IMG2010 Owner's Manual
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SYSTEM SETUP / CALIBRATION
a. Guitar Setup
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To achieve the best performance with the Ibanez MIDI guitar
system, it is important that the 201 a MIDI guitar be properly
set up. The following simple steps will help you get the most
from your system.
1) RESTRI NG THE GUITAR
Loosen the string by turning the turning knob counter clockwise. Remove string from locking clamp by loosening
the locking screw. Insert ballend of new string into ballend
holder at the bridge. Feed string through hole in locking
clamp and retighten screw. Tune to pitch using tuning knob.
4) PICKUP HEIGHT ADJU STM ENT
The standard humbucking pickups are set up in the same
manner as any re gular gu itar pickup. As long as the pickup IS
adjusted to be para llel to t he strings, height can be set to suit
your individual preference by means of three height adjustment screws, tw o on the bass side 01 the pickup and one on
thetrebleside. The MIDI hex pickup is adjustable for heightby
means of two screws, one on each end of the pickup.
6TH STRING
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O.8mm
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HE X PI CKUP
b. System Calibration
Procedures for syste m calibration are as follows
2 ) ST RING ACTI ON
Each string can be ra ised or lowered independently. Toadjust
height. loosen locking screws located on the side of the
bridge. Adjust the height of each string using the two height
adjusting screws on each string saddle. After string action
has been set, lock the bridge pieces by means of the locking
screws on the side of the bridge.
3 ) INTONATI ON
For the MIDI guitar to track properly, it is very important that
the intona tion be correct. Loosen locking screws located on
the side of the bridge. Play the twelfth fret harmonic. Play the
fretted note at the twelfth fret. If the fretted note is sharp
when compared to the harmonic. the string saddle must be
moved back towards the tuning knobs. If the fretted note is
lower in pitch than the harmon ic. the string saddle should be
moved forward towards the fingerboard. To move the stri ng
saddle. loosen the string then adjust the saddle by pushing it
forward or backward. An electronic guitar tuner such as the
Ibanez DAT-6 should be used to assure accurate intonation.
Alter all adjustments have been made. retighten locking
screws on side of bridge. If you are not confident about
making the adjustments yourself. refer the guitar to a
qua!il ied guitar technician.
07
1) TUNING THE IMG2010 GUITA R
To engage th e Tuning Funct ion, first depress 18 TUNE KEY
As a result of this, a f lashing "440" will appear on the '1J:
PROGRAM DISPLAY. If you Wish to change the pitch
standard, depress the @ INCREMENT KEY and the number
will increase by one. The pitch standard can be changed
A440 - A445 wi t h t his procedure.
While in the t une mode, a small upside down "U" will appear
in the @ STRIN G A SSIGN DISPLAY When a single string is
picked, the string number will appear In the @ PROGRAM
DISPLAY and will rema in there as long as the note is
sustained. II t he string is not In tune. the upSide down "U"
will be broken and one of the lower legs will be to the right or
left of the figure. If t his leg is to the right (sharp)'lurn the @
TUNING KNOB fo r that string counter -clockwise until the
lower leg aligns With the upper leg to complete the upside
down " U".
If this leg is to th e left (flat), turn the @ TUNING KNOB for
that string clockwise until the lower leg aligns with the upper
leg to complet e t he upSide down "U"
Repeat this procedure for all six stnngs and the Mel and
IMG201 0 will be in tune.
Once the t uning f unction IS complete, depress the @ ENTER
KEY to continue playing, edittlng or further calibration
2 ) SENSITIVITY CALIBRATION
To calibrate the sensitivity for optimum tracking and play·
ability, lirst IUne the gUitar as described in the previous
procedure. Then engage the sensitivity lunction by depressing @ ENTER KEY and holding It down. While holding the
ENTER KEY, depress @ CHROMATIC KEY and the SENS,A
(SENSITIVITY) lunction will be accessed
When in the SensItivity Calibration mode, the letters "SA'
will appear on the @ PROGRAM DISPLAY. When a string is
picked. two LEO bar graphs will appear on the @ STRING
ASSIGN DISPLAY that will move across the display from leh
to right. If the system is properly calibrated. as It should be
Irom the factory, the upper bar graph will reach the 5 or 6
mark of the string select guide and will remain there as long
as the String is sustained The lower bar graph should also
reach the 5 or 6 mark but return to 3 or 4 in approximately 1
second. The lower bar graph will remain at the 3 or 4 mark
briefly before disappearing
The sensitivity should only need to be calibrated when the
strings have been changed or other work has been done on
the gUitar. If the sensitivity must be calibrated, first check the
height of the HEX Pickup. To check the height of the HEX
pickup. fret the first strrng on the 22nd fret and measure the
height from the bottom of the string to the tOP of the pickup,
The distance should be O.5mm. If the distance is incorrect.
turn the screw closest to the first Siring to adjust the pickup
up or down. The procedure is the same for the sillth string
with one difference. the distance from the bottom of the
string to the top of the pickup should be O.Bmm. If the
distance is incorrect. turn the screwciosesl to the sixth string
to adjust the dlslance.
The next slep IS to check the senSitivity of each String as
described previously. If the sensitivity is off. remove the
rubber plug covering the sensitiVity trim pots in the back of
the gUllar, The trim POlS are numbered 1 through 6.
corresponding to the 1st through 6th strings (1 Sl being the
highest the 6th being the lowest). Pick a string, If the bar
graph indicates tOO much senSllivlty, take a small, flat head
scr ewdriver and CAREFULLY turn the adjustment pot
counter-clockwise until the string is within specification. If
t he bar graph indicates a loss of sensitivity, again take a small
fl at head screwdnver and CAREFULLY turn the adjustment
pOI clockwise until the string is within specification. Adjust all
t he strings with thiS procedure. When calibration is completed, replace the rubber plug and return the MCl to play
mode.
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ABOUT MIDI
While it is not necessary thaI you under stand everything
about the MIDI standard, it is helpful to be familiar with some
of the main points. The followmg disc ussion will cover these
main points, so that yo u can easily implement all of t he
features built into the Ibanez MIOI Guitar System.
The MID I (Music I Instrument Digital Interface) standard is a
multi -manufacturer information exchnge code that leiS any·
one control a number of "slave " instruments from a "master"
instrument or control source. Playing a note on the master
will, for example, cause the slave(s} to follow suit. Patch es
can be changed, synths can be synchronized in song, just
about any musical event can be described in MID!. Once in
MIDI form , the musical event becomes a command from the
master to the slave(s).
MIDI is a "serial" interlace, meaning that all inforamtion is
transmitted over a single wire. Control information is tran smitted from the MIDI OUT port of the master unit, and the
slave(s) receive the information through the M IDI IN port. The
MIDI THRU ports on slave units can be quite useful. These
ports simply " repeat" the information received at the unit's
MIDI IN port, allowing other slave units to receive the same
control Signal. Keep in mind that the MIDI OUT ports on slave
units are inactive unless the slave unit operates as a master
unit at some point.
The MIDI code provides up to 16 separate channels to be
transmitted over the single. serial line (channels 1 through
16). This permits certain inforamtion to be transmitted over
specific channels, tobe received by slave units " tuned " to the
specific channels. This mUlti-channel format enables MIDI to
accomodate monophonic as well as polyphonic synthesizers.
MIDI provides four basic modes of information transfer. Both
the master and slave(s) units must be set to the same mode
for accurate inforamtion transfer.
0 9
• MOOE 1 -
Omni On / Poly
Here, M IDI infor mation maybe transmitted and received over
any ch annel (the "omni on" part) and each channel can
accomodate more than one note at a time (the "poly" part)
Essentially, M IDI transmission is reduced to single channel,
polyphonic operation. For any MIDI synths, thiS IS the
" defau lt" m ode~ that is, when the unit is turned on and not
prea ssigned to another mode, this mode is chosen automatically.
•
MODE 2 -
Omni On /Mono
Aga in, informalion is transferred over all channels. but only
one note is played at a lime (the "mono" part). This mode is
used for lead-line type sounds, where polyphoniC teKtures
are not required.
•
MODE 3 -
Omni Off / Poly
In this mode M IDI inforamt ion is transmitted over specifically
assigned MIDI channels, and each slave is assigned to
"l isten" 10 a speci fic channel (the "omnt off' part). Each
channel's inform ation is polyphonic, so that each slave can
receive its own, polyphonic information from a single MIDI
line.
•
MODE 4 -
Omni Off/ Mono
Again, MIDI information is transmitted over specifically
aSSigned M IOI channels, but channel information is now
monophonic (one note at a t ime per channel). The sl ave units
ca n still play polyphonically, by receiving more than one
ch annel (for example, one channel per voice). In thiS mode
each voice of a slave unit may be independently controlled
Forexample, each voi ce can have totally different sounds. Or
one voice may be "bent" (as when a guitar string is bent),
w hi le the other voices (strings) remain at pitch.
It should be noted here that t he MCI MIDI Controller selects
its transm ission mode automatically. depending on the
feature s that are called up. As a player, you should be aware
of w hich modes are used by the MCl, and whether the
particular syn th(s) you wish to use can receive these modes.
The m ode Information of the Me1 is included in the next
section of this manual
7
USING THE MCI CONTROLLER
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This section describes the procedures for programming
information into the Mel MIDI Controller, and for interfacing
the Mel with synthesizers. If you already have your information in you r Mel and you have correctly hooked up the
Mel to you synth(s). you may proceed to section 8 of this
manual : " Playing The Ibanez MIDI Guilar System",
a. Imerfacing The M e l
With M IDI Synthesizers
Interfacing the MCI with MIDI synthesizers involves a little
more than just making the audio and MIDI connections
between the units. Foreach synlh you wish to use. you must
refer to the synth owner"s manual for such vital statistics as:
• Is the synth monophonic or polyphonics?
• How many voices does the synth provide?
• Are the voices individually assignable to different MIDI
channels?
• What are the synth's assignable MIDI channels? Some
lower cost units only t ransmit and receive on channell ,
for exomple.
• What are the possible MIDI transmit/receive modes?
• What are the MIDI controllable control functions (such as
key velocity, portimento, pitch bend, breath control, etc.)?
• What are the MIDI assignment numbers for these func tions)
• How many pre-set patches (sound voicings) does the unit
offer?
• What are the MIDI assignment numbers for the pre-set
patches?
• Any other pertinent MIDI information regarding the pl;:!ying and control of the synth.
When you program your sounds into the MCl '5 memory. you
h<'lVe various options to choose from Keeping the ilhnVf~
information handy while programming the Mel will help
you make the best choices. and tell you if certain options are
possible with the synth{s) you wish to use, For example. jf you
wish to control the modulation of a patch from an assignable
control on the MIDI gUitar. you must know if your synth puts
the modulation function under MIDI control. If it is MIDI
controliable. you have to know the MIDI assignment number
for that function.
It's really not as hard as it sounds. Just keep the synth
owner's manual open to the page on MIDI, and go headlong
into the next section. It will indicate what information you
need, and when. Now. le1's crea te some soundsl
This procedure sets the program location of the MCl that you
w ill be programming. The program loctlon is a " workspace"
within the MCl where sounds are created. The MCl
provides 128 program locations, from 000 to 127.
As shown in the flow chart above. start by pressing @
PROGRAM SELECT KEY, The 3 digits of @ PROGRAM
DISPLAY will begin to blink. indicating that a program
location number needs to be entered. Enter the desired
location number by using either @ DATA ENTRY KEYS or
@ INCREMENT/ DECREMENT KEYS. As the location is
entered. note that the digits keep blinking. Once the deSired
location is entered. press @ ENTER This enters the seleclion into memory. The digits Stop blinking.
2) Assigning the synth "patch"
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This procedure assigns the particular synthesizer sound
(pa tch) to the selected program location. Each type of synth
will have a different number of preset sounds that may be
aSSigned. Refer to your synth owner's manual for a listing of
the patches and their MIDI assignment numbers.
Start by pressing @ ASSIGN KEY. This will cause @
ASSIGN INDICATOR and the 3 digits at @ ~ miNt; A~~rtiN
DISPLAY to blink. indicating that a patch selection number
needs to be entered. Enter the MIDI assignment number of
the desired patch (from your synlh manual), The digits wilt
keep blinking, Once the desired patch number is entered,
press @ ENTER. This will enter the patch selection into
memory - this patch will be assigned to this program
location until you decide to "edit" the progam location at a
later t ime. The @ ASSIGN INDICATOR and @ STRING
ASSIGN DISPLAY will stop blinking,
Note: The Mel provides up to 128 different patch assignments. starting from 000. However, many synths start
numbering their patches at OOt. If this is the case with your
synth. SUBTRACT 1 from the patch number before entering It
into the MCt . You Will have to do t h is every time you assign a
patch from that synth into the MC1.
3) Assigning the
The following section describes the sequence of events th at
occurs when a program is constructed from "scratch" Along
the way, you will make decisions based on the sound you
wish to create, and on the MIDI capabilities of the synth{s) you
are using. If certain portions of the procedure do not pertain to
the program you are constructing, just move on to the next
part.
' ) Setting the program number
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First press @ ENTER and hold white pressing @
ASSIGN KEY, then release both.
Tostartthis procedurepress @ ENTER and @ASSIGNKEY
as described above. This w ill cause the tWO digits of @ MIDI
CHANNEL DISPLAY to blink. indicating that a MIDI control
number needs to be entered. Using @ DATA ENTRY KEYSor
@ INCREMENTIDECREMENT KEYS, enter the desired MIDI
010
11
control number from the listing in thesynth manual. Thetwo
digits will keep on blinking. When the desired number is
entered. press @ ENTER. This puts the selected number into
memory. and causes the two digits to stop blinking.
Not e: The present MIDI standard provides up to @ MIDI
control numbers (from 00 to 31). If. during this procedure, you
enter in a number higher than 31. an "error" message will
appear on the display 01 the MCI . When this happens, just
enter in the desired number again and continue with the
procedure.
Once the knob assignment has been made. you may wish to
change the range of control the knob has. This is done by
changing the control range on the synth. Refer to your synth
owner's manual.
4 ) A ssigning ®
Start by pressing @ KEY TRANSPOSE KEY. This causes ®
KEY TRANSPOSE INDICATOR and two digits of @l STRING
ASSIGN DISPLAY to blink, indicating that transposition
information needs to be entered. If It is desired to transpose
down, press @ +, - KEY. The display will indicate this with a
"negative sign" in front of the number. If the negallve sign is
present and you wish to transpose up, press @ +, - KEY
again. This removes the negative sign. Then enter the
number of half steps of shift desired With eltehr (j) DATA
ENTRY KEYS or @ INCREMENTI DECREMENT KEYS. The
two digitS will keep blinking. When the desrred shift is
enlered press @ ENTER. This enters the shift information
into memory and causes the @ STRING ASSIGN DISPLAY
and ® KEY TRANSPOSE INDICATOR to stop blinking.
6) Activating selected strings
ASS IG NABLE CONTROL ARM
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The®ASSIGNABLE CONTROL ARM is similar to®ASSIGNABLE CONTROL KNOB. in that any MIDI controHable parameter of the synt h may be assigned to arm control. Again.
re fer to the owner's manual of your synth for the listing of
patch parameters under MIDI control. and their MIDI control
numbers.
Start by pressing @ ENTER and @ PROGRAM SELECT KEY
as described in the flow chart. The two digits of ® MIDI
CHANNEL DISPLAY will blink, indicating that a MIDI control
number needs tobe entered. USing @l DATA ENTRY KEYSor
@ INCREMENTIDEC REMENT KEYS, enter in the desired
MIDI control number (from the listing in your synth manual).
The two digils will cUlltinue IJliriking. Wilen the desired
number is entered, press @ ENTER. This puts the number
into memory, and causes the two digits to stop blinking.
N ote; The MIDI standard provides 32 MID I control numbers,
from 00 to 31 If. during this procedure, a number higher than
31 is entered, the display will read "Pb", indicating that the
pitch bend function has been assigned to arm control. If this is
not desired, simply enter in the desired MIDI control number
and continue with the procedure.
Once the arm aSSignment has been made, you may wish to
change the range of control that the arm has. This is done by
changing the control range on your synth. Refer to your synth
owner's manual.
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Sometimes it is desirable 10 de-activate some of the guitar
strings, so that only selected strings create synth sound. For
example, you may wish to add a bass synth patch to the two
lowest strings. Or you may add a "strrngs" patch to the three
highest strings for chord work.
Start by prc::;sing ® STRING SELECT KEY. This causes @
STRING SELECT INDICATOR and six vertical lines in @
STRING ASSIGN DISPLAY to blink. The Six lines represent
each string of the guitar. Select the desired strings by using
keys "'" through "6" of @ DATA ENTRY KEYS, or turn all
strings on or off by using @ INCREMENTIDECREMENT
KEYS. Notice that as strings are deactivated. the vertical line
representing that string is cut in half. As a string is activated,
the line returns to full length. During this time the display
continues to blink. Once the desired strings are activated
prp.ss @ ENTFR This puts the SIring assignment Into
memory and causes the display to stop blinking
7) Assigning MCl MIDI channel
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5) Setting th e synth voice transposition
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PROGRAM SELECT KEY, then release both.
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This procedure sets the synth voice transposition, or the
amount of shift in the pitch of the synth'S voice with respect to
the guitar. The amount of shift is adjustable in "semitones",
or "half sleps"lrom 12 half steps (one octave up) to - 12 half
steps (one octave down).
011
ENTER
DATA
NOTE: OATA ENTRY'S AS BEFORE.
This procedure assigns the MIDI channel (or channels) that
the MC, transmits over. First refer to the synth owner's
manual to find out (a) how many MIDI channels the synth can
receive, (b) if the synth's MIDI channel(s) are assignable, (cl
and the MIDI transmit /receive modes the synth can be
assigned to. Then you must decide how many MIDI channels
you need. If, for example, your synth can receive six different
MIDI channels at once (One channel per synth voice), then
you may use up to six channels to talk to the synth. This would
happen using th e " Omni off/Mono" Mode (Mode 4) which
would allow you to bend all st ri ngs independently. If you play
only one note at a tim e while string. bending, then you would
need only one MIDI channel, and w ould operate in the "Omni
off/ Poly" Mode (Mode 3).
Start by pressing @ MIDI ASSIGN KEY. This causes @
PROGRAM DISPLAY to indicate string "'" and causes the
two digits of ® MIDI CHANNEL DISPLAY to blink. All this
indicates that string "'" is about to receive a MIDI channel
assignment. Enter the desired MIDI channel using @ DATA
ENTRY KEYSor @ INCREMENT/ DECREMENTKEYS. When
the desired channel is entered press @ DISPLAY KEY to
advance to the next string. Continue the cycle of data entry
and [email protected] DISPLAY KEY until all six strings have been
assigned to the desired MIDI channel(s). Then press @
ENTER. The MIDI channel information is placed into memory,
and t he ® MIDI CHANNEL DISPLAY stops blinking.
Finally, you need to assign your synth to the same MIDI
channel(sl that you assigned the strings to. Also, set the synth
for either Mode 3 (Omni off/Poly) or Mode 4 (Omni off/Mono)
as discussed above,
N ot e: The MIDI channel assignment procedure selects the
string assignments for all program locations of the MC'. So
you only have to perform this procedure once.
B) Select ing c hrom at ic/ no n·chromatic operation
CHROMA
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9) Setting the synth's "string bend" action
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"Ilend Range" !>Cuing:
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First press @ ENTER and hold while presslflg
SELECT KEY, then release both.
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STRING
This procedure sets the maximum amount of pitch bend that
YOll intend to use. To determine how much pilch bend you
will use, bend a string the maximum amount you would bend
a string during normal playing. Determine how many half·
steps (frets) of bend that is, then add one half·step. For
example, if you bend a maximum of one whole·step (two
half·stepsL your maximum amount of bend to set would be
three half·steps. Once you have that, you may start the
procedure.
Start by pressing @ ENTER and @ STRING SELECT KEY <IS
described in the frow chart. This causes the two digits of Ql
MIDI CHANNEL DISPLAY to blink, indicating that the maxi·
mum amount of pitch bend needs to be entered. Enter the
amount using @ DATA ENTRY KEYS or @ INCREMENT,
DECREMENT KEYS . Once the maximum amount has been
entered [email protected] ENTER. This putS the amount into memory
and causes the tINa digits to StOp blinking,
b) "Bend Data"setting
[Before beginning this procedure be sure to complete the
previous procedurel "Bend Range" setting.)
CHROMA
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finished programming your program location. If you have
selected non·chromatic operation you mUSt proceed to the
next step!o calibrate the synth's non·chromatlc operation to
!hatofthe guitar. In other words, you must match the "bend"
of the synth note to the bend of the guitar string
-
TUNING DATA
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This procedure selects between chromatic and non·chroma ·
tic operation of the MCl . With chromatic operation the notes
of the synth w ill always be one of the chromatic notes of the
scale. If the MIDI guitar is playing a note that is not an exact
chromatic note(during string bending, forexample)the MC1
will instruct the synth to play the nearest chromatic note. In
chromatic operation the MC1 transmits in Mode 3 (Omni
off/Poly). except when each string is aSSigned to a different
MIDI channel. Then the MC1 transmits in Mode 4 (Omni
off/Mono).
With non·chromatic operation the synth will be able to play
notes between the chromatic notes. This mode of operation is
chosen when it is desired to play non·chromatic notes, such
as when a string is bent. In non·chromatic operation the
MC, transmits in Mode 4 when one note is played and
automatically switches to Mode 3 chromati c opera tion when
more than one note is played. However, when each string is
assigned to a different MIDI channel,the MC' stays in Mode
4.
This procedure simply uses @ CHROMATIC KEY. Repeated
pressing of this key alternately takes the MC1 in and out of
chromatic operation. [email protected] CHROMATIC INDICATOR lights
when the unit is in chromatic operation.
If you have selected chroma tic operation you are finally
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First press @ ENTER and hold while pressing
KEY, then release both.
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TUNE
This procedure calibrates the MC1's MIDI bend command to
the actual amount of pitch bend by the synth. Before you begin
this procedure, you have to set the "pitch wheel" range on the
synth, and in doing so, you have to make a few decisions.
Typically, the "pitch wheel" range is set to the same range as
the bend range set on the MC1. This provides the "smooth·
est" pitch bend possible. However, the "pitch wheel" range is
also limited to the range set for string bendmg. This may not
seem like much of a problem, but if, for example, the ®
ASSIGNABLE CONTROL ARM is assigned !o control the
"pitCh wheer" function, then the pitch range of the control arm
is limited to the range set for string bending
The alternative is to set the pitch wheel range farger than the
IMC1's bend range. Set this way, the ® ASSIGNABLE
01 2
CONTROL ARM may operate over any range of pitch bend that
you choose. Also, you may still set the MC1's bend range to
the amount determined by the previous procedure (Bend
Range Selting).
There are, however, two disadvantages with this alternative.
First, the actual string bend will be less smooth than if the
ranges on the synth and the MCI where equal. Second, the
"Bend Data Setting Chart" will not be usable since the chart
provides the bend data for equal range set on the synth and
MCI. You may still use the other two methods for setting the
MCI's bend data (these are all described in the following
porocedure).
With all that said, you may set the pitch wheel range on your
synth. Most synths use "half-steps"' (or semitoneslto describe
the pitch wheel range. This is what the MCI uses, to
matching pitch bend ranges is merely a matter of matching
the amount of half-steps. However, if your synth uses another
measure of pitch bend, yOU'll have to convert it over to halfsteps before you match the synth'S rangetothe MC1·srange.
Fulluw tht! IJruct!dure in yuur sYllth's Hlalluallu Stlllht!lJitch
wheel range on your synth.
We are now finally ready to enter "bend data" into the Mel.
[email protected] ENTER and ® TUNEKEYasdeSClibedin
the flow charI. This causes the @ MIDI CHANNEL DISPLAY
to read "'01"', which corresponds to one half-step. Also, the
MCI sends a command tothe synth: "Play and hold an A-flat
note that is being bend up by one half-step to an A-natural"'
This is the "reference tone" that is used throughout this
procedure
Finally, the ® STRING ASSIGN DISPLAY reads the MC's
"pitch increment". indicating how much pitch bend the MCI
is calling for.
We are ready to enter the bend data for the first half-step in the
MCI's bend range (half-step "01 "). This is simply done by
"tuning'" the reference tone to "A-natural'" With the @
INCREMENT/DECREMENT KEYS, you may tune the reference tone using one of three available methods'
If the MCI bend range and the synth'S pilCh wheel range
are the same, and if your synth is listed in the "'Bend Data
Chart'" (shown below), simply match the MCI's pitch
increment with the number given in the chart. If you
cannot use the chart, you may'
Use a tuning device, such as a standard "guitar tuner" to
tune the reference tone to "A-natural" (5th string). Or, you
may:
Match the reference tone '"by ear"' to the open A-string on
the guitar. Make sure the guitar is in tune before attempting to tune the reference tone.
If the note dies away while you are tuning, Just play an A-flat
on the keyboard (since it is being '"bent up" one half-step)
when you need to hear the reference tone. Pressing the @
INCREMENT/DECREMENT KEYS once will cause the pitch
increment to go up or down by one increment. Pressing and
holding these keys will cause the pitch increment to go up or
down more rapidly.
When the reference tone has been tuned. you are ready to go
on lothe next interval of bend. Press @ +lQOCENTKEY. ThiS
will cause the MCI to advance to the next interval and to send
Ihe command for the next reference tone. Again, the tone is
bent up by the interval displayed by @ MIDI CHANNEL
DISPLAY to an A-natural. Use the same tuning procedure thai
you used before. Continue this luning cycle for each half-step
interval in Ihe MC1'sbend range. When all olthe intervals 01
bend are tuned, press @ ENTER. This puiS all of the bend data
into memory and turns off the reference tone.
013
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