 | SAME AS DRUM KITL-1(21~27) x(30x4-1) 58 | KEY TRANSPOSE F4-+0C : -12-—12 4 =30 : J.t =1FE : Tie from L st Bar 5
TIMBRE 2-—8 PARAMETER 59 | DETUNE CE~32 : -50~50 1-30: 91 IFE 3 по Lo Next Bar
47 SAME AS TIMBRE 1(36~46) x 7 850 60 | PAN 00~0D #6 | 210.9 PITCH BEND
%8 : 0 : EQUAL TEHP 1 TRACK 2--8 CONTROL DATA
193 |: BQUAL TENP 2 SIT SAME AS TRACK 1(56~~60) x7 | 0001 000 t | tttt tttt [0 vvv vvvy | 0 ууу уму |
E 9 : PURE MAJOR Event Time Value(H) Value(L)
*4 : 0 : SINGLE *5 : 00 : 10:00 3 : PURE MINOR 95 410-3 AFTER TOUCH
{ : LAYER ; Do; 4 - USER PROGRAM SONG 1-9 CONTROL DATA | 0010 000 t | tttt titi | 0000 0000 | 0 vvv vvvv |
>. SPLIT OA : 00:10 96 | SANE AS SONG 0(00~95) x 8 ‘101 re Value
3 : VEL. SW 0B : С ¥12 : 1f COMBINATION TYPE is MULTI, : F001 000 + Га. нач | 0000 0000] |
4 : MULTI OC : C+D " Parameter Change Format is as follows: 959 - РРРР_ РРРР
0D: D 00H - TIKBRE OFF PATTERN 0 CONTROL DATA Event Time Program No.
OLE = 100 950 BEAT 02-08 : 2 ~ § Mem. Alloc=0-: p=00--199( I00--C99)
#6 : bit0 : PROGRAM CHANGE =0:DIS. =1:ENA : 961 | LENGTH 008: 18 | Lao 5 como e E (100-049).
bitl : DAMPER 64H = 199 PATTERN 17-99 CONTROL DATA |
bito : AFTER TOUCH BEN - COD 362 | SAME AS PATTERN 0950961) x 99 | 0100 000 t | titt ett [0 ууу учу | О ссс cece | |
bit? : CONTROL CHANGE Event Tíme Value Control No.
ca - cag 1158 c=00~ 65 + Same as MIDI Control Change
*7 : 0 : PROGRAM(CONBINATION) UP In any other case: SONGO-TRACKI DATA ADDRESS Te сосет
Li - - DOWN 00H = 100 1160 | DATA ADDRESS(LSB) | o, b7 : Effect 1 ON/OFF
- 00 (Start Addr) = 68: — û -
2 : SEQUENCER START/STOP 1181 - (HSB) = 69 : Effect 1 Balance
3 : EFFECT 1 ON/OFF 63H = 199 SONGO-TRACK2 — SONGI-TRACK8 DATA ADDRESS BA - Effect 2 Bal
4: - 2 - 84H = COO 1162 | SAME AS SONGO-TRACKI ADDRESS(1160. 1161) ep. Teno aancs
5 : VOLUME 1319 x (8x10-1) [106 par ’
; | DEERE 1 CONTROL CEN = C99 eT SATA ADDRESS [0110 0000 | bbbb bbbb | xx 00 0000 | 0 ppp prep]
в: - 9 _ 1320 | DATA ADDRESS (LSB) Bar No. Bar Type Pattern No.
9 : DATA ENTRY 1321 . N (ESB) ” xx=00 : Don t use Pattern
PATTERN 1 — PATTERN 99 DATA ADDRESS “10 : Pattern continual
1322 | SAME AS PATTERN 0(1320,1321) =11 + Pattern Start
7 X10-7 TRACK END
1519 [0111 000 t] tttt tttt | 0000 0000 | 0000 0000 |
Event Time.
¥11 EFFECT PARAMETER : 12,13 : Stereo Chorus 1,2, (€ 14,15 : Flanger ) 24 : Synphonic Ensemble 33 : Delay / Tremolo
No. PARAMETER DATA(Hex) : VALUE (00) | Depth 00-63 : 00~89 (00) | Depth 00-463 : 00—99 (090) | Delay Parameter *11-3-1
(00) | Effect 1 Pattern No. | 07-20, 21:1--33, Tru | | (01) | Speed 00--D8 —*l1-3-2 (06) | EQ High Fárv0C : -127-12
onl - 2 - - 1 0~20,21:1~33, Tru | bit0=0:8in, =1:Tri (07) | EQ Low F4~0C : -12~v12 (03)
(02) - 1 L-Ch E. Balnc | 00-84 : 00-109 (02) | MG Status *ll-3-3 | bitl = l 1 25 : Rotary Speaker (04) | Depth 00-63 : 00-989
(03)) - 18-Ch - 00-64 : 00-100 bit? — 0 (1) (00) | Depth 00-83 : 00-99 (05) | Speed 00~~D8 *l1-3-2
(04) - 2 L-Ch - 00-64 : 007-100 (03) | € Feed Back ) (9D-63 : -99--99) (02) | Speed Rate FS-0A : -10-10 (07) | Shape 9D--83 : -90-.99
(05)| - 2RCh - 00-64 - d0--10€ (04) | Delay Time | 0-C8(32):0--200(50) 26 : Delay / Hall |
(06) | Output 3 Pan 0001-05 ж11-1 | | (06) | EQ Hieh FA~0C © -12~12 (00) | Delay Time (L) ‚| *11-3-1 : Delay Parameter
OI - 4 - 00.01~65 ж11-1 | | (07) | EQ Low F4-v0C : -12-12 (01) 1 Delay Time (E) 00—-1F4 : 00-500 Same as 26-(00)~(03)
(08) | Effect 1/0 bitd~0 %11-2| 16 : Phase Shifter 1. € 17 : Phase Shifter 2) | (02) | Feed Back 90-63: -9999 | *11372 : Data(Hex) ValuelHz] |
(09) | Effect 1 Parameter (00) | Depth 00-63: 00-99 | [co3)] Hieh Damp 00-83 : 00-99 00-783 0.03 3.00 (0. 03step)
[ +11-3 | [O1 | Speed 00~D8 #11-3-2 | | (04) | Reverb Time 00-81 : 0. 29.9 64~C7 3.1 ~13.0 (0.1 step)
(16) | bit0=0:Sin, =1:Tri { {(06)| High Damp 0063 : 007-99 C8~D8 14 ~30.0 (1 step)
(17) | Effect 2 Parameter (02) | MG Status #11-3-3 | bitl + 0, (1) | [0 Pre Delay 00~96 : 00~150] *11-3-3 : MG Status | ,
*11-3 bit? — 0 57 - Delay / Roon bit0 : Yave Form =0:8in, =1:Tri
: . у ; . A. NO 4. a
(24) (03) | Feedback gD~63 : -99--99 (00) | Delay Parameter *[1-3-1 bitl : Phase 0:08 . “1:180
«11-1 : 00 : Off 11-2 : (04) | Manual 00-63 : 00-99 © bit2 : Wave Shape -0: Normal
01: E bit0=0:Efct] L-Ch Off, =1:0n 18 : Stereo Tremoro 1, ( 19 : Stereo Tremolo 2 ) | (03) =i: for Flanger
02 : 01:99 bitl=0: - 1 E-Ch Off. =1:0n 1 (00) | Depth 00--83 : 00-99 (04) | Reverb Time 00~2F : 0.2.4.8
: : bit2=0: - 2 L-Ch Off. =1:0n | (01) | Speed 00~D8 : %11-3-2 (06) | High Damp 00-63 : 00—99
64 : 99:01 bit3=0: - 2 R-Ch Off. -1:0n | bit0=0:Sin, =1:Tri| (07) | Pre Delay 00-98 : 00—150
65 : L bit4=0:Efct2 Para. =1:Serial | (02) | MG Status *11-3-3 | bitl — 0, 41} _ 28 : Delay / Early Reflection
*11-3 : Effect Parameter (8Byte) 33 Type | 6112 — © | (00) | Delay Parameter *11-3-1
| offset PARAMETER | DATACHex) : VALUE | | (03) | Shape 9D--63 : -99--99 f
1-3 : Hall, € 4,5 : Room, 6 : Live Stage ) (06) | EQ High PAOC : -19-012 (03)
(00) | Reverb Time | 00--61(2F):0.27-9. 94.9) | 1 (07) | EQ Low F4—0C : -12—12 (04) | E/R Time 00~1E : 100~400 }
Hs (01) ( NUL ) 00 | 20 : 3 Band EQ (05) | Pre Delay 00-96 : 00-156
3 (02) | High Damp 00~63 : 007-99 (00) | Mid fc 0,1.2 : 0.5k lk 2k 29 : Delay / Delay
(03) | Pre Delay © 00-08 : 00--200 (01) | Mid Gain F4—0C : -12-—12 (00) | Delay Time L (L)
(04) | E/R Level 00-83 : 00-99 (04) | Low fc Го, 1, 2:0. 25, 0. БК к | [Гор | = —- — (a) | 00-1F4 : 00-500
(05) ( NUL ) 00 (05) | High fc 0.1.2 : ik 2k dk (02) | Feed Back | 90-463: -99-.09
(06) | EQ High FA-0C : -12~12 (06) | High Gain F4~0C : -12-12 (03) | High Damp L 00~63 : 00-99
(07) | EQ Low F4~QC : -12~12 (07) | Low Gain F4—0C : -12--12 (04) | Delay Time R (L) | o Ra: 00-500
Don’t display NUL from here. and that must be 00 21 : Over Drive (05) - - - (D -
79 : Early Reflection 1.2.3 (00) | EQ Mid fc 0, 1,2 : 0. 5k lk, 2k (05) | Feed Back R 9p~~B3 : -§9~-99
(00) | E/R Time 00-46 : 100-800] | (01) | EQ Mid Gain Fárv0C : -127v12 (07) | High Damp R 00-63 : 00-99
(01) | Pre Delay 00--C8 : 00-200 | | (02) | Drive 00-63 : 00-99 30 : Delay / Chorus, ( 31 : Delay / Flanger )
(05) | EQ High F4~0C : -12~12 | | (03) | Level 00-63 : 00~99 (09) | Delay Parameter xl 1-3-1
(07) | EQ Low FA0C : -12-—12 (06) | EQ High F4-40C : -12-12 |
10 : Stereo Delay, 11 : Cross Delay (07) | EQ Low, F4A-0C : -I127-12 (03)
(00) | Delay Time L (L) _ 00-1F4 : 00-500 22 : Distortion (04) | Depth 00-83 : 00~99
(01) - - — HD - (02) | Distortion 00-83 : 60-99 (05) | Speed 00--D8 *11-3-2
(02) | Feed Back SD-—E3 : -99-——98 (03) | Level 00-63 : 00--99 | bit0=0:8, =1:T (—0)
(03) | High Danp 00-63 - 60~89 | | (07) | EQ Low Gain F4-=0C : -12-—12 (06) | MG Status *l1-3-3 [ pitl — 0 7
(04) _Delay Tine R (L) __ 00~1F4 : 007-500 23 : Exciter bit? — 0. (<1)
(05) - - (D (00) | Blend 9D--83 : -997.99 (07) | Feed Back 0, (9D--53:-99--99)
(06): Ed High — FA-0C : -12-12 (01) | Emphatic Point 90-08 : 01~10 32 : Delay / Phaser
(07) | EQ Low FA0C : -j2-—12 {05) | EQ High ; Fé—0C : -12--12 (00) | Delay Parameter *11-3-1
| (07) | ES Low FAr-0C : -12~12 |
| (03)
(04) | Depth 00-63 : 00-99
(05) | Speed 00--D8 *11-3-2
(06) | Feedback 90-63 : -99-99
PROGRAM PARAMETER PAGE, POSITION — OFFSET TABLE
( TABLE 5 )
PAGE PARAMETER POSITION
SGL | DBL A |B |C |D |E |F | € TH
PROGRAM MODE | |
(8) | (9) | (10) | (11) | (12) | (13) | (14) | (15)
(0) | (0) ( PERFORMANCE EDIT ) | *12 | *12 | *12 | *12 | x12 | *12| *12 | x]?
EDIT PROGRAM MODE
(8) | (9) | (10) | (11) | (12) | (13) | (14) | (15)
(0) | (0) | 0-1 | OSC BASIC 10 11 11
(1) | (1) 2 0SC 1 (MULTISOUND) 12 86 | 13
(2) 3| 0SC 2 (MULTISOUND) 14 126 | 15 | 16 | 17 | 18
(2) (3) | 1-1] 0SC 1 PITCH EG 63 | 64 | 65 | 66 | 67 | 68 | 70 | 69
(4) 2 | 0SC 2 PITCH EG 103 | 104 | 105 | 106 | 107 | 108 | 110 | 109
(3) | (5) | 2-1| VDF 1 CCUTOFF/EG INT) 71 A
(4) | (6) 2 | VDF 1 EG 78 | 79 | 80 | 81 | 82 | 83 | 84 | 85
(5) | (7) à | VDF 1 VELOCITY SENSE | 77 76 100 | 100 | 100 | 100
(6) | (8) 4 | VDF 1 KBD TRACK 72 | 73 | 75 99 | 99 | 99 | 99
(9) | 3-1| VDF 2 (CUTOFF/EG INT) 111 114
(10> | 2| VDF 2 EG 118 1119 | 120 | 121 | 122 |123 | 124 | 125
(11) 3 | VDF 2 VELOCITY SENSE | 117 116 140 | 140 | 140 | 140
(12) 4| VDF 2 KBD TRACK 112 | 113 | 115 139 | 139 | 139 | 139
(7) | (13) | 4-1 | VDA 1 EG 92 | 93 | 94 | 95 | 96 | 97 | 98
(8) | (14) 2 | VDA 1 VELOCITY SENSE 89 | 91 102 | 102 | 102 | 102
(9) | (15) 3 | VDA 1 KBD TRACK 87 | 88 | 90 101 | 101 | 101 | 101
(16) | 5-1 | VDA 2 EG 132 | 133 | 134 | 135 | 136 | 137 | 138
(17) 2 | VDA 2 VELOCITY SENSE 129 | 131 142 | 142 | 142 | 142
(18) 31 VDA 2 KBD TRACK 127 | 128 | 130 141 | 141 | 141 | 141
(10) | (19) | 6-1 | PITCH MG 19 20 | 21 | 22 | 19 | 19
(11) | (20) 2| VDF MG 23 24 | 25 | 26 | 23 | 23
(12) | 21)! 7-1 | AFTER TOUCH 27 | 28 29 | 30 31
(13) | (22) 2 | JOY STICK 32 | 33 34 | 35 36 | 37
(14) | (23) | 8-1 | EFFECT 1 (TYPE) 38 46
(15) | (24) 2 | EFFECT 1 PARAMETER *13 | *13 | *13 | *13| *13| *13| *13 | x13
(16) | (25) ‚3 | EFFECT 2 (TYPE) 39 46
(17) | (26) 4 | EFFECT 2 PARAMETER X13 | *13 | *13 | »x13| x13| 213 | x13 | *13
(18) | (27) 5 | EFFECT PLACEMENT 46 44 45
*12 See P. 18
*13 See P. 40
130
COMBINATION PARAMETER PAGE, POSITION — OFFSET TABLE
( TABLE 6 )
PAGE PARAMETER POSITION
SEL |LYR | SP | vs [MULT A |B |c ID JE IF | с |H
COMBINATION. MODE | |
(8) | (9) | (10) | 11) | (12) | (13) | (14) | (15)
(1) PROG. /LEVEL | 36 37
(1) | (1) | (1) 1 | PROG. /LEVEL 36 37 47 48
(1) 1 | PROGRAM 36 | 47 | 58 | 69 | 80 | 91 | 102 | 113
(2)| 2 | LEVEL 37 | 48 | 59 | 70 | 81 92 | 103 | 114
EDIT COMBINATION MOD |
| (8) | (9) Tio) | (11) | (12) | 13) | (14) | (15)
(0) | (0)| (0)| (0) | (0) | 0-1 | COMBI. TYPE 10
(1) 1-1 | PROG. /PAN 36 37 40
(1) 1-1 | PROG. /LEVEL | 36 | 37 | 47 48
(2) 2 | PAN/DAMPER 40 | 45 51 56 | 49 | 50
(1) 1-1 | PRG. /SPLIT 36 *14 47
(2) 2 | LVL/PAN/DAMP | 37 | 40 | 45 48 | 51 56
(1) 1-1 | PRG. /VELOCTY | 36 *15 47
(2) 2 | LVL/PAN/DAMP | 37 | 40 | 45 48 | 51 56
(1) | 1-1 | PROG. SELECT | 36 | 47 | 58 | 69 | 80 | 91 |102 |113
(2) | 2-1 | MIDI CHANNEL | 46 | 57 | 68 | 79 | 90 |101 | 112 | 123
(3) | 3-1 | K. WINDOW TOP | 41 52 | 63 | 74 | 85 | 96 | 107 | 118
(4) 9 | K. WINDOW BTM | 42 | 53 | 64 | 75 | 86 | 97 | 108 | 119
(5) 3 | V.WINDOW TOP | 43 | 54 | 65 | 76 | 87 | 98 | 109 | 120
(6) 4 | V.WINDOW BTM | 44 | 55 | 66 | 77 | 88 | 99 |110 |121
(7) | 4-1 | OUTPUT LEVEL | 37 | 48 | 59 | 70 | 81 | 92 | 108 | 114
(8) |- 5-1 | TRANSPOSE 38 | 49 | 60 | 7 82 | 93 | 104 | 115
(9) 2 | DETUNE 39 50 61 72 83 94 |105 |116
(10) | 6-1 | PANPOT 40 | 51 | 62 | 73 | 84 | 95 | 106 | 117
(11) | 7-1 MIDI PRG CHG| 45 | 56 | 67 | 78 | 89 | 100 | 111 | 122
(12) 2 | DAMPER 45 | 56 | 67 | 78 | 89 | 100 | 111 | 122
(13) 3 | AFTER TOUCH | 45 | 56 | 67 | 78 | 89 | 100 | 111 | 122
(14) | 4 | CONTROL CHNG | 45 | 56 | 67 | 78 | 89 | 100 | 111 | 122
(2)| (3) | (3) | (3) | (15) | 8-1 | EFFECTI TYPE | 11 | 19
(3) | (4) | (4) | (4) | (16) 2 | EFFECT! PARA | *13 | *13 | *13 | *13 | *13 | *13 | *13 | *13
(4) | (5)| (5) | (5) | (17) 3 | EFFECT2 TYPE | 12 19
(5) | (6) | (6)| (6) | (18) 4 | EFFECT? PARA | *13 | 13 | *13 | *13 | *13 | *13 | *13 | *13
(6) | (7)| (7) | (7) | (19) 5 | EFFECT PLACE | 19 17 18
*14 68 |
*15 70
131
(Common to all modes)
ERROR MESSAGES
Error Message
Contents of Error
Battery Low The battery for internal memory backup neéds to be replaced. Call the KORG distributor
(Internal) nearest you or your local KORG dealer or service center and have a qualified technician
replace it.
Battery Low The battery for RAM card memory backup needs to be replaced, In order to save your
(RAM card) valuable data, load all data from the card to the M1's internal memory, then change the
battery in the card, and finally reload the data back to the card. Removal of the battery
results in loss of all data in the card.
Card Format Mismatch ~~ Because the format of the card differs, writing in and reading out of data cannot be
executed. (When writing to this card, use Global Mode function F9-2, Format Card.)
Card Memory Full The number of steps of the sequence data to be saved is beyond the capacity of the card.
(Re-format the Sequence Card in order to save the data.)
Invalid (Unformatted) Card which does not have any remaining memory space, or a card not yet readied for
Card use with the M1 has been inserted. (When using this kind of card, use Global Mode
function F9-2, Format Card.)
Memory Protected Memory protect has been set in the Global Mode to prevent the accidental erasure of data
| (when writing to internal or card memory).
No Card Inserted Reading from or writing to the card has been attempted without the card being fully
inserted.
ROM Card or Data cannot be written to a RAM card unless the write protect switch is ON, and
cannot be written to a ROM card at all.
Protected Card
132
(SEQUENCER Mode only)
Error Message
Contents
Beat or Length Mismatch The time signature of the play data (of track or pattern) does not match that of the track or
pattern being transferred to, or the length of a pattern being bounced or copied does not
match that of the destination.
Blank Pattern An initialized pattern was used for the PUT operation.
Measure Occupied Part of a paltern stretches over a specified punch-in measure or a specified destination
by Pattern measure 1n measure editing.
Punch in Measure
Destination Measure
. Track
Measure Overflow When executing an edit, the length of the tracks extends beyond 250 measures.
Memory Full
The total of all the songs and steps has used up the available memory capacity.
Track Has No Events
In Event Editing, the specified track does not have any play data.
Pattern Across Source
Track
In copying from a track, part of a pattern has been included in the specified range of the
source.
Г Pattern —— | Г Pattern —]
Ta
L_ Copy/Get —
Pattern Conflicts
While executing the bounce function, a pattern with Events inserted by PUT occupies a
portion of the source track or destination track range.
Pattern Used in Song
The pattern cannot be loaded because another previously loaded pattern 1s being used in
the song. | |
Source Across
In the Measure Copy function (F5-2) of copying to the same track, the range of source
Destination side and the destination side overlap.
Track | | | | | |
| |
Destination Sourte
(Source) (Destination)
Track Protected The protect for the specified track is set to ON.
133
SPECIFICATIONS AND MISCELLANEOUS
„INFORMATION
SPECIFICATIONS
Sound generation method: AI Synthesis system (full digital sound processing)
Sound source: 16 voice, 16 oscillator (Single mode)
8 voice, 16 oscillator (Double mode)
Keyboard: 61 key (with initial and after touch)
Waveform memory: PCM; 2 Mword (4 Mbyte)
Quantization: 16 bit
Effect section : 2-system digital multi-effects
Program memory capacity: 100 Programs A
Combination memory capacity: 100 Combinations |
Sequencer section: 10 songs, 100 patterns, max. 7700 notes "2
8 tracks, 8-timbre multi-timbral operation
(Dynamic Voice Allocation)
Controller inputs: | Damper pedal, assignable footswitches (pedals) 1/2
Outputs: 1/L, 2/R, 3, 4, stereo headphones
MIDI terminals; IN, OUT, THRU
Display: Backlit LCD (40 characters x 2 lines)
Optional accessories: RAM card (MCR-03), ROM card, PCM card
Power requirements: ' 11 W
Dimensions: 1058 (W) x 356 (D) x 110 (H)
(41-11/16" x 14" x 4-5/16")
Weight: 13.5 kg (29 lbs. 11 oz.)
*1 Memory allocation can be changed to 50 Programs and 50 Combinations.
*2 A capacity of 4400 notes when 100 Program/100 Combination memory allocation is selected.
* Specifications are subject to changes and improvements without notice.
134
M1 MIDI IMPLEMENTATION CHART
Transmitted
FUNCTION Recognized Remarks
Basic Default 1 - 16 1 - 16 Memorized
Channel Change 1 ~ 16 1 - 16
Mode Default X 3
Messages |
Altered kok sk kok
Note 24 ~ 108 0 — 127 Seg. Data is O to 127
number: Sound range REX 0 — 127 in transmission
Velocity Note on
O 9n, V=10 — 127
O 9n, V=1 — 127
Seq. Data is 2 to 126
Note off X X in transmission
After Keys X X
Touch Ch's O O
Pitch bend O O *1
Control 1 O о Pitch MG *]
Change 2 O O VDF modulation *1
6 O O Data entry (MSB) *2
7 O O Volume *]
38 O O Data entry (LSB) #2
64 O O Sustain *]
96 O O Data increment *2
97 O O ‘| Data decrement *?
100 X O LSB of RPC for master tune *2
101 X O MSB of RPC for master tune *2
0-101 о O Sending and receiving Seq.
Data only
Program o 0-99 o 0- 127
Change Actual No. ok kk 0~ 99
System Exclusive O O *2,*4
O *3
System — : Song pos. о
Common : Song sel. O 0-19 O 0-19 *3
: Tune X X
System : Clock O O *3
Real time : Commands O O *3
Aux : Local ON/OFF X ©
Message : All note off X O 123 — 127
: Active sensing O O
: Reset X X
NOTES: *1 Transmit/receive if CONTROL is set to ENA in GLOBAL Mode.
*2 Transmit/receive if EXCLUSIVE is set to ENA in GLOBAL Mode.
*3 When Clock is Internal, it transmits but does not receive. When External, the opposite is true.
*4 Dumps and edits the Program data. Compatible with universal exclusive (Device ID).
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
O: Yes
x: No
| : ‘’Transmit/receive when AFTER TOUCH is set to ENA in GLOBAL Mode.
[B]: Transmit/receive when PROG/COMBI CHANGE is set to ENA in GLOBAL Mode.
MEMORY
+ The RAM card requires battery power in order to preserve data in
memory. The included lithium battery (type CR2016) should be put in
place before use.
1.Installing the battery |
Turn the card over to the side without the terminal. You will find a slot
in the battery holder.
æ
CARD RAM
2.Write Protect Switch |
No data can be written on the card when this switch is set to “ON”, To
preserve data, set this switch to ON, except when writing new data.
3.Replacing Lithium Battery |
Power from the lithiurn battery is used to protect data held in memory,
The battery should be replaced once a year. However, battery life is
shortened if kept at temperatures exceeding 40 degrees centi-
grade.(104 Fahrenheit)
Always use a CR2016 type lithium battery.
When replacing the battery, leave the card in the unit with unit power
ON. This will preserve the contents of the memory. If the card is
removed before battery replacement, memory contents will be lost.
“+” Side backward
“и”
>
7 E Terminal side
136
-— MULTISOUND LIST
00 Piano 25 SynMallet 50 FingerSnap 75 VoiceWvNT 1
01 E. Piano 1 26 Flute 51 Pop 76 VoiceWvNT 2
02 E. Piano 2 27 Pan Flute 52 Drop 77 DWGSE.P. 1
03 Clav 28 Bottles 53 Drop NT 78 DWGS E. P.2
04 Harpsicord 29 Voices 54 Breath 79 DWGS E. P. 3
05 Organ 1 30 Choir 55 Breath NT 80 DWGS Piano
06 Organ 2 31 Strings 56 Pluck 81 DWGS Clav
07 MagicOrgan 32 Brass 1 57 Pluck NT 82 DWGS Vibe 1
08 Guitar 1 33 Brass 2 58 Vibe Hit 83 DWGS Bass 1
09 Guitar 2 34 Tenor Sax 59 VibeHit NT 84 DWGS Bass 2
10 E. Guitar 35 Mute TP 60 Hammer 85 DWGS Bell 1
11 Sitar 1 36 Trumpet 61 Metal Hit 86 DWGS Orgn 1
12 Sitar 2 37 TubaFlugel 62 MetalHitNT 87 DWGS Orgn 2
13 A. Bass 38 DoubleReed 63 Pick 88 DWGS Voice
14 Pick Bass 39 Koto Trem 64 Distortion 89 SquareWave
15 E. Bass 40 BambooTrem 65 Dist NT 90 Digital 1
16 Fretless 41 Rhythm 66 Bass Thumb 91 Saw Wave
17 SynthBass 1 42 Lore 67 BasThumNT1 92 Digital 2 —
18 SynthBass 2 43 Lore NT 68 BasThumNT2 93 25% Pulse
19 Vibes 44 Flexatone 69 Wire 94 10% Pulse
20 Bell 45 WindBells 70 Pan Wave 95 Digital 3
21 Tubular 46 Pole 71 Ping Wave 96 Digital 4
22 Bell Ring 47 Pole NT 72 Fv Wave - 97 Digital 5
23 Karimba 48 Block 73 Mv Wave 98 DWGS TRI
24 KarimbaNT 49 Block NT 74 Voice Wave 99 DWGS Sine
» The "NT" designation on certain Multisounds indicates that the pitch of the sound is the same regardless of the key
played. |
DRUM SOUND LIST
01 Kick 1 12 Open HH 1 23 E. Tom 34 Metal Hit
02 Kick 2 13 Closed HH 2 24 Ride 35 Pluck
03 Kick 3 14 Open HH 2 25 Rap 36 FlexaTone
04 Snare 1 15 Crash 26 Whip 37 Wind Bell
05 Snare 2 16 Conga 1 27 Shaker 38 Tubular 1
06 Snare 3 17 Conga 2 28 Pole 39 Tubular 2
07 Snare 4 18 Timbales 1 29 Block 40 Tubular 3
08 Side Stick 19 Timbales 2 30 FingerSnap 41 Tubular 4
09 Tom 1 20 Cowbell 31 Drop 42 Bell Ring
10 Tom 2 21 Claps 32 Vibe Hit 43 Metronome 1
11 Closed HH 1 22 Tambourine 33 Hammer 44 Metronome 2 -
NOTICE
Korg products are manufactured under strict specifications and voltages required
by each country. These products are warranted by the Korg distributor only in
each country. Any Korg product not sold with a warranty card or carrying a serial
number disqualifies the product sold from the manufacturers's/distributor's
warranty and liability. This requirement is for your own protection and safety.
KORG INC.
| 15-12, Shimotakaido 1-chome, Suginami-ku, Tokyo, Japan. |
1991 © KORG INC.
0311 DTH Printed in Japan