Peavey GeneralMusic SK760 Owner's manual

Peavey GeneralMusic SK760 Owner's manual
IMPORTANT
Read Before Using Keyboard!
Congratulations on your purchase of the new GEM SK760/SK880 World Keyboard by
Generalmusic. This instrument is equipped with cutting edge Flash ROM memory, so that
your new keyboard can be permanently updated by disk with the latest operational advantages
and new features. It is important that you follow the procedure below before using your
instrument for the first time to ensure that the instrument functions properly. Check with
your authorised Generalmusic dealer for exciting new features to load in your Flash ROM in
the future.
STEP 1
With the instrument turned OFF, insert the GEM SK760/SK880
Operating System Disk included in your materials packet into the disk
drive. After you have inserted the disk, turn the instrument ON.
STEP 2
You will see a message in the instrument display screen that says:
Loading OS-DISK clears ALL MEMORY!! <Enter to Load/Escape to
abort>
Press ENTER and wait about 3 minutes for the new Operating System
to load. When the new system has finished loading, you will see the
following message in the instrument display screen:
Loading Successful!! <Enter to continue>
At this time, Press ENTER again and the instrument will proceed
through the normal operating display screens. You can now Turn
OFF the instrument in preparation for the final step listed below.
IMPORTANT: REMOVE THE OPERATING SYSTEM DISK BEFORE PROCEEDING TO THE FINAL STEP!
FINAL STEP
As you turn the instrument ON, KEEP ROTATING THE DIAL until
the following message appears in your display screen:
!!WARNING!! Dial on Power-Up Requests Memory Clear!!
<Enter to clear/Escape to abort>
Press ENTER. You have now completed the update process, and your
WK6/WK8 World Keyboard has been permanently upgraded.
ENTER
TEMPO / DATA
ESCAPE
Dial
Location of Dial, Enter & Escape controls.
Note: There may be a Battery Warning message when you initially turn on the instrument.
This message will not appear after the instrument has been plugged in and turned ON for a
few hours. During this time, the internal battery that holds new information in memory
will recharge. For now, just press ENTER or ESCAPE to continue on if the message appears
when you power-up the instrument.
271219
Owner’s manual
Cod. 271219
English
RISK OF ELECTRIC SHOCK
DO NOT OPEN
The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude
to constitute a risk of electric shock to persons.
CAUTION: TO REDUCE THE RISK OF ELECTRIC
SHOCK, DO NOT REMOVE COVER (OR BACK). NO
USER-SERVICEABLE PARTS INSIDE. REFER
SERVICING TO QUALIFIED SERVICE PERSONNEL.
The exclamation mark within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.
CAUTION
IMPORTANT SAFETY INSTRUCTIONS
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK OR INJURY TO PERSONS
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Read all the instructions (Safety, Installation and FCC if applicable) before using the product.
Do not use this product near water (example, near a swimming pool, spa, tub, sink or wet basement) and do not expose to
rain.
This product should be used only with a cart or stand that is recommended by the manufacturer, or should be used with the
components supplied. If this product requires assembly before being played, take special care to follow the assembly
instructions found at the back of the manual.
This product, whether alone or in combination with an amplifier and headphones or speakers, may be capable of producing
sound levels that could cause permanent hearing loss. Do not operate for long periods of time at a high volume level or at a
level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist.
WARNING: Do not place this product or any other objects on the power cord, or place it in a position where one could walk
on, trip over or roll anything over power or connecting cords of any kind.
This product should be located so that its location does not interfere with its proper ventilation.
This product should be located away from heat sources such as radiators, heat registers, or other products that produce heat.
This product should be connected to a power supply only of the type described in the operating instructions or as marked on
the product.
This product may be equipped with a polarised line plug (one blade wider than the other). This is a safety feature. If you are
unable to insert the plug into the wall outlet, contact an electrician to replace your obsolete outlet. Do not defeat the safety
purpose of the plug.
The power supply cord of the product should be unplugged from the outlet when left unused for long periods of time.
Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.
This product should be serviced by qualified service personnel when:
a) the power supply cord or the plug has been damaged; or
b) objects have fallen, or liquid has been spilled into the product; or
c) the product has been exposed to rain; or
d) the product does not appear to operate normally or exhibits marked changes in performance; or
e) the product has been dropped, or the enclosure damaged.
Do not attempt to service the product beyond that described in the user-maintenance instructions. All servicing should be
referred to qualified service personnel.
Some products may have benches and/or accessory mounting fixtures that are either supplied as part of the product or as
optional accessories. Please ensure that benches are correctly assembled and stable and any optional fixtures (where
applicable) are well secured before use.
Electromagnetic Interference (RFI) This electronic product utilises digital sample wave processing technology (S.W.P.) that
may adversely affect radio/TV reception. Read the FCC note on the inside back cover of the owner’s manual for additional
information.
SAVE THESE INSTRUCTIONS
The information in this publication has been carefully prepared and checked. The manufacturers however decline all liability for
eventual errors. All rights are reserved. This publication may not be copied, photocopied or reproduced in part or in whole without prior
written consent from Generalmusic S.p.A. Generalmusic reserves the right to apply any aesthetic, design or function modifications
it considers necessary to any of its products without prior notice. Generalmusic declines all liability for damage to property or persons
resulting from improper use of the instrument.
Make sure that all internal electronic options are installed by an authorized Generalmusic service technician. Check with an authorized
Generalmusic dealer for information on the closest service center.
Copyright Generalmusic © 1998. All rights reserved.
Products and brand names that are referred to in this publication (AKAI, Apple, IBM,Jaz, Kurzweil, Macintosh, Microsoft, MS-DOS,
Sample Vision, Windows, Zip) may either be trademarks and/or registered trademarks of their respective owners. The Publisher/s and
Author/s make no claim to these trademarks.
Contents
Introduction
i
QUICK GUIDE
Chapter 1 • Layout & Display
Front layout 1. 1
Rear panel connections 1. 2
The Display 1. 3
Chapter 2 • User Guide
Power up 2. 1
1 • The SK760/880 playing modes 2. 2
Style/RealTime mode 2. 2
Song mode 2. 2
2 • Play the SK760/880 keyboard sounds (Style/RealTime mode) 2. 3
Full keyboard mode 2. 3
Upper/Lower keyboard mode 2. 4
Multi keyboard mode 2. 7
Adjust the overall volume of the instrument 2. 8
3 • Adjusting the volume of the real time sounds 2. 8
Adjust the sound volumes separately (balancing) 2. 8
4 • General transposition 2. 9
Transpose the instrument up or down 2. 9
Transposing tracks by octaves 2. 10
Play the Programmable Pads 2. 11
Play with headphones 2. 11
Play with the pedals 2. 12
Play with the Wheels 2. 12
5 • Listen to the Demo Songs 2. 13
6 • The Performances 2. 15
Select and play the Performances 2. 15
7 • Selecting the SK Sounds 2. 17
About the SK Sounds 2. 17
Select and play the Bank 1 Sounds (GM) 2. 17
Select and play sound variations (Bank 2, 3, ..... etc..) 2. 19
Using the Keypad to Select a Sound 2. 20
The SOLO button - Isolate a single sound from the rest 2. 21
8 • Display Hold 2. 22
Hold the display during selection procedures 2. 22
9 • The Styles 2. 23
About the SK Styles 2. 23
Play with the Styles 2. 24
About the accompaniment tracks 2. 26
Start a Style with Key Start 2. 27
Start a Style with Tap Tempo 2. 28
Start and stop a Style with Fade In/Out 2. 28
The functions of the Styles 2. 29
Select a Style Performance 2. 29
Select a Style without changing the keyboard sounds 2. 31
10 • Arrange Mode and the chord recognition modes 2. 32
Selecting the Arrange Mode options 2. 33
Changing the split point 2. 34
11 • The Digital Signal Processor (DSP) 2. 35
Change the effect assigned to a Performance 2. 35
Play with Effects or bypass them 2. 37
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Contents i
12 • Store Performance 2. 38
Save to the current Performance 2. 38
Save to a different Performance 2. 39
Restoring the original Performance settings 2. 41
13 • Load and play back the supplied Demo Song 2. 42
Load the Demo Song 2. 42
Playback the Demo Song 2. 44
14 • Preload 2. 46
Play all the Songs or MidiFiles present on a disk 2. 46
15 • Multimedia 2. 48
Display Song lyrics 2. 48
16 • Record a Song (Quick rec.) 2. 50
Play along with your recorded Song 2. 53
Play Songs using Jukebox 2. 54
17 • Save your programmed data to disk 2. 55
The Save procedure 2. 55
Restoring the Songs memory 2. 58
18 • MIDI 2. 59
About MIDI 2. 59
The MIDI Channels 2. 60
The MIDI Configuration 2. 61
The Computer port 2. 62
MIDI Filters 2. 63
MIDI Lock 2. 63
MIDI Panic 2. 64
REFERENCE GUIDE
Chapter 3 • Disk & Hard disk 3. 1
The general «Disk» procedure 3. 4
Load Operations 3. 7
Save operations 3. 14
Erase operations 3. 22
Copy 3. 24
Move 3. 26
Utility 3. 28
Additional functions 3. 34
General disk handling information 3. 37
Chapter 4 • Preload 4. 1
Create a Preload list 4. 2
The Preload functions 4. 3
Chapter 5 • Selection/Help 5. 1
Selection 5. 1
Display Hold 5. 9
Effects Off 5. 9
Help 5. 10
Chapter 6 • Songs, MIDI files & Song recording 6. 1
About Songs 6. 1
About Standard MIDI files
6. 1
Song Playback/Jukebox
6. 2
«Play view» parameters
6. 3
Play view Soft buttons 6. 4
Jukebox Soft buttons 6. 5
Recording a Song
6. 6
The Record method 6. 7
The «Record View» page in detail
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ii Contents
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6. 10
Chapter 7 • Edit Song 7. 1
Erase 7. 3
Move 7. 5
Copy 7. 6
Quantize 7. 8
Insert measures 7. 10
Delete measures 7. 11
Velocity 7. 12
Transpose 7. 13
Microscope 7. 14
Master Track 7. 17
Score & Edit Score 7. 20
Score Controls 7. 21
Edit Score 7. 22
Chapter 8 • User Style recording 8. 1
Recording 8. 2
The «Record View» page 8. 4
Chapter 9 • Edit Style 9. 1
Erase 9. 3
Move 9. 5
Copy 9. 6
Quantize 9. 8
Insert Measures 9. 10
Delete measures 9. 11
Velocity 9. 12
Transpose 9. 13
Microscope 9. 14
Mask 9. 17
Chapter 10 • Edit Effects 10. 1
Effect type 10. 1
Send Level 10. 2
General Effect Balance 10. 2
Effects Programming 10. 3
Effect 1 - Reverb table 10. 5
Effect 2 - Delay/Chorus/Flanger/Modulation table 10. 6
Vocal Processor 10. 7
Chord 10. 19
Vocoder 10. 10
Unison 10. 11
Edit 10. 11
Chapter 11 • Edit MIDI 11. 1
MIDI Channels 11. 1
Configuration 11. 2
MIDI Filters 11. 3
General Settings 11. 3
Common Channel/Arrangement 11. 6
MIDI Dump 11. 7
Local On,Local Off 11. 9
MIDI Lock 11. 9
Chapter 12 • Edit Mixer 12. 1
Volume 12. 1
Pan 12. 1
Random Pan 12. 2
Audio Out 12. 2
3D Effect 12. 3
Chapter 13 • Edit Controllers/Pads 13. 1
Wheels 13. 1
Pedals Programming 13. 2
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Contents iii
Pedals Assignment 13. 2
Pads 13. 3
The Switch Pedal functions 13. 4
The Continuous Pedal functions 13. 5
Chapter 14 • Edit Tracks 14. 1
Transpose 14. 1
Master Transpose 14. 1
Detune 14. 2
Random Pitch 14. 2
Mode/Priority 14. 2
Velocity Curve 14. 3
Velocity Range 14. 3
Harmony 14. 4
Delay 14. 5
Key Range 14. 5
Create Track 14. 6
Copy Track 14. 6
Erase Track 14. 6
Chapter 15 • Edit Perf Sound/Sound Patch 15. 1
Edit Perf Sound 15. 2
Edit Sound Patch 15. 5
Chapter 16 • Edit Sound 16. 1
Waveform 16. 9
Volume & Balance 16. 11
Amplitude Envelope & Balance Envelope 16. 15
Filter 16. 23
Pitch Envelope 16. 28
LFO (Low Frequency Ocillator) 16. 31
Pan 16. 33
Sample Translator version 1.0 16. 40
Loading samples 16. 42
Saving your Samples 16. 45
Cancelling samples 16. 46
Assigning samples 16. 46
Cancelling assignments 16. 48
Sample Editing 16. 48
Sample MIDI Dump 16. 52
Abort (F8) 16. 53
Chapter 17 • Edit General 17. 1
General Controls 17. 2
Tuning/Scale 17. 2
Pedalboard / Computer 17. 4
Date & Time 17. 5
Display controls 17. 6
Mic/Line Input 17. 6
The Edit General Main Menu Options 17. 9
APPENDIX
ROM Sound tables A. 2
Drumkit tables A. 10
ROM Style tables A. 30
Performance tables A. 32
Effects tables A. 32
Wavetables A. 33
MIDI Implementation chart A. 36/37
Recongnized Control Changer messages A. 38
System Exclusive Implementation A. 39
Index (alphabetical) A. 59
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iv Contents
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Introduction
Thank you for purchasing the GEM SK760/SK880 World Keyboard by Generalmusic.
The SK760/SK880 is a multimedia keyboard workstation which offers several ways of interfacing with
the instrument. With the optional A/V card, a musician can connect his instrument to the SK760/880,
mix his sounds with those of the workstation (complete with effects processing!) and follow a music
score which can be projected on a monitor connected to the instrument’s video outputs. At the same
time a group of singers can follow the lyrics projected on the monitor (television or other video projection
device) by the SK760/880 video interface.
TWO VERSIONS OF A POWERFUL WORKSTATION
The SK Series World Keyboard is produced in two versions: the SK760 standard and the SK760 Power Station, the SK880 standard and the SK880 Power Station. All two versions incorporate a FlashROM memory which allows the instruments to be up-dated by disk with the latest operational advantages and new functions.
The basic Operating System, which features an advanced Edit Sound function and the Sample Translator, is common to all three versions. The SK760/880 Power Station is supplied with a factory-fitted
Hard Disk containing a vast library of Songs and User Styles. SK760/880 model is also predisposed for
a SCSI port which can be installed via an optional Generalmusic SCSI kit.
The Standard model can be fitted with optional kits for Power Station and Mega Station facilities, and all
models can be fitted with the SCSI port.
HOW TO USE THE OWNER’S MANUAL
To ensure long, trouble-free operation, please read this manual carefully. The Owner’s Manual is supplied as a 3-ring binder with instructions inserted inside.
First, read the Quick Guide chapter while operating the SK760/880 which explains the functions of
each button and the display. This will help you understand the basic operation of the instrument. Graphical
illustrations are included for a better understanding of the instrument.
Once you are acquainted with the instrument’s basic functions, use the Reference Guide to discover all
the potentials of your SK760/SK880 World Keyboard.
At the end of the manual is the Appendix containing various tables, MIDI information and an index.
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Introduction i
FEATURES OF THE WK6 & WK8
•
Polyphony/multitimbral capabilities
Maximum polyphony: 64 voices. Multitimbricity: 16 parts (Style/RealTime modes) or 32
parts (Song mode). Each part is assigned to
a track. In Style/RealTime mode 8 tracks are
assigned to the keyboard and the other 8 to
the auto-accompaniment section.
Sound generation
Based on sampled waveforms (Wave), modified by programmable digital filters (DCF, Digitally Controlled Filters). Waves are assigned
singularly or in pairs to up to a maximum of 3
Layers, to obtain Sounds consisting of a maximum of 6 Waves per voice.
ROM-Sounds
ROM (permanent memory) contains up to 16
megabytes of samples which are the source
of over 1,000 ROM-Sounds.
RAM-Sounds
You can load disk-based RAM-Sounds based
on samples contained in ROM. RAM Sounds
can be supplied by Generalmusic, by third parties, or can be created by the user with the
sound editor program. Sounds can be loaded
from SK760/880, WK6/8, WK4, SK, PS and
WX/SX Series disks.
Edit Perf-Sound/Sound Patch
The “Edit Perf Sound” and “Edit Sound Patch”
functions permits quick modification of Sounds
and Drumkits to produce “PerformanceSounds”. The modifications are stored in Performance tracks to allow Songs, Styles or
Real-Performances to load the correct sounds.
Sound Edit
SK760/880 features and advanced, powerful
and highly flexible Sound Edit section that
takes you deep into the heart of sound synthesis at its very best. You can shape envelopes, control Waveforms and open and close
filters with the help of high definition graphical
representations projected on the display. The
Sound Edit also features the Sample Translator, an incoporated Waveform creating program which allows you to create new Sounds
•
•
•
•
•
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ii Introduction
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starting from disk-based samples or data received via MIDI.
•
•
•
•
•
•
Volatile Sample RAM (optional)
It is possible to install up to 32 megabytes of
additional Sample-RAM via standard 30 pin
computer SIMMs (single in-line Memory Modules) obtainable from most computer outlets.
Digital Effects Processor
Four Digital Effects Processors, controlled in
real time, enrich the sound with effects (reverbs
and modulations). A flexible matrix allows different effects to be assigned to every track.
Sequencer
The 32 track, 250 event/16 Song sequencer
has a Microscope function (microscopic edit)
and Score facility (to display Score, chords and
Lyrics). The QuickRec recording method allows the rapid recording of Songs by using existing Styles.
Jukebox & Preload
The Jukebox function allows you to chain the
Songs in memory and play them one after the
other with a single command. The Preload
function allows you to create a list of diskbased Songs or MIDI Files and play them all
by means of a single command, without first
loading all data in memory.
Automatic accompaniment
The internal ROM Styles provide automatic
musical accompaniments, consisting of 8
tracks. Every Style has 4 Variations. Up to
32 disk based Styles (User programmable) can
be loaded and automatically stored in the battery backed system memory. Each Style can
also be automatically reconfigured by means
of up to 8 associated Style Performances.
Disk drive
Data can be stored on 3.5" HD floppy disks, in
SK760/880 expanded format (1.6 megabyte),
standard MS-DOS (1.44 megabyte) or Atari ST/
Falcon format (720 Kb). SK760/880 is able to
initialize disks for every format. It is possible to
load RAM-Sounds, Styles and Songs from
SK760/880, WX2, SX2 floppy disks. If Sample-RAM is present, it is also possible to load
external storage device connected via the
SCSI port (ZIP™, JAZ™, Hard Disks, etc.).
This also makes it possible to load files from a
CD-ROM drive. A SCSI port can be installed
in all models by means of Generalmusic’s optional SCSI installation kit, available from all
authorised Generalmusic outlets. Installation
should only be carried out by authorised Generalmusic service centres. The WK8 leaves
the factory predisposed for the SCSI port for
easy installation.
new samples from disk (as RAM -Sounds).
MS-DOS compatibility permits MIDI file exchange with other instruments and computers.
•
•
•
•
•
•
Hard disk
SK760/880 (Power Station) can be fitted with
a 2.5” IDE or E-IDE internal hard disk (max. 2
Gigabytes). The standard model can be upgraded with the optional Generalmusic Hard
Disk installation kit, available from authorized
Generalmusic stores and should be installed
by a qualified service technician. A compatible IDE hard drive can be purchased from most
computer outlets.
Score view
The display can show the score, the lyrics and
chord symbols of a song. It is also possible to
connect SK760/880 to a video system (monitor, domestic TV, closed circuit video) by
means of the Generalmusic Audio/Video card
(optional) to display score and lyrics on a television (or other external video device). Lyrics
can be projected onto a monitor during a performance to allow others to sing with the player.
Audio/Video card with Vocal Processor
The optional Audio/Video card installation kit
offers the possibility of processing Mic/Line signals with the instrument’s internal Effects Processor, of projecting Song lyrics onto an external video device (TV, monitor, etc.), and includes the Vocal Processor function to add
vocal harmonies to your performance.
Advanced MIDI operation & System
Exclusive
SK760/880 has two independent MIDI circuits
(A and B), offering up to 32 MIDI channels, with
MIDI-merge and MIDI-thru functions and System Exclusive communcation.
Direct connection with a computer
The Computer jack permits the connection of
computers not fitted with a MIDI interface to
SK760/880 via a single serial cable.
SCSI port (optional)
For off-line storage, SK760/880 can be fitted
with a SCSI port, so you can store files on an
•
Multitasking operating mode
The Multitasking operating system allows you
to execute several operations simultaneously, such as modifying sounds while a song is
playing, loading a song during song play, formatting a disk while playing.
Up-dateable operating system (OS)
Since the operating system resides in a flashROM, it is possible to load updates from floppy disk. Operating system updates can add
new functions to the instrument.
•
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Introduction iii
IMPORTANT PRELIMINARY NOTES
Observe these important preliminary notes before using your instrument:
AVOID PLACING DISKS NEAR MAGNETS - Do not place floppy disks on top of speakers, near magnets, telephones, or other sources of electromagnetic fields. The disk contents could be damaged.=
MODELS WITH OPTIONAL HARD DISK INSTALLED- the hard disk may appear to operate rather slowly the first
time you open its directory. This is caused by operations relating to the organization of the internal data and tests
on the integrity of the device. The delay is eliminated on all successive hard disk access operations. You may also
find that the Hard Disk is write protected - this is merely a precautionary measure to avoid accidental erasure of any
factory-loaded files. The protection is removed in the Disk Utility page.
UP-DATEABLE OPERATING SYSTEM - A disk containing the operating system is supplied with the instrument.
The disk can contain a more recent version of the operating system than the one contained in the instrument’s
Flash ROM.
To load the operating system contained on the floppy disk:
(1) turn off the instrument, (2) insert the floppy disk in the drive, (3) turn on the instrument, (4) When the message
«Loading OS-disk clears all memory!! ENTER to load, ESCAPE to abort» appears, press ENTER to start the OS
update, (5) wait while the operating system is being loaded, (6) when the message «Loading successful (Enter to
continue)» is displayed, press ENTER. After completing this process, proceed with the power-up reset that follows
below to insure proper operation.
RESETTING AT POWER UP - If the data contained in the instrument’s memory has been damaged, either by
being exposed to the effects of a strong magnetic field, or other unknown reason, the instrument may not operate
properly. The remedy is a power-up reset:
(1) Turn on the instrument while simultaneously pressing the POWER switch and rotating the DIAL, (2) when the
message «!!WARNING!! Dial on Power-Up Requests MEMORY CLEAR !! < ENTER to CLEAR / ESCAPE to
abort>» appears, press ENTER to clear the MEMORY.
2
1
TEMPO / DATA
!!WARNING!! Dial on Power-Up
Requests MEMORY CLEAR !!
< ENTER to CLEAR / ESCAPE to abort >
ENTER
+
ESCAPE
Important information
1. The SK760/880 should contain the following items from the factory:
a) Instrument;
b) 2 Floppy disks (1 Operating System (OS)-Disk, 1 Demo disk);
c) Owner’s manual (shrink-wrap pack with 3-ring binder).
2. When contacting your retailer or authorized Generalmusic technical assistance centre, always provide
the model name and serial number of your instrument (found on the identification plate).
3. Generalmusic on Internet:
http://www.generalmusic.com
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iv Introduction
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SOME USEFUL INFORMATION BEFORE STARTING
The rechargeable battery
The SK760/880 conserves the data in RAM after turning off, thanks to a rechargeable battery. The
battery is recharged while the instrument is turned on (not just plugged in!).
When the instrument is turned off, if the battery is at maximum charge level, the data in RAM is conserved for about two weeks. The charge of the battery increases by one day for every hour the instrument is left on, until the maximum level is reached. If the battery discharges, leave the instrument on for
at least 15 hours to recharge it completely.
To increase the efficiency of the rechargeable battery, repeat the complete recharging operation at least
once a month. In most cases, normal use of the SK760/880 will keep the battery charged.
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© WARNING- Sounds based on sample RAM (RAM
-Sounds) are conserved after power down only if the
Backed Sample-RAM is installed. If the volatile Sample-RAM is installed, the Sounds and samples will be lost at
power down (much like typical computer memory). If desired, these Sounds can be reloaded from disk after
powering up the instrument again
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© Note: It is possible to load RAM
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-Sounds (totally new Sound Waves) only if the Sample-RAM is installed.
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What remains in memory and what is cancelled
Stored after turning off
Not stored after turning off
Programmable Performances
Modified Style-Performances
User Styles (User buttons)
Songs
Setup (general settings)
RAM-Sounds (based on samples in ROM)
RAM
-Sounds (based on samples in Backed S-RAM)
Samples in Backed S-RAM
-Sounds (based on samples in Volatile S-RAM)
RAM
Samples in Volatile S-RAM
The status of the following buttons also remain memorized: ARRANGE ON/OFF, ARRANGE MEMORY,
LOWER MEMORY, TEMPO LOCK, MIXER LOCK, BASS TO LOWEST and the ARRANGE MODE
settings.
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Introduction v
RAM RESET
Battery discharged message
If you want to recall the factory settings, you can
reset the backed RAM.
1. Press GENERAL in the EDIT section to enter
the “Edit General” menu.
If the instrument has been left turned off for a
long period of time, the battery will slowly discharge.
When the battery discharges completely, it causes the total loss of all user programmed data.
If the battery has lost its charge completely, turning the instrument on will show the following
message:
2. Press the soft button F4 to select the “Restore
all” command. The following dialogue window
is displayed.
The message cancels automatically after 2/3
seconds.
After the message cancels, be sure to save all of
your edited work to disk until after the battery has
sufficiently charged.
3. Press ENTER to confirm the initialization, or
ESCAPE to cancel the procedure. If the procedure is confirmed, the instrument can be
played after few seconds.
Leave the instrument on for a few hours to recharge the battery. One hour of charge time corresponds to approximately one day of use - the
battery charge remains active for approximately
15 days of non-use.
If you foresee leaving the instrument turned off
for a long period of time, be sure to save all userprogrammed data to disk to safeguard your data
against automatic erasure due to battery discharge.
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vi Introduction
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Quick
Guide
• 1 Layout & Display
• 2 User Guide
GENERAL SAFETY INSTRUCTIONS
Power source
• Be sure that your local AC mains voltage matches the voltage specified on the name plate before
connecting to the mains.
• DC power cannot be used to power this instrument.
• If the instrument is to remain unused for long periods of time, remove the power cord from its wall
outlet. For safety purposes, remove the power cord in cases of storms with lightning.
Handling the power cord
• Never touch the power cord or its plug with wet hands.
• Never pull on the cord to remove it from the wall socket, always pull the plug.
• Never forcibly bend the power cord.
• If the power cord is scarred, cut or broken, or has a bad contact, it will be a potential fire hazard or
source of serious electric shock. NEVER use a damaged power cord; have it replaced by a qualified
technician.
If water (or other liquid) gets into the instrument
• Do not allow liquids to penetrate the instrument. Do not place containers of liquids on the instrument. If water or liquids penetrate the instrument, remove the power cord from the wall socket at
once, and contact the store where the unit was purchased.
• As a general precaution, never open the unit and touch or tamper with the internal circuitry.
If the instrument plays in an abnormal way
• Turn off the power immediately, remove the power cord from the mains outlet and contact the store
where it was purchased.
• Discontinue using the unit at once. Failure to do so may result in additional damage or other
unexpected damage or accident.
Important notes
• Do not place heavy objects on the instrument and avoid leaning on it.
• Before turning on the instrument, be sure to set the volume to a reasonable level (master volume
slider at about two thirds of the course).
• Before connecting your instrument to other devices, always remember to turn off the power to all
units; this will help to prevent damage or malfunction.
General user maintenance
•
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Clean the outer surface of your instrument using a soft, clean, slightly damp cloth and polish with a
soft, dry cloth.
• Never use industrial cleaners, detergents, abrasive cleansers, waxes, solvents or polishes as they
may damage the instrument finish.
• Always turn off the power supply after use and never turn the unit on and off repeatedly in quick
succession as this places an undue load on the electronic components.
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User Guide
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Chapter 1 • Layout & Display
FRONT LAYOUT
10. Wheels (Pitch Bend, Modulation).
11. Headphones jacks (2).
12. Keyboard (SK760: E1-A7, SK880: C0-C8) responds to note messages transmitted to
MIDI IN for all notes from C–1 - G9 (notes
numbers 0 - 127). Using the Transpose function, the entire range C–1 - G9 can be covered on the keyboard.
13. Alphanumeric configuration - each note corresponds to a letter or number for use in name
writing situations.
14. Fade In/Out, Var 1, Var 2, Var 3, Var 4, Fill <,
Fill ><, Fill >.
15. Style Groups.
16. Start/Stop, Intro, Key Start, Ending.
17. Style Lock, Performance Groups, Style P.
18. Enter, Escape, Tempo/Data Dial.
19. Directional buttons (cursor arrows).
20. Pad 1, Pad 2, Pad 3, Pad 4.
21. Octave –/+, Transpose b/#.
1. Sliders (M.Vol, Mic/Line, Drum, Bass, Acc1/
3, Acc 4/6, Lower 2, Lower 1, Upper 2, Upper 1, [A, B, C, D, E, F, G, H].
2. Arrange On/Off, Arrange Memory, Lower
Memory, Arrange Mode, Tempo Lock, Mixer
Lock, Bass to Lowest, Harmony On/Off
3. Effects Bypass, Solo, Single Touch Play,
Store Perf.
4. 1/4 VGA Display (backlit), Track Scroll buttons, Page Select buttons, Soft buttons A…H,
F1…F8.
5. Contrast, Undo, Help, D. Hold, Key Pad.
6. Sequencer: Record St./Song, <<, >>, Score,
Song, Stop, Play, Style/Real Time.
7. Sound Groups.
8. Edit/Number: Effects, Midi, Mixer, Cnt/Pads,
Tracks, Sound, St./Song, Synth, General,
Demo, Preload, Disk, Hard Disk LED.
9. Disk Drive location.
1 2
M.VOL
MIC/LINE
BASS
DRUMS
3
ACC. 1/3
ACC. 4/6
LOWER.2
LOWER.1
UPPER.2
4
8
5 6 7
TRACK SCROLL
UPPER.1
EDIT / NUMBER
MAX
CONTRAST
A
UNDO
HELP
D. HOLD
KEY PAD
F2
F4
MIDI
EFFECTS
F1
B
D
1
B
A
ARRANGE
ON / OFF
ARRANGE
MEMORY
LOWER
MEMORY
C
D
E
G
F
EFFECTS
BYPASS
ARRANGE
MODE
H
BASS TO
LOWEST
HARMONY
ON / OFF
STORE
PERF.
SINGLE
TCH. PLAY
SOUND
4
5
6
ST. / SONG
SYNTH
GENERAL
7
8
9
SEQUENCER
F5
E
SOLO
F
MIXER
LOCK
TRACKS
F3
RECORD
ST. / SONG
SCORE
F6
G
TEMPO
LOCK
MIXER
3
2
CNT / PADS
C
MIN
F7
H
STYLE
REAL TIME
F8
SONG
PLAY
STOP
DEMO
PRELOAD
DISK
H. D.
_
STYLE GROUPS
+
0
SOUND GROUP
8. BEAT
16. BEAT
ROCK
FUNK
DANCE. 1
DANCE. 2
USER. 1
USER. 2
JAZZ
US. TRAD
TRAD. 1
TRAD. 2
LATIN. 1
LATIN. 2
USER. 3
USER. 4
FILL
FILL
INTRO
KEY START
ENTER
ENDING
TEMPO / DATA
PIANO
CHROM.
ORGAN
GUITAR
BASS
STRINGS
ENSEMB
BRASS
REED
PIPE
SYN. LD
SYN. PAD
SYN. FIX
ETHNIC
PERC.
SFX
PAD 1
PAD 2
PERFORMANCE GROUP
FADE I / O
VAR. 1
VAR. 2
VAR. 3
VAR. 4
ST. LOCK
1
2
3
4
STYLE P.
5
6
7
8
FILL
_
PAD 4
PAD 3
OCTAVE
+
b
TRANSPOSE
#
ESCAPE
START / STOP
TAP TEMPO
CAPS
9 10 11
12
I/O SPACE
DELETE
13 14
A
B
C
15
D
E
F
G
16
H
I
J
K
L
M
17
N
O
P
Q
1
R
2
S
T
3
4
U
18 19 20
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5
V
W
X
6
Y
7
,
Z
8
.
9
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0
21
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Front & Rear panel 1•1
REAR PANEL (CONNECTIONS)
outputs saying “NO VIDEO INTERFACE INSTALLED”.
7. Output: (Left, Right, 1, 2). For Mono reproduction, use either the RIGHT or LEFT jack.
The auxiliary outputs emit “dry” sounds (i.e.
with no effects).
8. Mic/Line In: 1, 2, Gain 2/1 (audio inputs for
Microphone or Line signals and twin gain
control for the input signals). The optional A/
V board is required for most external processing applications (optional for WK6 standard
and Power Station models).
9. Power On/Off Switch.
10. Mains socket: Insert the supplied power
cord into this socket.
1.
2.
3.
4.
SCSI port (optional).
Pedals: Damper, 1, 2, Volume.
Pedalboard port.
Computer port (serial connector for direct
computer conection (Apple Macintosh or IBM
PC and compatibles).
5. MIDI interface: (MIDI IN A/B, MIDI THRU A/
B, MIDI OUT A/B).
6. Video RGB, SVHS: RGB (Video output in
RGB/Composite Video standard), SVHS (Video output in SVHS/Composite Video standard). Both outputs are operational only with
the Audio/Video Interface (optional). Models
not fitted with the A/V Interface leave the factory with an adhesive applied below these
SCSI PORT
MIDI
VIDEO
OUTPUT
PEDAL
2
DAMPER
1
1
VOLUME
PEDALB.
COMPUTER
THRU B
OUT B
IN B
2 34
THRU A
OUT A
IN A
S-VHS
5
RGB
LEFT
6
RIGHT
MIC / LINE IN
1
2
7
1
2
1
2
8
9 10
SCSI PORT
MIDI
PEDAL
2
DAMPER
1
1
VOLUME
2
PEDALB.
COMPUTER
3
4
THRU B
OUT B
IN B
THRU A
OUT A
IN A
5
VIDEO
OUTPUT
S-VHS
RGB
LEFT
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1
RIGHT
6
MIC / LINE IN
2
1
2
1
7
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1•2 User Guide
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2
8
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9
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10
THE DISPLAY
The SK760/880 display is the principal user interface which communicates the status of the instrument
at all times.
TRACK SCROLL BUTTONS
PAGE (MENU) SCROLL BUTTONS
TRACK SCROLL
A
F1
B
F2
D
F4
F
F6
H
F8
C
F3
F5
E
G
F7
SOFT BUTTONS A … H
NEGATIVE HIGHLIGHT
CURSOR
SOFT BUTTONS F1 … F8
NAVIGATION, DATA ENTRY, CONFIRMATION/CANCELLATION
ENTER/ESCAPE
AND DIAL
ENTER
The principal navigating controls are the CURSOR ARROWS (directional arrows) and the principal Data entry device is the DIAL. Secondary
navigating devices are the SOFT BUTTONS on
the left and right of the display, and the TRACK
SCROLL and PAGE (MENU) SCROLL buttons
above the Soft buttons. A secondary data entry
device is the numeric keypad (the EDIT/NUMBER section), which enters absolute numbers
when the KEYPAD LED is on.
CURSOR
ARROWS
TEMPO / DATA
ESCAPE
EDIT / NUMBER
KEY PAD
OLD
EDIT/NUMBER
SECTION
ENABLED FOR
NUMERIC ENTRY
WHEN THE
KEYPAD LED
IS ON
The display’s cursor is a negative highlight zone
which can be moved by means of the cursor buttons. The selected parameter can be modified
with the DIAL or NUMERIC KEYPAD. Confirmation or cancellation of an operation within the display is with the ENTER or ESCAPE buttons.
EFFECTS
MIDI
MIXER
1
2
3
CNT / PADS
TRACKS
SOUND
4
5
6
ST. / SONG
SYNTH
GENERAL
7
8
9
DEMO
PRELOAD
DISK
_
0
+
H. D.
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Display 1•3
ALPHANUMERIC ENTRY
In name writing situations (Performance name, Song name, etc.), the keyboard activates as a source of
alphanumerical data where each note of the central zone of the keyboard corresponds to a letter, symbol or number. Use the / cursor buttons or the DIAL to navigate within the active name writing zone.
ALPHANUMERIC CONFIGURATION IN NAME-WRITING MODE
The following example shows how to modify a
Performance name:
1. Press the STORE PERFORMANCE button.
An entry zone appears showing the status of
the current Performance:
4. Insert the desired characters using the keyboard. Each note corresponds to a character, processing command or number.
Two options appear below the name (“Caps
On/Caps Off” and “Insert/Overwrite”) which
can be enabled or disabled with notes D2 and
D#2 respectively.
The notes on the extreme left of the keyboard
zone provide word processing functions:
2. Press the Soft buttons F7 or F8 to activate
the “Change name...” function. A second
entry zone appears where a name can be
inserted. The current name appears selected
(shown in negative highlight).
3. To completely cancel the selected name, insert the first character. To change one or
more characters only, move the flashing cursor with the cursor buttons.
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1•4 User Guide
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• D2:
CAPS - Caps On / Caps Off;
• D#2:
INS/OVER - toggles between
Insert / Overwrite mode;
• E2:
SPACE - inserts a space
between two entries;
• F2:
DELETE - cancels the selected
character or the one after;
• G2:
<— (BACKSPACE) - cancels
the previous character;
5. Move back with the cursor button and correct wrong characters. In Overwrite mode,
the inserted characters substitute the selected characters (in negative highlight).
6. Press ENTER to confirm and to close the
active zone, or press ESCAPE to cancel and
close the window.
THE DEFAULT DISPLAY: “SOUND VIEW” PAGE
This type of page shows the Sounds assigned to the tracks. «Sound View» is the default viewing mode.
A typical Sound View page appears in Style/RealTime mode (other Sound View pages showing slight
variations appear in Song mode and Style and Song recording modes).
d
f
e
g
h
a
b
c
a. Track status icons. Select the tracks with the Soft buttons A...H or with the cursor buttons / .
b. Sound names. The name of the Group to which the Sound belongs appears close to the Sound
name, or (in order) the ProgramChange, BankSelect MSB, BankSelect LSB numbers. Tracks which
are not assigned to internal sounds show a string of dashes (------) instead of the Sound name.
If the track has been modified with «Edit Perf Sound», the symbol appears after the Sound name.
c. Menu or Function list. Contains options which can be selected with the Soft buttons F1...F8. In
Style/RealTime mode the soft buttons are coupled (F1/F2, F3/F4, F5/F6, F7/F8) and the menu
shows the options to select:
• the track status (Full, Upp/Low, Multi).
• the Split Point. The keyboard area below the split point corresponds to the chord recognition zone
for the automatic accompaniment.
d. Status bar showing general information.
e. Style and Performance name (Performance or Style-Performance, depending on whether SINGLE TOUCH PLAY is on or off). Song mode: Song and Song-Performance name.
A Performance that has been modified but not saved with STORE PERFORMANCE is identified by
the symbol [‘]. A ROM Style with a modified Style-Performance is identified by the symbol [*].
f. Tempo (varied with the DIAL).
g. Locator (measure and beat counter). In Style mode this parameter monitors the Style pattern (riff).
h. Chord - the current recognized Chord symbol.
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Display 1•5
THE DISPLAY’S EDIT STATUS IDENTIFICATION ICONS
Every edit environment has a relative icon:
Edit Effects
Edit MIDI
Edit Mixer
Edit Controllers/Pads
Edit Tracks
Edit Perf Sound/Drumkit
Edit Style/Song
Edit General
Edit Disk / Preload
Edit Sound
TRACKS, PERFORMANCES AND THE TRACK STATUS ICONS
A Track is the smallest part of a Performance and in normal playing conditions, the display shows from
4 to 8 tracks of the current Performance.
A Performance is a configuration of several tracks, so that different Sounds can be combined to play at
the same time. The Sound name and its ProgramChange and BankSelect numbers or the relative
Group name appears on the main display.
Style-Performances and Programmable Performances have a maximum of 16 tracks (8 tracks for the
keyboard and 8 engaged by the sequencer for the arrangements). A Song-Performance can contain up
to 32 tracks.
Sometimes, a track is not assigned to a SK760/880 Sound, but it controls an expander connected to the
MIDI OUT. In this case, “MIDI” is shown as well as ProgramChange and BankSelect numbers (MSBLSB) on the main display when SK760/880 is set to Multi mode. In Full or Upper/Lower modes only the
Sound Bank name appears, the ProgramChange and Bank Select numbers are not shown.
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1•6 User Guide
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Most of the operating modes display the tracks and their status icons are shown on the left part of the
display.
The status of a track can be shown in four different ways:
in key-play if it can be played on the keyboard;
in mute if the track is temporarily deactivated;
in record if the track is in a record pending status;
in seq-play if the track contains recorded notes.
Each status is identified by an icon which appears in the track status column. You can change the track
status by repeatedly pressing the corresponding soft button. For example, in RealTime mode, you can
toggle between the “mute” and “play” status by pressing the corresponding soft button repeatedly.
THE TRACK ICONS
«key-play» icon (keyboard play)
«MIDI-receive/transmit» icon
The track can be played on the keyboard
in Real Time.
«mute» icon
The track can receive (IN) and transmit
(OUT).
«MIDI-receive» icon
The track is temporarily deactivated, even
if it is connected to the keyboard. The
track does not receive or transmit MIDI.
«seq-play» icon (sequencer-play)
The track contains notes – i.e. it is engaged
by a Song or Style accompaniment track.
In either case, this type of track cannot play
in real time on the keyboard, unless it is
set to key-play. This track cannot receive
data at MIDI IN.
The track receives MIDI messages (IN),
but does not transmit them (OUT).
«MIDI-transmit» icon
The track does not receive MIDI messages (IN), but transmits them (OUT).
The Track and MIDI status Icons are usually combined together to allow you to control the overall
track status, both for playing, muting, recording
in real time and in MIDI setups.
«mute» icon (track with note)
The track is temporarily deactivated.
«record» icon
The track is in a recording status.
The MIDI status of the tracks is also be identified
by a status icon.
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Display 1•7
DIALOG WINDOWS
Several types of dialog window exist; generally an option requires selection or one or more parameters
require modifications and confirmation with ENTER or a soft button. Some examples follow.
Select one of the options with the cursor buttons.
Press ENTER to confirm or press ESCAPE to cancel the modifications.
ENTER and ESCAPE close the dialog windows.
Select the parameter which has to be modified with the cursor.
Modify the value with the DIAL or numeric keypad.
Press ENTER to confirm or press ESCAPE to cancel the modifications.
Press the soft button corresponding to the option required.
WARNINGS
These are similar to the dialog windows, but they do not display options to select. They communicate
specific messages to the user (wrong operations, information on the current operation, etc.).
Press F5, ENTER or ESCAPE to close the warning.
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1•8 User Guide
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Chapter 2 • User Guide
POWER UP
1
1. Be sure that the power switch on the rear panel
is in the “OFF” position.
2. Connect the power cord to the rear panel mains
socket and insert the other end of the power cord
into a suitable grounded wall outlet.
2
3. Connect the audio cables
Connect the stereo audio outputs (Left, Right)
to your amp. system (mixer, powered speakers, etc.) using audio cables with standard 1/
4” jacks. Use RCA jacks to connect to domestic stereo units. For mono reproduction,
connect to either the Left or Right jack.
3
MIXER
/ NUMBER
3
MIDI
EDIT
2
SOUND
EFFECTS
6
1
T.
SPLIT
5
/ PADS
GENERAL
CNT
9
4
HOLD
OPTION
KEY
H.
8
D.
D.
DISK
/ SONG
HOLD
ST.
+
7
PRELOAD
HELP
OUT
4. Press the power switch to turn on SK760/880.
0
DEMO
UNDO
#
BRASS
_
SCORE
SFX
ENSEMB
CONTRAST
PLAY
PERC.
STRINGS
GROUP
STOP
BASS
ETHNIC
TRANSPOSE
b
SEQUENCER
+
OCTAVE
_
SOUND
/ SONG
RECORD
ST.
FIX
SONG
GUITAR
0
SYN.
PAD
ORGAN
STYLETIME
REAL
SYN.
'
4
9
PAD
LD
F1
SYN.
CHROM.
.
3
PAD
8
PIPE
PIANO
F3
,
2
PAD
F4
IN
F2
REED
F5
1
Z
PAD
F6
7
F7
Y
F8
6
/ DATA
X
TEMPO
5
W
ENTER
V
SCROLL
4
TRACK
A
B
U
4
C
D
E
3
GROUP
ESCAPE
8
3
T
E
F
7
PERFORMANC
2
G
UPPER.1
S
H
2
6
1
UPPER.2
R
5
LOWER.1
1
LOCK
ST.
LOWER.2
Q
P.
ENDING
4/6
H
SONG
ACC.
1/3
SOLO
G
P
START
ACC.
KEY
F
BASS
STORE
PERF.
O
INTRO
E
DRUMS
EFFECTS
BYPASS
D
C
PLAY
SINGLE
TCH.
USER.
ARRANGE
MODE
START
/ OFF
HARMONY
ON
3
2
L
FILL
TEMPO
LATIN.
DANCE.
STYLE
1
FUNK
FILL
USER.
DANCE.
1
GROUPS
TO
BASS
LOWEST
MIXER
LOCK
M
USER.
USER.
2
LOWER
MEMORY
ARRANGE
MEMORY
MIN
/ OFF
ARRANGE
ON
4
1
B
A
MAX
N
/ STOP
2
MIC/LINE
M.VOL
K
TAP
FILL
LATIN.
J
2
ROCK
TEMPO
LOCK
4
TRAD.
VAR.
1
BEAT
I
TRAD.
16.
3
VAR.
8.
H
TRAD
BEAT
US.
2
VAR.
JAZZ
G
1
VAR.
F
I/
O
FADE
E
D
C
B
A
DELETE
SPACE
I/O
CAPS
After a few seconds the instrument sets to
the default situation.
The power up display shows a single sound
(Piano 1) active.
4
5. Play on the keyboard and you will hear the Piano 1 sound play across the full keyboard.
If necessary, regulate the display contrast with
the DISPLAY CONTRAST panel knob on the
right of the display.
Different viewing angles may require an adjustment of the contrast.
The display reaches its maximum brightness
a few minutes after turning on.
CONTRAST
5
< --------------- Single sound - full keyboard --------------- >
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User Guide 2•1
1 • The SK760/880 playing modes
SK760/880 features two distinct playing modes:
• Style/RealTime mode and
• Song mode.
STYLE/REALTIME MODE
SONG MODE
In this mode you can play with Styles, or play
with the Performances and use SK760/880 as
a conventional keyboard.
Up to 32 tracks are available in Song mode. Via
MIDI, SK760/880 can be also used as a
multitimbral (32 part) sound generator for Song
recording with an external sequencer.
If the auto-accompaniments are playing, the Style
mode is active; if not, Style mode is off and Performance (RealTime) mode is on.
Style and RealTime modes have a Performance
in common, structured with the same number of
tracks (16) and the same Performance editing
tasks. A sound is assigned to each track and 8
tracks can be played at the same time in real
time; the remaining 8 accompaniment tracks belong to the Style and play automatically when you
press Start/Stop and play chords below the split
point with the instrument set to Style mode.
Sounds and accompaniments can be recalled by
selecting a Style (from the STYLE GROUP buttons) or a Performance (from the PERFORMANCE GROUPS buttons).
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2•2 User Guide
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A Song is sequenced data consisting of one or
more tracks (instrumental parts). A Song can be
loaded from disk as a SK760/880 Song or as a
Standard MIDI-file.
You can record a Song one track at a time
(multitrack recording), or in a single step by exploiting the existing styles (Quick Record). The
Quick Record method has the advantage of allowing you to record the melody of a Song while
the auto-accompaniments take care of the rest.
Let’s takes a brief look at some of the operations
that can be carried out in Style/RealTime mode
and Song mode.
2 • Play the SK760/880 keyboard sounds (Style/RealTime mode)
Every time you power up, SK760/880 sets to Style/RealTime mode with the GrandPiano Performance
selected. This Performance is factory-set to activate the Piano 1 sound across the full keyboard. This
sound is assigned to the Upper 1 keyboard section - all other keyboard sections (Upper 2, Lower 1,
Lower 2) are off (mute).
FULL KEYBOARD MODE
1
Play a single sound or two layered sounds across
the entire keyboard
1. After turning the instrument on, you can play a
single sound (Piano1) straight away.
< --------------------- Piano 1 (Upper 1) --------------------- >
The sound, which is assigned to the Upper 1
keyboard section, plays across the entire
keyboard range (Full keyboard).
2
2. Press the soft button(s) E/F TWICE to select and
activate the Upper 2 keyboard section.
E
F
Note that the soft buttons in this situation are
paired.
The track (Upper 2) activates for “play”
(shown by the small keyboard icon in the track
status column).
G
H
Sounds shown active for
play (the keyboard icon)
3. Play on the keyboard.
You will hear two sounds for each note
played. Both sounds are layered across the
entire keyboard.
3
< --------------------- Piano 1 (Upper 1) --------------------- >
< ------------------ Slow Strings (Upper 2) ------------------ >
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User Guide 2•3
UPPER/LOWER KEYBOARD MODE
4
Split the keyboard
F1
F2
4. Press the paired soft buttons F3/F4 on the right
of the display to select the UPP/LOW keyboard
mode.
F3
F4
5. Play on the keyboard with both hands.
You will hear no sound on the left part of the
keyboard and two on the right. The keyboard
will be divided at the note indicated in the
bottom right hand corner of the display (Split:
F#3).
In this situation (Upper 1 & 2 active, Lower
mute), the Upper 1 & 2 sounds are assigned
to the right keyboard extension while the left
section is muted.
5
SPLIT Keyboard
< --- no sound ----- > < ------------ Upper 1 ------------- >
< ------------ Upper 2 ------------- >
CURRENT SPLIT POINT
6. Press the soft button(s) C/D TWICE to select and
activate the LOWER 1 keyboard section.
The track activates for “play” (shown by the
small keyboard icon in the track status column).
6
A
B
7. Play on the keyboard with the left hand below
note.
This time, you will hear a sound on the left
part of the keyboard.
In this situation (Upper 1 & 2 & Lower 1 active), three sounds play: two layered sounds
across the right keyboard extension and a
single sound across the left keyboard extension C2-B3.
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C
D
E
F
G
H
7
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©
Note: The Split Point is programmable - more
about this later.
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2•4 User Guide
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SPLIT Keyboard
< - Slow Strings --- > < ------------ Piano 1 ------------- >
< --------- Slow Strings ----------- >
ADD A SECOND SOUND ON THE LEFT HAND
8
8. Press the soft button(s) A/B TWICE to select and
activate the LOWER 2 keyboard section.
A
B
The track activates for “play” (shown by the
small keyboard icon in the track status column).
C
D
E
F
9. Play on the keyboard with both hands.
G
Now you can play with two real time sounds
on the left hand and two on the right.
H
9
SPLIT Keyboard
< - Slow Strings --- > < ------------ Piano 1 ------------- >
< --- Nylon Gtr ----- > < --------- Slow Strings ----------- >
MUTE OR ACTIVATE ONE OR MORE
SOUNDS
To mute a sound, or to activate a muted sound, it
must be shown selected in the display. A selected sound is shown in negative highlight. In
this example, if you have followed the steps
above, the sound NYLONGTR will be shown in
negative highlight.
10
A
B
C
D
E
To mute a sound
F
G
10. Press the corresponding soft button(s) A/B ONCE
to mute the (selected) sound assigned to the
Lower 2 keyboard section.
H
Sounds shown
muted (the mute icon)
The track is muted (shown by the “mute” icon
in the track status column).
11
11. Play on the keyboard.
You will hear one sound only on the left hand.
To mute other sounds not shown selected
(positive), press the corresponding paired soft
buttons TWICE.
SPLIT Keyboard
< - Slow Strings --- > < ------------ Piano 1 ------------- >
< --------- Slow Strings ----------- >
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User Guide 2•5
12. Press the paired soft buttons C/D TWICE to mute
the sound assigned to the Lower 1 keyboard section.
12
A
B
13. Now play on the keyboard with both hands.
C
You will return to the situation described at
point 4 on page 3 (no sound on the left hand,
two sounds on the right).
D
E
F
G
H
13
SPLIT Keyboard
< --- No sound ----- > < ------------ Piano 1 ------------- >
< --------- Slow Strings ----------- >
To activate a muted sound
To activate a muted sound, press the corresponding paired soft buttons once if the track is selected (negative) or twice if the track is not selected (positive).
14
A
14. Press, for example, the paired soft buttons C/D
ONCE (if the muted sound is shown selected), or
TWICE if the muted sound is not selected (positive highlight).
The track (Lower 1) activates for “play”
(shown by the small keyboard icon in the track
status column).
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2•6 User Guide
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B
C
D
E
F
G
H
MULTI KEYBOARD MODE
15
Play up to 8 sounds at the same time
F3
15. Press the paired soft buttons F5/F6 on the right
of the display to select the MULTI keyboard mode.
F4
F5
All references to the Upper and Lower keyboard sections are no longer displayed.
The Multi situation shows 8 of the 16 Tracks
of the current Performance. In Multi keyboard
mode, you can play up to 8 Sounds in real
time. The remaining 8 tracks are associated
to the Style auto accompaniment tracks (explained later).
F6
16
16. Configure the active/mute status of the displayed
tracks using the relative soft buttons A … F on
the left of the display.
A
B
C
In Multi mode, the soft buttons on the left are
not paired; each button relates to the corresponding track shown in the display.
D
E
F
G
H
17. Play on the keyboard with both hands.
You will hear a single sound, or a combination of sounds on both the left hand and right
hand, depending on the active/mute status
of each track.
At this point, you can practice changing the
overall sound combination by activating and/
or muting the sounds at will using the methods already described.
17
Multi (split) Keyboard
< --- Sound(s) ----- > < ----------- Sound(s) ------------- >
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User Guide 2•7
3 • Adjusting the volume
ADJUST THE OVERALL VOLUME OF THE
INSTRUMENT
M.VOL
Adjust the general volume of the instrument with
the M. VOL. slider.
MIC/LINE
MAX
Note: better results are obtained by adjusting the
volume with mixer or amplifier controls rather than
lowering the volume of the instrument.
MIN
If you are using headphones, a comfortable level
is around half way of the slider’s travel distance.
ADJUST THE SOUND VOLUMES SEPARATELY (BALANCING)
The volume of each sound (in Full, Upp/Low or
Multi setups) can be independently regulated with
the corresponding sliders of the group to the left
of the display.
The correspondence between the sliders and the
tracks is indicated by the two LEDs shown on
the right of the group of sliders. The sliders can
affect:
A) the tracks identified by the silkscreened
markings above the sliders, or
B) the tracks identified by the silkscreened
markings A…H below the sliders.
• In Full Keyboard or Upper&Lower keyboard
modes (situation A), refer to the markings above
the sliders. The sliders (Upper 1 & 2, Lower 1 &
2) control the corresponding tracks.
• In Multi mode (situation B), or when Style accompaniment tracks are shown (see page 22),
refer to the markings A…H. Each slider corresponds to one of the displayed tracks: slider A to
track 1, slider B to track 2, …. slider H to track 8.
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2•8 User Guide
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Full keyboard mode
Upper/Lower mode
DRUMS
BASS
ACC. 1/3
ACC. 4/6
LOWER.2
LOWER.1
UPPER.2
UPPER.1
A
A
B
C
D
DRUMS
BASS
ACC. 1/3
ACC. 4/6
E
LOWER.2
F
LOWER.1
G
UPPER.2
H
UPPER.1
B
A
B
C
D
E
F
G
H
Multi
mode
4 • Transposition
TRANSPOSE THE INSTRUMENT UP OR
DOWN
If you would like to play a song in a different key,
or a song is too high or too low for a singer or
another instrument, you can transpose SK760/
880 to play the song in an easier key.
1
TRANSPOSE
The TRANSPOSE b/# buttons allow real time
semitone adjustments (transpositions) of the
overall pitch (range ± 24 semitones = 2 octaves).
D4
C#4
C4
1. Press TRANSPOSE # to raise the pitch.
An insertion screen shows the current Transpose value (0 = standard pitch).
Press the Transpose # button as many times
as necessary until you reach the desired
pitch. The LED turns on to show that the
instrument is in a positive transposed status.
D#4
D4
C#4
2
C#4
D4
C4
C#4
B3
C4
TRANSPOSE
2. Press TRANSPOSE b to lower the pitch.
An insertion screen shows the current Transpose value.
Continue pressing the TRANSPOSE b button until the dialog window shows a negative
reading. The LED on the b button will then
turn on. (An eventual positive transpose status will be cancelled).
C#4
C4
B3
To clear the keyboard transpose setting
D4
C#4
C4
3
3. Press both TRANSPOSE buttons simultaneously.
TRANSPOSE
The LED on the active button goes off and
the instrument’s normal pitch is restored. The
display shows the “0” setting for a few seconds then returns to normal.
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User Guide 2•9
TRANSPOSING TRACKS BY OCTAVES
Any track, if selected, can be instantly transposed
in octave steps, within the range ±5 octaves.
1
A
B
C
D
1. Select the track you wish to transpose.
E
F
2. Press the OCTAVE + to raise the octave setting.
G
H
An insertion screen shows the current Octave setting.
Press the OCTAVE + button as many times
as necessary until you reach the desired setting. The value is expressed in semitones:
12 = 1 octave, 24 = 2 octaves, etc.. The insertion screen cancels automatically after 2/
3 seconds.
3. Press OCTAVE – button to lower the octave
setting.
The current Octave setting is shown.
Continue pressing the OCTAVE – button as
many times as necessary until you reach the
desired setting. An eventual positive Octave
status will be cancelled.
To clear the Track Octave setting
4. Press both OCTAVE buttons simultaneously.
The insertion screen shows the value of “0”
and the track’s normal pitch is restored.
2
C5
C4
C3
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2•10 User Guide
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C6
C5
C4
3
C4
C3
C2
4
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OCTAVE
OCTAVE
C5
C4
C3
OCTAVE
PLAY THE PROGRAMMABLE PADS
The four programmable Pads buttons (Pad 1, Pad
2, Pad 3, Pad 4) provide quick and easy ways of
adding extra sounds to your playing. You can
program each pad to produce an instrumental
sound, a percussive sound or sample. The programmable Pads can also be assigned to the
rotary slow/fast switching function.
• Strike the Pads freely.
PAD 1
PAD 2
PAD 4
PAD 3
While you play, add additional sounds from
the pads in real time.
The configuration of the Programmable Pads
can be stored in the Programmable Performances.
PLAY WITH HEADPHONES
• Plug a set of headphones into the PHONES 1 jack.
Two headphones jacks are available under
the keyboard on the extreme left of the instrument. Each jack can accept a standard
pair of stereo headphones.
Use the Master Volume slider to adjust the
headphone volume.
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User Guide 2•11
PLAY WITH THE PEDALS
PEDAL
The rear connections panel includes four jacks
for control pedals, denoted Volume, 1, 2, Damper.
The Volume jack is a non-programmable port for
a standard Volume Pedal (optional). The remaining three pedal jacks are programmable and preset to provide Performance functions.
The default configuration of the pedals is as follows:
• Ped1
=
Soft
• Ped2
=
Sostenuto
• Ped3
=
Damper (sustain)
• Volume =
Volume
The pedal jacks 1, 2 and Damper are function
assignable and can be independently enabled or
disabled to react with the keyboard tracks of a
Performance.
DAMPER
2
1
DAMPER
SOSTENUTO
VOLUME
VOLUME
SOFT
Footswitch
(on/off)
Volume Pedal
(continuous)
All three pedals (1, 2, Damper) can be programmed to accept Switch action (on/off) or Continuous (graduated levels) control pedals (Volume
type).
PLAY WITH THE WHEELS
The on-board controlling devices include two
wheels on the left key block, both preset for Performance functions.
WHEEL 1
WHEEL 2
The default configuration of the wheels is as follows:
• Wheel 1 (left)
=
Pitch Bend
• Wheel 2 (right) =
Modulation
Wheel 1 is spring loaded to return to the central
position.
Wheel 2 is centre-dented in order to be able to
take it exactly at the central position.
The Wheels can be enabled or disabled to react
with the keyboard tracks of a Performance.
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2•12 User Guide
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Pitch Bend
Modulation
5 • Listen to the Demos (All, Song, Style)
1. Press DEMO (in the Edit/Number section) to open
the Demo window.
1
The “Select Demo” dialog window appears.
DEMO
PRELOAD
DISK
_
0
+
H. D.
2. Select one of the elements in the list (All, Demo
Song, Demo Style) with the cursor buttons / .
3. Press ENTER to gain access to the selection window of the element selected in step 2 (Demo
Song or Demo Style).
The corresponding selection window activates showing 8 Song or Style names.
An animated string of text starts to scroll
across the top of the display under the title,
shiwing basic technical specifications of the
instrument.
If you select ALL, all the Demo Songs and
Demo Styles are chained into a single medley. The sequencer starts to play the first song
automatically and stops when it reaches the
end of the last Demo Style in memory.
If you want to cancel the Select Demo display without playing the Demo Songs or
Styles, press ESCAPE.
2
3
ENTER
4. To listen to a single Song or Style, select one of
the Demos (Song or Style) with the corresponding soft button.
The selected single demo playback starts and
shows up in negative highlight. When the
end is reached, the demo stops.
ESCAPE
4
A
B
C
D
E
F
G
H
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User Guide 2•13
5. Select the «ALL DEMO» option shown in the current selection window to chain all demos displayed (Song or Style).
5
F1
Playback starts automatically from the first
demo. Demos not yet played are shown in
negative highlight while those played return
positive.
While a demo plays, all the buttons on the
control panel (except DEMO, the Function
buttons and ESCAPE) are disabled.
6. To stop a demo press the corresponding soft button, or press ESCAPE.
If you press ESCAPE, the SELECT DEMO
dialogue window closes and the display returns to the last operating mode selected.
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F2
F3
F4
F5
F6
F7
F8
6
DEMO
PRELOAD
ENTER
DISK
H. D.
_
0
+
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©
IMPORTANT: Remember to escape DEMO
mode if you want to select a Performance, Style or
Song, or enter one of the Edit modes.
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2•14 User Guide
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ESCAPE
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6 • The Performances
ABOUT THE PERFORMANCES
A Performance is a combination of sounds that sets the instrument automatically for real time playing
(keyboard sounds), for the accompaniments (Styles) and for Songs (multitrack recording) The Performances feature single, layered and multi sounds, split and full keyboard combinations, custom effect
settings and more. You can create your own Performances or load new ones from disk.
The Performance memorises, in addition to the sounds, the status of the effects, the assignments of
the controlling devices (trackball, pedals, pads), the MIDI channel configuration, the track status (active/
mute), the mixer settings and Tempo data. Selecting a Performance instantly changes all the sounds
of the tracks and the relative Performance settings.
Performances are divided into two types: those residing in the PERFORMANCE GROUPS which
govern the keyboard sounds and those associated to Styles and Songs which are recalled by selecting
the respective element. The structure and programming procedures of both Performance types are
practically identical. In this section, we’ll take a closer look at the RealTime Performances.
SK760/880 has 64 user programmable Performances, organized into eight different banks.
Select and play the Performances
1
1. If the instrument is set to Style/RealTime mode,
press button 1 in the PERFORMANCE
GROUPS section.
PERFORMANCE GROUP
The display shows 8 Performances to choose
from, each with a different name.
If the instrument is in a mode other than Style/
RealTime, press the STYLE/REALTIME button (only if the LED is not on) then any button in the PERFORMANCE GROUPS.
STYLE/REALTIME returns you to the last
selected Performance - use this button as a
‘return to start’ button whenever you wish to
have one or more sounds active across the
keyboard.
4
3
2
1
STYLE
REAL TIME
2
F1
F2
F3
2. Select the Performance called “StGuitar”.
F4
F5
Use the paired Soft buttons F7/F8 nearest to
the name.
F6
F7
F8
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User Guide 2•15
If the STYLE LOCK button is on, selecting
Performances selects live keyboard sounds
only.
If the STYLE LOCK button is off, selecting
a Performance selects live keyboard and also
accompaniment Sounds. The relative Style,
Variation and Tempo are selected. Sounds
are those stored in the Performance.
REAL-PERFORMANCE
PERF.
GROUPS
ST. LOCK
1
8. BEAT
ST. LOCK
REAL-PERFORMANCE
Performance name
After selecting your Performance, the display
returns to the power up situation showing the
sounds recalled by the Performance selected.
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©
Note: If you do not select a Performance within
the first 2/3 seconds, the display returns to the
previous situation with no changes.
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3. Play on the keyboard and listen to the selected
Performance.
In this case, two sounds are shown active for
play across the entire keyboard; SteelGtr1
and SteelGtr2, respectively assigned to the
Upper 1 and Upper 2 keyboard sections. Full
Keyb mode is shown selected.
Repeat steps 1 and 2 to make additional selections.
Change keyboard mode and activate/mute
the sounds recalled by the Performances
using the methods described on the previous pages to modify the overall sound combination.
To memorise a new situation to the current
Performance of to a different one, go to page
2. 39 for an example of how to store a Performance setting.
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2•16 User Guide
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3
< ------------------- SteelGuit 1 (Upper 1) ------------------- >
< ------------------- SteelGuit 2 (Upper 2) ------------------- >
7 • Selecting the SK760/880 Sounds
The vast number of Sounds in the SK760/880 memory, arranged in 16 Banks of 8 Sounds each, include
orchestral, percussion and contemporary musical instrument sounds.
The Bank 1 Sounds are all GeneralMidi compatible, while those that occupy the positions of the
remaining 15 banks are variations the Bank 1 sounds.
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©
Note: Not all sound Banks are fully occupied - the “empty” slots are ready to accept user-edited sounds or
disk based RAM-sounds.
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ABOUT THE SK760/880 SOUNDS
The SK760/880 Sounds are divided in four different types:
• ROM-Sounds;
• RAM-Sounds;
• RAM -Sounds;
• Drumkits / SoundPatches.
RAM-Sounds
You can customize any sound to your tastes with
the built in sound edit capabilities:
These sounds are RAM-Sounds based on RAM
samples. The Sample Translator incoporated in
«Edit Sound» allows you to load disk-based Samples and edit them with dedicated parameters.
These type of Sounds are stored in the SampleRAM. Disk based RAM -sounds can also be
loaded into Sample-RAM.
«Edit Perf Sound» is a quick edit method which
forms part of the Edit Performance functions. The
resulting modifications are stored in the track to
which the Sound (or Drumkit) is assigned, consequently, all Sounds subsequently assigned to
the same track inherit the same modifications.
In the more advanced «Edit Sound» environment,
you intervene on the Sound parameters and the
resulting modifications are stored to RAM. This
allows you to assign the edited sound (or drumkit)
to any track of any Performance. Also
incoporated within the same edit is the Sample
Translator which allows the loading and editing
of Samples.
ROM-Sounds
The ROM-Sounds are a part of the instrument’s
permanently stored data base. These sounds
are permanent and cannot be cancelled. They
are based on the internal samples archive (ROMWaves).
These types of Sounds can be loaded from floppy
disk (SK760/880, WK, SK, PS/GPS or WX/SX),
or created with the advanced «Edit Sound».
RAM
-Sounds
Drumkit / SoundPatch
These are Sound combinations comprising the
three sound types described above. Drumkits
assign a different percussive Sound to each note
of the keyboard. SoundPatches superimpose two
Sounds, separated by a dynamic threshold (velocity switch).
The structure of the Drumkit and SoundPatch can
be fused, in order to obtain, for example, a
Drumkit in which a percussive instrument responds with two different Sounds, each on a different dynamic level.
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User Guide 2•17
SELECT AND PLAY BANK 1 SOUNDS (GM)
Your selection will be assigned to the currently
selected track of the selected Performance. The
keyboard extension over which the sound will play
will also depend on the current keyboard mode.
To listen to the sound that you select without hearing others, mute the tracks of all the sounds not
wanted, or use the SOLO button as described
on page 2.21.
1
SOUND GROUP
PIANO
CHROM.
ORGAN
GUITAR
BASS
STRI
REED
PIPE
SYN. LD
SYN. PAD
SYN. FIX
ETH
1. Press a SOUND GROUPS button.
In this example, press the PIANO 1 button.
The display shows 8 Sounds to choose from.
2. Select a Sound by pressing the paired Soft buttons near the Sound name in the display (buttons E/F for Piano3 in this example).
2
A
B
After selecting the Sound, the display returns
to the previous situation showing the selected
sound assigned to the selected track.
C
D
E
F
G
3. Play on the keyboard and listen to the Sound.
H
Repeat step 2 to make additional selections.
3
< --------------------- Piano 3 (Upper 1) --------------------- >
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2•18 User Guide
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SELECT AND PLAY SOUND VARIATIONS
(BANK 2, 3, ..... ETC..)
4
SOUND GROUP
PIANO
CHROM.
ORGAN
GUITAR
BASS
STRI
REED
PIPE
SYN. LD
SYN. PAD
SYN. FIX
ETH
4. Press a SOUND GROUPS button.
If you press the same Sound Groups button
as in point 1, you can listen to variations of
the same sound selected in point 2.
5
5. Select a different Bank using the Page/Bank
buttons ( ).
The button selects the Banks in increasing numerical order while the
button selects in decreasing order.
Each Sound Group consists of 16 Sound
Banks capable of containing up to 8 Sounds
each.
6
A
B
6. Select a Sound from the current Bank with the
corresponding paired Soft buttons (buttons E/F
for E.G.Piano1 in this example).
C
D
E
F
G
H
7. Play on the keyboard and listen to the Sound.
Repeat steps 4, 5 and 6 to make additional
selections from other Banks and Groups.
7
< ------------------ E.G. Piano1 (Upper 1) ------------------ >
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User Guide 2•19
USING THE KEYPAD TO SELECT A SOUND
The SK760/880 Sounds are identified by two
numbers: the ProgramChange (PC) and the
BankSelect MSB number (ControlChange 00
[CC00]). You can select a Sound by specifying
the absolute values (PC and CC numbers) on
the numeric keypad.
In MIDI setups, a third number corresponding to
the BankSelect LSB (CC 32) is sometimes necessary to select a sound of an expander connected to the SK760/880 MIDI OUT.
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1
A
B
C
D
E
F
G
H
KEY PAD
2
© Note: If you specify the ProgramChange on its
own, the bank rests unchanged. For example, if
the current Sound is 112-2-1, by specifying
ProgramChange 96 or sending PC96 via MIDI, you
will select Sound 96-2-1.
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1. Select (if necessary) the track whose sound you
wish to reassign.
3A
2. Press the KEY PAD button to enable the numeric
keypad.
3. Specify the ProgramChange of the required
Sound.
4. Confirm by pressing KEY PAD or ENTER, or press
ESCAPE to cancel the operation.
MIDI
MIXER
1
2
3
CNT / PADS
An insertion window activates showing the
number of Sound currently assigned to the
track.
A: In the example, specify «4» then «9».
B: If the required Sound belongs to a different Bank, key in a dash («–») which acts as
a separator then specify the corresponding
Bank number (Bank Select MSB). In the example, specify «–» then «2».
If necessary, add a second separator («–»)
and the third part of the message (BankSelect
LSB).
EDIT / NUMBER
EFFECTS
TRACKS
SOUND
4
5
6
ST. / SONG
SYNTH
GENERAL
7
8
9
DEMO
PRELOAD
DISK
_
0
+
EDIT / NUMBER
H. D.
EFFECTS
MIDI
MIXER
1
2
3
CNT / PADS
3B
TRACKS
SOUND
4
5
6
ST. / SONG
SYNTH
GENERAL
7
8
9
DEMO
PRELOAD
DISK
_
0
+
H. D.
4
KEY PAD
ENTER
OR
The KEY PAD LED turns off.
ESCAPE
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2•20 User Guide
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THE SOLO BUTTON - ISOLATE A SINGLE
SOUND FROM THE REST
If you are playing in a situation where two or more
sounds are displayed, before activating a muted
sound you may want to listen to it alone to decide whether to activate it or not. In such a situation, you can isolate the sound from the rest
using the SOLO button in the following manner:
1
1. Press the SOLO button and play on the keyboard.
SOLO
The LED of the SOLO button turns on and
the sound currently shown highlighted will
play while all other sounds are automatically
muted (if active).
2. Select any another sound by pressing the corresponding Soft button once only.
In this example, the sound WarmPad (Lower
2) is automatically activated and the previous one (E.G.Piano1) is automatically muted.
Observe that the sound plays across the full
keyboard: normally Lower 2 plays on the left
split in Upp/Low mode and cannot be activated when Full keyboard mode is selected.
In Full keyboard mode, therefore, even
sounds assigned to the Lower keyboard sections play across the full keyboard when they
are “Solo’d”. In other words, the SOLO button overrides the current Split point.
In Upp/Low and Multi mode, a Solo’d sound
plays across the currently assigned keyboard
extension. In this case, the SOLO button
recognises the current Split Point.
The SOLO button finds its principal use in
Multi track situations.
2
A
B
C
D
E
F
G
H
< ------------------- WARMPAD (Lower 2) ------------------- >
3. Press the SOLO button again to return to normal
operation.
3
The SOLO LED turns off.
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SOLO
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User Guide 2•21
8 • Display Hold
HOLD THE DISPLAY DURING SELECTION
PROCEDURES
SK760/880 powers up with the D.HOLD button
active. With this function the selection window
remains locked after selecting an item. If you
disactivate D.HOLD (led off), after selecting an
item, the display returns to the previous status
automatically.
1
SOUND GROUP
2. Press a button from the SOUND GROUPS, the
PERFORMANCE GROUPS or the STYLE GROUPS
section to open the relative selection window.
In the example, we select a Sound Groups
button:
PIANO
CHROM.
ORGAN
GUITAR
BASS
STRING
REED
PIPE
SYN. LD
SYN. PAD
SYN. FIX
ETHNIC
2
A
B
C
3. Select a Sound from the selection window.
D
E
The selection window remains locked after
you select your sound.
F
G
H
4. Select other sounds as required.
The display remains fixed showing the selection of sounds.
3
F1
F2
5. Press another Group button to open a different
selection window and select another item.
F3
F4
F5
F6
6. Press ESCAPE to close the selection window without cancelling D. HOLD.
Press D. HOLD to cancel the function (LED
off).
F7
F8
4
SOUND GROUP
PIANO
CHROM.
ORGAN
GUITAR
BASS
STRING
REED
PIPE
SYN. LD
SYN. PAD
SYN. FIX
ETHNIC
5
D. HOLD
ESCAPE
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2•22 User Guide
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OR
K
9 • The Styles
Styles are a collection of musical patterns representing many types of music, ranging from rock
and pop to traditional, Latin and Oriental music
The automatic accompaniments of the Styles are
triggered by the chord information received from
the SK760/880 keyboard; the accompaniment
patterns change to suit the current chord.
In Style/RealTime mode, press the right TRACK
SCROLL button to bring the 8 automatic accompaniment tracks into view.
TRACK SCROLL
ABOUT THE SK760/880 STYLES
The SK760/880 has 192 auto accompaniment
Styles arranged in 12 Style Groups, each containing 2 banks of 8 Styles each. Your instrument may also contain a set of Flash User Styles.
See page 2. 27 for more details. Each Style has
4 Variations, 4 Intros, 4 Fills and 4 Endings. A
Style, therefore, provides a complete range of
musical structures with which you can create an
entire song.
The Styles are rendered more versatile by their
Performances, 8 for each Style. In fact, once
you select a Style, you can assign up to 8 different Performances to the Style while you play, giving you endless sound combination possibilities.
Each Style consists of 16 tracks: the first 8 are
engaged by the sequencer for the auto accompaniments, and the remaining 8 belong to the real
time keyboard sections (Upper 1 & 2, Lower 1 &
2 in Upp/Low mode, tracks 1 … 8 in Multimode).
The 8 accompaniment tracks are divided as follows: DRUMS (drum sets), BASS, ACC. 1/2/3 and
ACC. 4/5/6 (accompaniments 1, 2, 3, 4, 5 and
6).
The accompaniment tracks and the keyboard
tracks can be changed in the same manner and
saved in the Performance (Style-Performance or
Performance).
Accompaniment
tracks
Sounds assigned to the
accompaniment tracks
The arrangement patterns of the ROM Styles are
fixed and cannot be modified. It is, however,
possible to program your own Style patterns to
create up to 32 User-programmable Styles and
store them in the 4 USER GROUPS. You can
also program User Styles using copies (whole or
partial) of the ROM Styles.
Up to 32 disk based user-programmable Styles
of your choice can be loaded into the 4 USER
Groups available.
Press the left TRACK SCROLL button to restore
the Style/RealTime display.
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User Guide 2•23
PLAY WITH THE STYLES
1. Press SINGLE TCH. PLAY.
The ARRANGE ON/OFF and ARRANGE
MEMORY buttons will activate if not already
on.
When SINGLE TOUCH PLAY is on, the
sounds memorized in the recalled Style Performance are assigned to all the tracks. Selecting a Style changes the sounds of the accompaniment tracks as well as those assigned to the keyboard sections. Also recalled are settings relating to the keyboard
mode and chord recognition mode for the
current Style.
If SINGLE TOUCH PLAY is off, selecting
Styles changes the sounds of the accompaniment tracks only while those of the keyboard sounds remain unchanged.
2. Press a Style button in the STYLE GROUPS (8 Beat,
16 Beat, Rock, etc.).
JAZZ in this example.
8 Style names belonging to the selected Style
Group are displayed in Bank 1.
3. Use the Page Scroll buttons (
) to select Bank
2 if Bank 1 does not show the required Style.
A second bank of 8 Styles belonging to the
selected Style Group is displayed.
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2•24 User Guide
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SINGLE
TCH. PLAY
1
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ARRANGE
ON / OFF
ARRANGE
MEMORY
LOWER
MEMORY
ARRANGE
MODE
2
STYLE GROUP
3
8. BEAT
16. BEAT
ROCK
FUNK
DANCE. 1
DANCE. 2
US
JAZZ
US. TRAD
TRAD. 1
TRAD. 2
LATIN. 1
LATIN. 2
US
4. Select a Style with the corresponding paired soft
buttons.
4
A
Buttons A/B for SWING in this example.
The display returns to Style/RealTime mode
showing the recalled keyboard sounds. Observe also that the keyboard mode has
changed from Full to Upp/Low.
Press the right Track Scroll button to check
the sounds recalled for the accompaniment
tracks. Observe that in this example, the
tracks Acc4/5/6 are all muted.
Press the left Track Scroll button to return to
the keyboard sounds.
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B
C
D
E
F
G
H
TRACK SCROLL
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©
Note: You can also scroll all 16 Style tracks
using the / cursor buttons.
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5. Press the INTRO button if you want to preselect
the Style introduction, then press the START/STOP
button to start the accompaniment.
TRACK SCROLL
You’ll hear the drum track start to play with
an introduction (the length of the Intro will
depend on the currently selected Variation).
You can also preset the Ending or the Fill ><
to play as an Intro.
5
6. Play a chord of at least three notes below the
chord Split Point (note B3) to start Style play.
A fully orchestrated auto accompaniment
pattern is triggered.
In default conditions, the keyboard’s chord
recognition mode is set to “Fingered 1”. You
can change the chord recognition mode to
“One finger”, “Fingered 2” or “Free 1 & 2”, by
entering the ARRANGE MODE options. See
the ARRANGE MODE function on page 2.33
of this chapter.
INTRO
INTRO
KEY START
ENDING
START / STOP
6
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User Guide 2•25
7. Press one of the VAR buttons shown off.
Note how the accompaniment pattern
changes to a different Variation.
The VAR buttons control the Style Variations.
Each button recalls a different version of the
same accompaniment. Each Variation includes different patterns for the Basic, Intro,
Fill and Ending sections.
7
VAR. 1
VAR. 2
VAR. 3
VAR. 1
VAR. 4
VAR. 2
VAR. 3
VAR. 4
8. Press one of the FILL buttons.
FILL< plays the fill cycle then breaks into the
previous Variation.
FILL>< plays the fill cycle then continues with
the current Variation. When the accompaniment is not playing, Fill >< can be preselected
to play as an intro.
FILL> plays the fill cycle then breaks into the
next Variation (this button also incorporates
the Tap Tempo function - see over).
Normally the fill cycle plays once only. If you
hold the FILL button pressed, it will repeat
the Fill cycle continually until release.
8
FILL
FILL
FILL
TAP TEMPO
FILL
FILL
FILL
TAP TEMPO
TRACK SCROLL
9. Play a different chord.
Note how the accompaniment pattern is
transposed.
9/10
10. Start to play a melody with the right hand.
The combination of sounds that play and the
current keyboard mode will depend on the
Style selected.
11. Stop the Style by pressing the Start/Stop button
or the Ending button.
Start/Stop stops the Style instantly.
Ending stops the Style with an ending phrase.
11
INTRO
KEY START
START / STOP
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2•26 User Guide
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ENDING
ENDING
SELECT AND PLAY THE FLASH MEMORY
USER STYLES
Your instrument leaves the factory with a set of
User Styles stored in the Flash banks of the User
Style locations. These memory locations are reserved for factory use and the contents may differ
depending on the various world markets. It is not
possible to save data (other than Performance
data) to the User flash banks, nor is it possible to
erase the data contained in them. From time to
time, Generalmusic may offer operating systems
which contain upgrades of the User flash banks.
1
STYLE GROUP
Select a Flash User Style
The selection procedure is identical to the one
used to select a Style, with the different that you
select the Flash User Style from the second bank
of the User locations (User 1).
FUNK
DANCE. 1
DANCE. 2
USER. 1
USER. 2
TRAD. 2
LATIN. 1
LATIN. 2
USER. 3
USER. 4
2
1. Press the User 1 button in the STYLE GROUPS
section.
8 User locations belonging to the selected
User Group are displayed in Bank 1 (if User
Styles have not been recorded or loaded from
disk, all the User locations of Bank 1 will be
“empty”).
2. Use the Page buttons (
) to select Bank 2.
The second bank of the User Styles corresponds to the Flash bank which contains 8
Flash User Styles. These Styles may differ
from market to market.
3. Select a Flash User Style with the corresponding
paired soft buttons.
3
Buttons A/B for SpgtiWSTRN in this example. Proceed as already described for the
Rom Styles in the previous pages.
A
B
C
N.B. The recalled Flash User Style can be modified and memorised to the same Flash User Bank,
or to any other User location. Refer to the Style
Performance procedure on the pages which follow for details regarding how to store Performance.
D
E
F
G
H
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User Guide 2•27
START A STYLE WITH KEY START
The Key Start function synchronizes the start of
the automatic accompaniment with a note
pressed on the keyboard below the split point
without having to use START/STOP. KEY START
can be used in various situations. The most common use is as follows:
1/2
ARRANGE
ON / OFF
1. Make sure that ARRANGE MEMORY or LOWER
MEMORY are off.
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ARRANGE
MEMORY
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© Note: If ARRANGE MEMORY or LOWER
INTRO
MEMORY are off, the accompaniment plays while
your notes are pressed on the keyboard and stops
instantly when the notes are released. If, instead,
one of these two functions are active, the accompaniment or the drum track only will continue playing
after releasing the keys.
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LOWER
MEMORY
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3
START / STOP
INTRO
2. When the Style is not playing, press KEY START.
KEY START
The KEY START LED turns on.
3. Preselect the INTRO (or FILL or ENDING) to start
the Style with an Intro, and play a chord (at least
3 notes) with your left hand.
The accompaniment starts immediately
(eventually preceded by the introductory pattern if selected). If you release the keys, the
accompaniment stops instantly.
4
ARRANGE
ON / OFF
ARRANGE
MEMORY
LOWER
MEMORY
4. Press the Arrange Memory button (LED on) and
play another chord with your left hand.
The accompaniment starts playing again. If
you release the keys, this time the arrangement continues to play. The Arrange Memory
function memorises the last chord played.
5. Press START/STOP or ENDING to stop the accompaniment.
With Start/Stop, KEY START remains active.
With Ending, KEY START turns off.
If you use Start/Stop to stop the accompaniment, press KEY START to turn it off.
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2•28 User Guide
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5
INTRO
KEY START
START / STOP
ENDING
ENDING
START A STYLE WITH TAP TEMPO
• With the Style accompaniment off, beat time on
the TAP TEMPO button.
FILL
The tempo is set according to the timing of the
last two taps, the relative Tempo value is displayed and the accompaniment starts automatically.
TAP TEMPO
The tempo adjusts itself automatically according
to the current Time Signature (4/4, 3/4, etc.).
The beat is tapped out with the sound of drumsticks.
START AND STOP A STYLE WITH FADE
IN/OUT
• Press the button before starting the accompaniment with Start/Stop.
FADE I / O
The Style track volumes are instantly set to zero.
Use either START/STOP or KEY START to start
the accompaniment. After the start, the accompaniment track volumes gradually increase and
reach their programmed peak after a 2 measure
(bar) cycle.
START / STOP
FADE I / O
Press FADE IN/OUT while the accompaniment
is running; all the track volumes gradually decrease and the accompaniment automatically
stops at the end of the Fade Out cycle.
During the Fade cycle, the relative LED flashes.
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User Guide 2•29
THE FUNCTIONS OF THE STYLES
TEMPO LOCK
The Styles are governed by the following 8 functions which determine how the Styles play.
If TEMPO LOCK is off, when a Style or a Performance is selected the tempo changes too. If
the function is on, the tempo will not change.
ARRANGE
ON / OFF
LOWER
MEMORY
ARRANGE
MEMORY
ARRANGE
MODE
MIXER LOCK
BASS TO
LOWEST
MIXER
LOCK
TEMPO
LOCK
A Performance also memorizes the track volumes. If MIXER LOCK is off, when a Style or a
Performance is selected the track volumes
change too. If it is on, all the volumes of the tracks
assigned to the keyboard will change while the
accompaniment track volumes will not.
HARMONY
ON / OFF
ARRANGE ON/OFF
When this button is on, all the accompaniment
parts of a Style are enabled. If it is not on, you
will only hear the Drum track when you press
Start/Stop to start the Style.
ARRANGE MEMORY
When this button is on, the accompaniment continues to play after releasing the left hand from
the keyboard. When off, releasing your left hand
causes the accompaniment to stop.
LOWER MEMORY
If this is on, the notes of the track assigned to the
left hand (Upper&Lower and Multi modes) are
held even if the left hand is taken away from the
keys.
The Lower Memory function is useful for holding
on ‘background’ sounds without having to use a
Damper pedal (which may be of more use with
the upper sounds).
In the Upper&Lower and Multi modes, the function is used to keep the Drum part playing even
when you have taken your hand off the keys.
ARRANGE MODE
Pressing this button gains access to the chord
recognition modes for the accompaniments.
Refer to the “Arrange mode” paragraph on page
2.33 for more information.
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BASS TO LOWEST
If BASS TO LOWEST is on, the bass part of the
auto accompaniment of the current Style plays
around the lowest note of the current chord. If
you play a different inversion of the same chord,
the lowest note also changes resulting in a different bass note being played.
If off, the bass will follow the original programmed
pattern of the Style.
Bass To Lowest permits real time changes to the
otherwise fixed bass pattern of a Style, by playing different chord inversions.
HARMONY ON/OFF
This button enables (LED on) or disables (LED
off) the current Harmony Type selected in the
HARMONY function of the «Edit Tracks» environment.
Harmony can orchestrate your Style playing,
making simple one-note melodies sound as if they
are being played by a full orchestra. Harmony is
associated to Styles only. Songs cannot exploit
this function. For more information on the Harmony types available, see «Edit Tracks» in the
Reference Guide.
SELECT A STYLE PERFORMANCE
When Single Touch Play is on, each SK760/880
Style is associated to 8 Style Performances which
you can assign at any time before or during play.
The Style Performances are permanent and cannot be destroyed. They are, however, rewritable
(keyboard and accompaniment sounds). Their
default settings can be restored with the Restore
command.
1
A Style Performance be programmed to change
the keyboard sounds as well as the accompaniment sounds, but the accompaniment patterns
of the current Style remain unchanged.
STYLE GROU
SINGLE
TCH. PLAY
8. BEAT
16. BEAT
ROCK
FUNK
DANC
JAZZ
US. TRAD
TRAD. 1
TRAD. 2
LATI
Here’s how to assign a different Style Performance to the current Style.
2
1. Press SINGLE TCH. PLAY and press a Style button
in the STYLE GROUPS.
A
B
2. Select a Style from bank 1 or 2 of the Style Group
with the corresponding soft buttons.
C
D
E
The display returns to Style/RealTime mode
showing the recalled keyboard sounds for the
Style selected.
F
G
H
PERFORMANCE GROUP
3
3. Press the STYLE P. button to gain access to the
Style Performances.
ST. LOCK
STYLE P.
1
2
3
4
5
6
7
8
8 Style Performance names associated to the
current Style are displayed.
4. Select a Style Performance with the corresponding paired soft buttons.
Buttons C/D for E.Guitar in this example.
If Single Touch Play is off (LED off), selecting
a Style Performance activates the button automatically (LED on).
The display returns to Style/RealTime mode
showing the keyboard sounds recalled by the
selected Style Performance.
Repeat steps 3 and 4 for other Style Performance selections. Use D.HOLD to lock the
selection display.
4
A
B
C
D
E
F
G
H
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User Guide 2•31
SELECT A STYLE WITHOUT CHANGING
THE KEYBOARD SOUNDS
If you want to change Style while playing without
changing the keyboard sounds, select the Style
with Single Touch Play off:
1
SINGLE
TCH. PLAY
1. While playing with a Style, turn off SINGLE TCH
PLAY.
When SINGLE TOUCH PLAY is off, selecting a Style changes the accompaniment patterns, the sounds and effects of the accompaniment tracks only - the keyboard sounds
remain unchanged.
2
2. Press one of the buttons of the STYLE GROUPS
section and select a Style from bank 1 or 2.
8. BEAT
16. BEAT
ROCK
JAZZ
US. TRAD
TRAD. 1
F
T
A
B
Selecting a Style instantly changes the automatic accompaniment patterns together with
the sounds and effects of the automatic accompaniment tracks.
The sounds and effects of the live keyboard
tracks remain unchanged.
3. To check the change in accompaniment sounds,
press the right Track Scroll button to view the
accompaniment tracks.
C
D
E
F
G
H
3
TRACK SCROLL
Press the left Track Scroll button to return to
the keyboard sounds.
If TEMPO LOCK and MIXER LOCK are off,
the tempo and track volumes also change.
TRACK SCROLL
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2•32 User Guide
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10 • Arrange Mode and the chord recognition modes
The ARRANGE MODE button gains access to
several options associated to the Styles: the
“Auto” or “Fixed” Chord modes, the Style Chord
Recognition modes, Dynamic Arrange and
Autobacking.
About the Auto and Fixed Chord modes
Chord recognition can be set to remain fixed regardless of the keyboard mode setting, or to
change automatically according to the change in
the keyboard mode.
• “Auto Chord Mode”, active by default, allows
changes of the chord recognition mode according to the selected keyboard mode (Full
Keyboard, Upper&Lower or Multi). Given that
the keyboard mode is memorized in a Performance, the chord recognition can change
along with the Performance.
• “Fixed Chord Mode” allows you to set a
chord recognition mode which does change
with changes in the keyboard mode (and consequently any Performance changes).
The option selected remains memorized after power down.
About the Chord Recognition modes
The Chord Recognition modes generate the automatic accompaniments of the Styles in various
different ways according to how many notes are
pressed and where on the keyboard (above or
below the split point). The programmed accompaniment patterns are always fully generated with
a fully recognised chord. Major, minor and seventh chords each can generate completely different accompaniment patterns.
The chord recognition modes available are:
• One finger - A single note played below the
Split Point is interpreted as the root of a major chord.
A minor chord requires the root note and the
minor third (e.g. C and Eb). A seventh chord
requires the root and seventh (e.g. C with a
Bb either above or below C).
Fingered 1 - Needs at least three notes for
full chord recognition. With less than three
notes, the chord is not recognized - the notes
played are considered ‘stray’.
Fingered 2 - At least three notes must be
played to obtain the fully programmed pattern. If less than three notes are played, the
arranger recognizes the chord but triggers a
‘partial’ accompaniment.
Free 1 - A three note chord is recognized
anywhere along the keyboard, overriding the
Split Point. Less then three notes does not
affect the chord recognition mechanism.
Free 1 recognizes up to 4 chord notes.
Free 2 - As above. Up to 6 notes are recognized.
The option selected can be stored to the Performances.
•
•
•
•
About Dynamic Arrange
When Dynamic Arrange is active, the volume of
the Style Auto accompaniments can be controlled according to the velocity applied to the chord
notes. Increased chord note velocity increases
the volume of the accompaniments.
When Off, the accompaniment volumes remain
unchanged with changes in chord note velocity.
About Autobacking
When Autobacking is on, a quick change of chord
updates the Style auto accompaniment pattern
instantly without “breaks” in the pattern.
When off, a change of chord does not update
instantly but waits for the next note of the accompaniment before revising the pattern.
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User Guide 2•33
SELECTING THE ARRANGE MODE OPTIONS
1
ARRANGE
MODE
1. Press the ARRANGE MODE button to gain access
to the «Arrange Mode» environment.
The page shows the parameters of either
«Auto Chord Mode» or «Fixed Chord Mode»,
depending on the option currently selected.
2
2. Use the Soft buttons to select one of the two Chord
Mode options.
F1
F2
• Fixed Chord Mode - the display shows a
single list of recognition modes.
• Auto Chord Mode - the display divides into
two parts. The left part shows the options for
Upper&Lower and Multi, while the right shows
those for Full Keyboard.
F3
F4
F5
F6
F7
F8
F1
3. Select the preferred chord recognition mode with
the cursor buttons.
F2
F3
F4
F5
If the display is divided into two parts, use
the / cursor buttons to pass from left to right
and vice versa.
Use the / buttons to select the chord recognition options.
4. Exit «Arrange Mode» by pressing either ARRANGE
MODE or ESCAPE.
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F6
F7
F8
3
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©
Note: The symbols of the recognized chord
appear on the main Style display screen. If the
chord is not recognized, the chord symbol is shown
as the lowest note played followed by several
asterisks. For example: «C***** ».
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©
Note: In order for the chord to be recognized
(and the relative symbol to be shown on the
display) Arrange On/Off must be on.
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4
ENTER
ARRANGE
MODE
OR
ESCAPE
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2•34 User Guide
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TEMPO / DATA
CHANGING THE SPLIT POINT
The Split Point is:
(a) the point that separates the Upper and Lower
keyboard sections in the Upper&Lower and
Multi keyboard modes and,
(b) the point below which the keyboard recognizes chords which trigger the Style automatic
accompaniments (in Fingered and One Finger chord recognition modes).
1
The current Split Point setting appears in the main
page as an option that can be selected with the
paired soft buttons F7/F8. The setting can be
modified as required.
1. With the main Style/RealTime display showing,
press Soft buttons F7/F8 to open the «Split Point»
dialog window.
F7
F8
2. Rotate the DIAL, or play a note on the keyboard
(corresponding to the highest note of the Lower
split zone) to modify the setting.
The new Split Point is shown in the dialog
window. If you entered the wrong note, simply play another.
3. Press ENTER to confirm the new Split Point, or
ESCAPE to cancel the operation.
2
TEMPO / DATA
OR
If you press ENTER, the main page will show
the new Split Point setting.
If you press ESCAPE the original Split Point
will be restored.
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©
Note: The Split Point is a general parameter
(not linked to a particular Performance) which is
conserved in memory when the instrument is
turned off. The new setting is lost when the “Reset
All” operation is carried out or if the backed-RAM
loses its data due to the total discharge of the
battery.
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3
TEMPO / DATA
ENTER
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User Guide 2•35
11 • The Digital Signal Processor (DSP)
SK760/880 allows you to route the Performances (RealTime, Style and Song) to the on-board multieffects processor to enrich the sounds with Reverb and Modulation effects. The DSP consists of four
real time controlled units which process the Performances with Reverbs and Delay/Modulation effects:
two Reverb channels (A & B) and two Modulation channels (A & B) are available.
In Style/RealTime mode, channel A effects are reserved for the keyboard tracks and channel B for the
accompaniment tracks. Each track can be processed by two effects. When a Style is selected with the
SINGLE TOUCH PLAY button off, only the effects assigned to the accompaniment tracks will change
(Group B). When a Performance is selected with STYLE LOCK on, only the effects assigned to the
keyboard will change (Group A).
In Song mode, each track can be independently processed by either A or B channel effects.
Access to the DSPs is via the EFFECTS button in the Edit section. Press the EFFECTS button and (if
necessary) press ENTER to access the Effects editor to open the main Edit Effect page showing the
Effect Type function currently selected. The status of the parameters on this page depends on the
current mode (Style/RealTime or Song).
CHANGE THE EFFECT ASSIGNED TO A
PERFORMANCE
1
EFFECTS
1. Press the EFFECTS button in the EDIT section.
1
The first time you enter, the Edit Effect Menu
appears with the “Effect” editor selected
(other editors may or may not be available
depending on the configuration of your instrument).
2. With the Effect editor selected, press ENTER or
the right PAGE SCROLL button to access the Effect Type page.
The Effect Type page shows the effects and
relative Effect Volume levels assigned to the
current Performance.
2
ENTER
TEMPO / DA
OR
ESCAPE
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3. Select the effect processor (Eff1 or Eff2) and
Group (A or B)
3
If the EFFECT TYPE function is not shown
selected in the right column, press the Soft
button F1 to activate the correct page.
Use the / cursor buttons to select the
processors (Eff1 - Reverbs, or Eff2 - Modulations). The current effect type selected
appears in negative highlight.
4. Rotate the DIAL to select a different effect type
from the selected processor (Eff1 or Eff 2).
The DIAL scrolls through the available effects
of the selected DSP. The Reverb DSP (Eff1)
provides a selection of 24 effects. The Modulation DSP (Eff2) provides a selection of 32
effects.
4
5. Select the Vol parameter with the arrow button and regulate the general Volume level of
the Effect for the Performance.
Use the Dial to enter a value for the selected
Vol parameter. Repeat the operation for the
other Vol parameter is necessary.
5
6. Select the Effect 2 to Effect 1 parameter with the
cursor button and rotate the Dial to change
the quantity of feedback of the Eff2 signal into
Eff1.
The changes heard when you modify this
parameter will depend on the current effect
types selected in both processors.
Repeat the operations 3, 4 and 5 for the
Group B parameters (accompaniment tracks)
if required.
The changes made remain in memory until a
new Performance or the same one is selected, or until the instrument is turned off.
To save the changes to the Performance, use
the STORE PERFORMANCE command,
explained on page 2.39.
6
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User Guide 2•37
PLAY WITH EFFECTS OR BYPASS THEM
You can temporarily modify the way in which a
Performance is processed with the on-board effect processor by changing the On/Off setting of
the Effects Bypass button.
When the LED is off, the current Performance is
processed by the effects; when on, the effects
are bypassed.
Bypass
1. To bypass the effects, press the EFFECTS BYPASS
button.
1
EFFECTS
BYPASS
EFFECTS
BYPASS
The LED of the button turns on, indicating
that the current Performance is no longer
processed by the Effects.
To activate the effects
2
2. Press the active EFFECTS BYPASS button.
The LED of the button goes off to indicate
that the current Performance is processed by
the Effects.
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2•38 User Guide
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EFFECTS
BYPASS
EFFECTS
BYPASS
12 • Store Performance
Use the STORE PERFORMANCE command to save any changes you make to a RealTime Performance, a Style Performance or a Song Performance.
The changes made to a RealTime Performance or Style Performance are interchangeable, that is, you
can save a modified RealTime Performance to a Style Performance and vice versa. A modified Song
Performance can be saved to the Song Performances only. In all cases you can create a completely
new Performance and change its name.
The temporary status of an unsaved Performance is lost if you select a different Performance or the
same one again, or if you select a Style or Song. Changes to a Song Performance are also lost if you
press START/STOP or PLAY.
Saving to the power-up Performance
SK760/880 powers up in Style/RealTime mode with the GrandPiano Performance selected and ready
to play in Full Keyboard mode. This Performance corresponds to the first Performance location of
Group button 1 of the Performance Groups. The factory-programmed status of the power-up Performance can be modified in order that SK760/880 powers-up according to a preferred setting.
Whatever modifications you make (sound, keyboard mode, effect, track volume, Style tempo, etc.) and
save to the GrandPiano Performance are retained after power down. You can restore the original
(factory-set) status of the Performance Groups using the Restore Perfs function in «Edit General».
SAVE TO THE CURRENT PERFORMANCE
1
STORE
PERF.
1. Press STORE PERFORMANCE to open the «Store
Performance» dialog window.
The type of Performance proposed by
SK760/880 depends on the status of the SINGLE TOUCH PLAY button - if active a StylePerformance is suggested, if not a Performance is proposed.
To save changes to the current Performance
(RealTime or Style), there is no need to make
any changes to the display situation because
it represents the current Performance.
2. Press ENTER to confirm the operation, or ESCAPE
to cancel.
2
With ENTER, the new settings are memorised to the current Performance.
Each time this Performance is recalled,
SK760/880 will be configured with precisely
the same settings as those memorised.
ENTER
TEMPO / DATA
ESCAPE
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User Guide 2•39
SAVE TO A DIFFERENT PERFORMANCE
Save changes to a different Performance if you
want to retain the configuration of the original
Performance.
1. Press STORE PERFORMANCE to open the «Performance Store» dialog window.
1
A
If SINGLE TOUCH PLAY is off, the destination suggested is a Performance (situation
A), if SINGLE TCH PLAY is active, the destination suggested is a Style-Performance
(situation B).
STORE
PERF.
B
2. Select the type of Performance to save to using
the / cursor arrows.
These two buttons toggle between the “Performance” and “Style” zones.
3. Select a destination Group.
2
Rotate the Dial if you want to select a different Group (Performance or Style) in the
“Store to” zone. The Dial scrolls through all
the Performance Groups (situation A) or Style
Groups (situation B). In each case, the first
location (1) of the selected Group is proposed
as the destination in the “Perf” zone.
3
A
TEMPO / DATA
B
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4. Move down to the next zone with the cursor
arrow and select the destination Performance (1
- 8) with the Dial.
4A
If you are saving to the RealTime Performances (A), the Dial scrolls through the 8 Performance destinations of the selected Group,
each identified by a number and name.
Empty locations have a number and no name.
The destination Performance will take the
name of the Performance being saved. To
change the name of the RealTime Performance, refer to the procedure explained on
page 1.4 of the Layout & Display chapter 1.
If you are saving to the Style Performances (B), the Dial scrolls through the 8
Styles of the selected Style Group or User
Group. As you scroll, each Style also shows
the currently associated Style Performance
in the “Perf” zone.
To select the destination Style Performance,
move down to the “Perf” zone and rotate the
Dial. A Style Perf. destination shows a name
and number, while an empty User Style destination shows a number only.
4B
TEMPO / DATA
5. Press ENTER.
5A
If the destination is a RealTime Performance (A), the display returns to the modified
version of the original Performance.
If the destination is a Style Performance
(B), pressing ENTER opens a dialog window
requesting confirmation of the Style Performance name. You can either confirm the same
name or change it.
Press ENTER again to confirm the new or
old Style Performance name. The display
returns to the modified version of the original
Performance. The Performance or Style Performance that you saved will be in the destination selected in point 4.
If you don’t want to save your modifications,
press ESCAPE to cancel the operation.
ENTER
TEMPO / DATA
ESCAPE
5B
ENTER
TEM
ENTER
TEM
ESCAPE
ESCAPE
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User Guide 2•41
RESTORING THE ORIGINAL PERFORMANCE SETTINGS
1
GENERAL
9
It is possible to cancel all modifications made to
the Performances and restore the factory settings.
You can select the type of Performance to restore (Rest.St.Perfs, Rest. Perfs, Rest. styles,
Rest. songs) or restore the default settings of all
the Performances in a single step (Restore all).
1. Press GENERAL in the EDIT section to gain access
to the «Edit General» environment.
2. Press F5 («Restore Perfs») or F7 («Rest. St.Perfs»)
to cancel the changes made to the Performances
or Style-Performances.
2
F1
You are prompted with a request to reconfirm your choice.
F2
F3
F4
F5
3. Press ENTER to confirm, or ESCAPE to cancel.
F6
F7
With ENTER, the changes are cancelled and
the original Performance settings (volume,
sounds, transposition, tempo, etc.) are restored.
With ESCAPE, the new settings are retained.
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F8
3
ENTER
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©
Hint: To cancel the entire contents of RAM in a
single operation, use the «Restore All» command.
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ESCAPE
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2•42 User Guide
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TEMPO / DATA
13 • Load and play back the supplied Demo Song
Your SK760/880 is supplied with two floppy disks, one containing the operating system and one containing a Demo Song, some User Styles and some Samples. In the following pages, you’ll learn how to
load a Song into the instrument’s memory and how to play it back.
Have the Demo Disk ready to load the Demo Song into memory. If you don’t have the supplied Demo
disk, use any SK760/880 format song disk, disks of previous formats (such as WK, SK, PS, WX or SX
Series), or MIDI file disks.
LOAD THE DEMO SONG
1
1. Insert the floppy disk into the drive.
2. Press DISK to open the main Load page.
If the main Load page is not shown, use the
left page scroll button (
) to open it.
If you are working with the Hard Disk, press
DISK and select the HARD DISK option with
soft button F2. The H.D. LED (next to the
Disk button) turns on.
2
3. Specify the load operation required (example,
“Load Single Song”).
DISK
H. D
Use the navigational arrows ( / and /
buttons) to navigate within the two columns
of the display area and select the required
command by combining one element from
each column.
For example, combine “Single” from the left
column with “Song” from the right to specify
“Load Single Song”.
If you are using a MIDI file disk, specify “Single MIDI File”.
+
3
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User Guide 2•43
4. Press ENTER to confirm the command and open
the File Selector.
The File selector shows one or more Blocks
in the disk directory, and the directory of the
destination which represents the section of
RAM containing the file types currently being handled (in this example the Songs).
5. If necessary, select a Block file and press ENTER
to gain access.
Now the display shows a list of Songs contained in the Block file. In this example, one
Song only is listed (Children).
6. Select a destination (if necessary) and press ENTER twice to execute the Load Song command.
If necessary, move over to the right column
and select an empty destination for the incoming file. In this example, all the destinations are empty and the first one is
preselected (shown enclosed by a rectangular frame).
Pressing ENTER the first time prompts a request to confirm the command. Press ENTER a second time to complete the procedure.
After a short period, the Demo Song will be
in memory.
4
ENTER
TE
ESCAPE
5
ENTER
TEM
ESCAPE
6
ENTER
TEM
ESCAPE
ENTER
TEM
ESCAPE
7. Press DISK (or ESCAPE three times) to exit DISK
mode.
DISK leaves Disk mode directly. If you return to Disk, the page will be the last one selected, in this case, the file selector showing
the Song directory.
ESCAPE allows you to (1) leave the Block,
(2) exit the file selector, (3) exit Disk mode.
7
ENTER
DISK
H. D
+
OR
ESCAPE
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2•44 User Guide
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TEMPO / DATA
PLAYBACK THE DEMO SONG
Access to the Songs in memory is via the SONG
button in the SEQUENCER.
1
SONG
Select and playback the Demo Song
1 Press the SONG button.
The «Select Song» window appears showing a list of song in memory. In this example,
the list shows the demo Song (Children) that
you loaded in the previous pages.
2
A
B
C
2 Select the Song (if necessary) with the Soft button.
D
E
F
The selected Song is shown in negative highlight. After selection, you pass automatically
to Song mode showing the “play view” window and the Song name on the status bar.
G
H
3
3. Toggle between SOUND VIEW and PLAY VIEW with
the corresponding Soft button (F5 or F6).
F1
F2
You can opt to see the Song in «Play View»
mode in order to modify the playing parameters, or in «Sound View» mode in order to
see the sounds assigned to 8 tracks of the
current Song-Performance.
Use the Track Scroll buttons to view the other
8 tracks of the Song.
F3
F4
F5
F6
F7
F8
F1
F2
F3
F4
F5
F6
F7
F8
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User Guide 2•45
4. Press PLAY in the SEQUENCER to start the playback.
This button starts the Song playback (or recording).
During the playback, the LED on the PLAY
button is on. The song location pointer (LOC)
in the display shows the current position of
the Song.
You can also use the START/STOP button to
start the playback.
4
PLAY
5
5. Press << to ‘rewind’ the Song and >> to advance.
The << and >> buttons rewind or advance
one measure (bar) at a time. If you hold these
buttons pressed, the Song rewinds or advances at high speed. These buttons are
active either in Song play or stop status.
6
During playback, the DIAL changes the
Song’s playing speed (tempo).
ENTER
7. Press STOP in the SEQUENCER to stop the playback.
This button stops the Song playback (or recording). You can also use the START/STOP
button to stop the Song.
When the Song has been stopped at a position that differs to the initial Song start position, the LED on the STOP button flashes.
Pressing PLAY while the STOP button is
flashing starts the Song from the current position.
If you press the START/STOP button again,
the Song starts instantly from the beginning.
8. Press STOP again to return to the starting position of the Song, or rewind with the << button.
When the Song is not playing and at its initial
starting position, the LED on the STOP button remains on.
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2•46 User Guide
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TEMPO / DATA
ESCAPE
6. Rotate the DIAL to change the Song tempo.
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ENTER
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TEMPO / DATA
ESCAPE
7
8
STOP
PLAY
STOP
PLAY
14 • Preload
Use the PRELOAD button to play all the Songs
or MidiFiles present a disk.
1. Insert a SK760/880 Songs disk or MidiFile data
disk into the drive.
1
Check the disk label for the type of data contained in the disk.
2. Press PRELOAD.
SK760/880 Starts to scan the disk contents
ten loads the first Song or MIDI File on disk
into the instrument’s Songs memory.
Shortly after, the Song (or MIDI File) starts to
play back. During the playback, the second
Song on disk is loaded (in background) to
the Songs memory.
N.B. The PRELOAD function exploits the first
two locations in Song memory, while all other
locations are automatically cancelled if occupied.
When the first Song or MidiFile ends, a second sequence begins (there will be a short
pause while the second song is accessed).
Playback continues non-stop until all the
Songs or MidiFiles on disk have been played.
When the last Song or MidiFile reaches the
end, playback stops automatically.
2
DEMO
PRELOAD
DISK
_
0
+
H. D.
3
3. Stop the playback at any time by pressing STOP
or START/STOP.
STOP
Playback stops instantly.
ENDING
KEY START
INTRO
Or
START / STOP
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User Guide 2•47
4. Start the playback from the point it was stopped
by pressing PLAY.
4
PLAY
5. Press the STOP button twice to stop and escape
from the PLAY ALL SONGS function.
To return to Style/RealTime mode, press the
STYLE/REALTIME button.
5
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2•48 User Guide
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STOP
15 • Multimedia
DISPLAY SONG LYRICS
SK760/880 can display Lyrics when playing
SK760/880, WK, SK & PS Series disks with songs
containing Lyrics tracks. There are a wide variety of disks that display lyrics when played.
1/2
SONG
Automatic loading of Songs at power up
If your SK760/880 has no Songs with lyrics in
memory, it is possible to load a Block of data (including Song data) automatically from disk at
power up. If you have one or more Songs disks
(1.44 Mb format), insert the disk into the drive of
your computer and change the name of the Block
file containing Song data to: AUTOLOAD.BLK
(use capital letters only). At power up, if the
floppy-disk containing the AUTOLOAD.BLK file
is inserted in the drive, the Block is loaded in RAM
automatically.
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A
B
C
D
E
F
G
H
3/4
PLAY
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©
WARNING - The automatic AUTOLOAD.BLK
loading procedure replaces all the data conserved
in System RAM.
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SCORE
1. Press the SONG BUTTON.
You will see up to sixteen Song choices in
the display. (If necessary, load Song data
into memory using the Load All Song operation).
5
2. Select the desired SONG with the corresponding
Soft button.
F5
F6
F7
F8
3. Press PLAY to start the SONG playback.
4. Press the SCORE button and the score will appear.
5. Press the F8 soft button to activate the SCORE
CONTROLS.
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User Guide 2•49
6. Use the DIRECTIONAL ARROWS to highlight the
desired viewing choices (All, Lyrics 1, 2, 3, 4,
Chord).
6
ENTER
TEMPO / DATA
Press the ENTER button to view the results.
7. Press ESCAPE or SCORE to return to the main
Song Playback page.
ESCAPE
TO DISPLAY LYRICS ON AN EXTERNAL
MONITOR
Connect one of the video outputs to a domestic
TV or to a monitor by means of the dedicated
cable supplied with the AV board (optional).
Tune the TV to the AV channel. To select the AV
channel, consult the owner’s manual of the television set. Computer monitors or televisions
normally operate in AV mode.
In Song mode, press SCORE to display the
Score. Press F8 («Score controls...») to open the
«Score controls» dialog window and move the
cursor to the «Echo LCD» parameter.
Set the «Echo LCD» parameter to OFF.
«Echo LCD = OFF»: only the Score or the Lyrics
is displayed on the external monitor.
«Echo LCD = ON»: the monitor displays exactly
what is shown on the display, including all the
controls.
Move the cursor to «View mode» and select a
combination of colors for the lyrics and the screen.
Move the cursor to «Video mode» and select the
RGB or CV (Composite Video) mode. To view
on RGB monitors, set this parameter to RGB.
U.S.A. models normally operate in CV and transmit in Composite.
Move the cursor to «Y shift» and regulate the
vertical alignment of the image.
Press ENTER to close the dialog window and
return to the Score View page.
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2•50 User Guide
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7
ENTER
TEMPO / DATA
SCORE
ESCAPE
OR
16 • Record a Song (Quick rec.)
SK760/880 allows you to record a simple multitrack Song using the QUICK REC recording
method and the existing Styles for automatic accompaniments. In practice, the Quick Rec method
can record from 1 to 8 real time tracks accompanied by all the backing tracks of a Style to create a
multitrack Song of up to 16 tracks. You can then
play along with your recorded Song in playback
with one or more tracks not used in the recording.
1/2
SONG
A
B
C
D
E
F
G
Quick Rec Recording
H
1. Press the SONG button.
3
The «Song Banks» display shows empty
songs as User locations. If not, you can use
the Restore All Songs function (in Edit General) to clear all songs in memory.
F1
F2
F3
F4
F5
2. Select an empty location with the corresponding
Soft button or Function button.
3. Select QuickRec with the soft button F2.
The RECORD ST./SONG button turns on
(LED on).
A new Song and Song Performance is created based on the Performance selected at
the time of entering Quick Rec mode. The
display appears in negative highlight with the
selected track in positive.
4
STYLE GROUP
8. BEAT
16. BEAT
ROCK
JAZZ
US. TRAD
TRAD. 1
4. Select a preferred Style to use as the provider of
the backings for the Song.
FUNK
DANCE. 1
DANCE. 2
USER.
TRAD. 2
LATIN. 1
LATIN. 2
USER.
A
B
If you want the Style to govern the Performance sounds, press SINGLE TCH PLAY before selecting the Style (Arrange On/Off and
Lower Memory activate automatically if off).
To maintain the current Performance, select
the Style with SINGLE TCH PLAY Off then
turn on the accompaniment controls (Arrange
On/Off and Lower Memory) if necessary.
C
D
E
F
G
H
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User Guide 2•51
5. Select the preferred keyboard mode.
Full allows you to record one or two keyboard
sounds across the entire keyboard.
Upp/Low allows you to record up to two keyboard sounds on the left and two on the right
on a split keyboard.
Set Multi (as in the example) if you want to
view all 8 keyboard tracks of the Performance in order to set more than 4 sounds for
simultaneous recording.
The tracks already activated for the recording are shown set for “key-play” (with a small
keyboard icon together with the MIDI status
icon [
] - see page 1.7 of chapter 1).
5
F1
F2
F3
F4
F5
F6
F7
F8
6
A
B
6. Activate, if necessary, other tracks to record with.
C
D
Press the corresponding soft button repeatedly, first to select, then to activate a track.
The track status icon changes from “mute” to
“play”. In the example, track 2 is activated
by pressing soft button B twice.
If you don’t want to record with one or more
of the currently activated tracks, simply mute
them.
You can also change the sounds of one or
more tracks of both the keyboard sounds as
well as the accompaniment sounds. Use the
Track Scroll buttons (or the / buttons) to
view the accompaniment tracks.
7. If you have changed something (keyboard mode,
sound, track status, etc.), PRESS STORE PERF +
ENTER to store the changes to the current Performance.
IMPORTANT: If you don’t store the changes,
they will be lost when to start the recording.
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2•52 User Guide
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E
F
G
H
7
STORE
PERF.
ENTER
ESCAPE
TEMPO / DATA
8. Press either PLAY or START/STOP or KEY START
to start the recording and start to play.
8
ENDING
KEY START
INTRO
PLAY
PLAY starts the recording for the real time
tracks only.
START/STOP starts the recording and engages the Style accompaniment tracks at the
same time.
KEY START allows you to start the recording
(Style and real time tracks) by playing on the
keyboard.
You can also start the recording with an Intro
by preselecting the INTRO, FILL or ENDING
button before record start. Use START/STOP
or KEY START to trigger the Intro.
As the recording proceeds, you can select
other Styles, introduce the Fills, change Performances, activate or deactivate other real
time tracks, etc..
OR
START / STOP
OR
9
ENDING
KEY START
INTRO
STOP
OR
START / STOP
9. When you have finished, stop the recording either with STOP or START/STOP.
STOP stops the sequencer and the recording of both the accompaniment and keyboard
tracks, taking the Song pointer (locator) to
the starting position [1 1 1].
START/STOP stops the accompaniment
tracks but not the sequencer, allowing you to
continue recording the real time tracks without accompaniment. The Song Pointer continues to monitor the recording. To stop the
recording completely, press STOP.
The RECORD ST./SONG button LED will
now turn off.
When the sequencer stops recording, the display reverts to the Play View situation showing the song’s parameters.
The icon of the recorded tracks are shown
with note symbols.
To start the playback and to play along with
the Song, press PLAY or START/STOP. See
over.
Recorded track icon
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User Guide 2•53
PLAY ALONG WITH YOUR RECORDED
SONG
In Song playback mode, you can play along with
your recorded Song by activating one or more
tracks not used for the recording. It is also possible to disengage a recorded track from the
sequencer and use it to play in real time. Naturally, you can also mute the tracks you do not
wish to hear.
The operations can be carried out before or after
start, but remember, if you start after modifying
the track status, the tracks will revert to their previous status unless you store the Performance.
In the example below, the changes are carried
out during playback.
1
INTRO
ENDING
OR
1. Start the playback of the selected Song with PLAY
or START/STOP.
2. During playback, press the soft button of the
track you wish to play along with as many times
as necessary until it is shown set for “key-play”
then start to play.
KEY START
PLAY
START / STOP
2
A
B
C
D
E
If the track contains recorded notes (shown
with the “seq.-play” icon ):
F
G
H
• press the relative soft button once to select
the track;
• once again to mute the track and;
• once again to set it to “key-play”.
The graphic example opposite illustrates how
to disengage a recorded track and activate it
for real time playing.
If the track was not used for the recording, it
will be shown either as a muted track (
)
or in “key-play” status (
). In this case:
• press the relative soft button repeatedly to
toggle from “muted” to “key-play” and vice
versa.
3. Press STOP or START/STOP to stop the playback.
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2•54 User Guide
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A
A
A
3
INTRO
KEY START
STOP
OR
START / STOP
ENDING
PLAY SONGS USING JUKEBOX
The Jukebox function chains the songs of your
choice and plays them back as a ‘medley’ with a
single command.
1
1. With the Song «Play View» page showing, press
F1 («Jukebox...») to access the Jukebox display.
F1
The left part of the display shows the list of
Songs in memory. The right part shows the
Jukebox list.
The negative highlight cursor shows which
song is selected in the Song list. The frame
on the right shows the destination in the Jukebox list.
Pass from left to right and vice versa with the
directional arrows.
F2
2. Select a Song from the left part to include in the
Jukebox list and press the INSERT soft button
(F5) (or ENTER) to insert the Song in the list.
2/3
The right part of the display shows the name
of the Song added to the list and the frame
advances one step automatically.
F1
F2
F3
F4
3. Repeat the procedure for other Songs and press
INSERT (or ENTER) each time to compile the list.
F5
F6
F7
F8
If you want to substitute one of the names in the
Jukebox list, move the cursor to the right part of
the display, select the name to change; move
the cursor back to the left part, select the Song
to insert and press INSERT or ENTER.
Take the cursor to the right and select a new
location for the next Song. Return to the left
part and carry out the selection.
4
F1
F2
F3
F4
F5
4. Press F8 («Execute») to start the playback of the
Jukebox list.
F6
F7
F8
The Play View page of the Song appears and
the status bar shows the indication: «Jukebox active».
You can interrupt the Jukebox at any time with
STOP.
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User Guide 2•55
17 • Save your programmed data to disk
The SK760/880 RAM is backed by a rechargeable battery to safeguard your programmed data when
the instrument is turned off. For security reasons, however, it is necessary to store your data to floppy
disk (or Hard disk) with the Save command. The RAM should be considered as a work area which can
be continually updated, not as a data storage device.
Have a new or used disk ready to save data to. These can be SK760/880 format disks (or standard MSDOS disks for the storage of MIDI files). You can also save MIDI Files to SK760/880 format disks. How
to save MIDI files is discussed in the Disk chapter of the Reference Guide.
Check that the floppy disk is not write protected - if so, remove the protection beforehand. If you forget
to do this, the instrument will prompt you with an appropriate message when you attempt to save to the
disk.
Save operations are characterized by the option of creating of a new Block if necessary.
THE SAVE PROCEDURE
The following example shows how to save the
Song that you recorded with the Quick Rec
method to Disk.
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1
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©
WARNING - Do not save data to the original
disks supplied with the instrument. As a precautionary measure against data loss, always check
that your original disks are write protected. Make
back-up copies of the supplied demo disks and
store the originals in a safe place.
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1. Insert the floppy disk into the drive.
2. Press DISK to open the main Save page.
If the main Save page is not shown, use the
page scroll buttons (
) to open it.
If you are working with the Hard Disk, press
DISK and select the HARD DISK option with
soft button F2.
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2•56 User Guide
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2
DISK
H. D
+
3. Specify the Save operation required (example,
“Save Single Song”).
3
Use the navigational arrows ( / and /
buttons) to navigate within the two columns
of the display area and select the required
command by combining one element from
each column.
For example, combine “Single” from the left
column with “Song” from the right to specify
“Save Single Song”.
If you are using a MIDI file disk, specify “Single MIDI File”.
4
ENTER
TEMP
4. Press ENTER to confirm the command and open
the File Selector.
The display shows the directory of the songs
present in RAM and the floppy disk directory.
In the example, the instrument’s RAM directory is shown with 2 songs (with generic
names).
If the disk is new (no Blocks present), the directory will be empty. In the illustrated example, a new disk is used.
If the disk is a used one, what appears in the
directory will depend on the contents. One
or more Block files may be present.
ESCAPE
5
5. If necessary, select the Song to save and its destination on disk.
6
A selected file is shown in negative highlight.
Use the cursor arrows to select a different
file. In the example, Song_02 is selected.
An empty destination is shown as a broken
line. A preselected destination is shown enclosed by a rectangular frame.
ENTER
TEMP
ESCAPE
6. Press ENTER.
You’ll be prompted to create a new Block. The
name “MAIN” is suggested automatically.
Use the keyboard as the source of alphanumeric data to give the block a name.
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User Guide 2•57
7. Confirm the new Block name with ENTER.
The floppy disk directory now shows the first
8 empty Song locations (within the new
block). Up to 16 locations are available by
scrolling with the cursor arrow.
8. If necessary, select a destination and press ENTER twice to execute the Save Single Song command.
Pressing ENTER the first prompts a request
to confirm the command (Are you sure?).
Press ENTER a second time to complete the
procedure.
After a short period, the Song will be saved
to disk.
Remember that if you save to an existing file,
it will be overwritten by the incoming one.
Whenever possible, try to save to an empty
location (shown as a broken line) to safeguard
existing data on the storage device.
7
ENTER
TEMP
ESCAPE
8
ENTER
TEMP
ESCAPE
9
ENTER
DISK
H. D
9. Press DISK (or ESCAPE three times) to exit DISK
mode.
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2•58 User Guide
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+
OR
ESCAPE
TEMPO / DATA
RESTORING THE SONGS MEMORY
If you have loaded disk-based Songs or recorded
Songs and used up all the memory dedicated to
the storage of Songs, there is a quick and easy
way of clearing memory to make room for other
Songs using the Restore Songs operation. Naturally, you must remember to save your Songs to
disk before proceeding with the restore procedure.
1
GENERAL
9
1. Press GENERAL in the EDIT section to gain access
to the «Edit General» environment.
2. Press the «Restore Songs» soft button (F6) to
cancel all the Songs (and relative Song-Performances) in RAM.
You are prompted with a request to reconfirm your choice.
2
3. Press ENTER to confirm, or ESCAPE to cancel.
F1
With ENTER, the Songs are cancelled from
memory.
With ESCAPE, the song data are retained.
F2
F3
F4
F5
F6
F7
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F8
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©
Hint: To cancel the entire contents of RAM in a
single operation, use the «Restore All» command.
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3
TEMPO / DATA
ENTER
ESCAPE
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User Guide 2•59
18 • MIDI
ABOUT MIDI
MIDI connection rules
• An instrument which controls another instrument is called the master, while an instrument that is controlled by a controlling device is called the slave.
• The MIDI OUT of the master is connected to
the MIDI IN of the slave.
• To program Songs on an external sequencer,
connect the MIDI OUT of the SK760/880 to the
MIDI IN of the sequencer; the MIDI OUT of the
sequencer to the MIDI IN of the SK760/880.
• Do not connect the same MIDI port between
two instruments.
MIDI (Musical Instruments Digital Interface) is a
system of communication between electronic
musical instruments and computers. This section explains some of the more important MIDI
features of your SK760/880. If you wish to delve
further into MIDI and all the possibilities offered,
you should refer to specialised MIDI literature
available in all music outlets.
All MIDI programming tasks referred to are carried out in the MIDI Edit environment (unless otherwise specified), accessed by pressing the MIDI
button in the EDIT section. Some examples are
discussed here while for the rest, you should
refer to the Edit MIDI chapter of the Reference
manual.
The MIDI ports
Your SK760/880 is fitted with a twin set of MIDI
ports:
• Two MIDI OUTs (A & B)
• Two MIDI INs (A & B)
• Two MIDI THRUs (A & B).
With MIDI it is possible to:
• control another musical instrument (expander, keyboard, etc.) with SK760/880;
• control SK760/880 with a master keyboard
or other controlling device (guitar controller,
wind controller, drum pads...);
• connect SK760/880 to an external sequencer
to program Songs and Styles.
The MIDI THRU port
The MIDI THRU port permits the connection of
several slave instruments in series, as shown in
the illustration below (Fig. 1). Slave 1 and Slave
2 are controlled by the single Master. Slave 2
does not receive Slave 1 data, which only acts
as a through device.
MIDI
SK760/880 MIDI interface
and Computer port
COMPUTER
THRU B
MASTER
OUT B
IN B
THRU A
OUT A
IN A
SLAVE 1
MIDI cable
IN
OUT
SLAVE 2
MIDI cable
THRU
IN
internal course
Fig. 1 - Connection diagram of a master keyboard and two expanders, slave 1 and slave 2 ( or other instruments). The data
generated by the Master is received at the MIDI IN of Slave 1 and sent to the sound engine of Slave 1 and to the MIDI IN of Slave 2.
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2•60 User Guide
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THE MIDI CHANNELS
The MIDI channel is the principal channel assignable to a track and used to transmit and receive
track MIDI messages (note data, bank change/
program change, etc.). The SK760/880 is able
to transmit and receive via two groups of MIDI
channels: A and B (MIDI A ports and MIDI B ports).
Each group can handle 16 MIDI channels. One
MIDI channel is freely assignable to each SK760/
880 track from the 32 channels available
(A1...A16, B1...B16).
Each track of every Performance can be independently assigned a MIDI receive channel and
a MIDI transmit channel. The receive and transmit channels do not necessarily have to be the
same.
MIDI IN port
(A or B)
MIDI OUT
channel
(1...16)
MIDI OUT
channel
(1...16)
MIDI OUT
port (A or B)
MIDI
1
2
How to assign the MIDI channels
1. Press the MIDI button in the EDIT section.
You enter in Edit MIDI with the display showing the current MIDI channel and port (A or
B) configuration for the first 8 tracks of the
current Performance.
2. Select the track whose channel you wish to
change using the corresponding Soft buttons.
2
Use the Track Scroll buttons, or the /
cursor buttons to bring other tracks into view.
3. Select the parameter to change with the cursor arrow.
3/4
The first parameter represents the MIDI IN
port (A or B), then the IN channel followed by
the OUT port (A or B) and OUT channel.
4 Rotate the DIAL to change the setting of the selected parameter.
Repeat the procedure for other parameters
and other tracks.
TEMPO / DATA
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User Guide 2•61
THE MIDI CONFIGURATION
Each track of a Performance can be independently configured with regards to how the track
handles keyboard data, MIDI IN and MIDI OUT
data and the information directed to the internal
sound engine. Each parameter (MIDI IN, MIDI
OUT, Keyboard and Sound Engine) can be independently enabled/disabled for the track selected.
MIDI
IN
How to configure a track
1
1. After entering Edit MIDI, press the soft button
F2 (or the page button) to open the Configuration page.
keyboard/
Common Channel
internal sound
generator
MIDI
2
The display shows the current configuration
of the first 8 tracks of the current Performance.
2. Select the track whose configuration you wish to
change using the corresponding Soft button.
Use the Track Scroll buttons, or the /
cursor buttons to bring other tracks into view.
3. Select the parameter to enable/disable with the
cursor arrow.
The first parameter represents the assigned
MIDI IN port (A or B), then the keyboard followed by the internal sound engine and OUT
port.
4 Rotate the DIAL to disable or enable the selected
parameter.
For example, if you set the MIDI IN port to
OFF, the track cannot receive MIDI IN data.
Or, if you set the keyboard to off, the track is
muted but still available for MIDI IN data. Or,
if you disable the sound engine, the track
cannot play the internal sounds but can play
external sounds via MIDI OUT. Finally, if yo
set the OUT port to off, the track cannot
trasmit data via MIDI OUT. The on/off combinations of the 4 available elements provide
endless MIDI configurations.
Repeat the procedure for other parameters
and other tracks.
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2•62 User Guide
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2
3/4
TEMPO / DATA
MIDI
OUT
THE COMPUTER PORT
Your SK760/880 is fitted with a COMPUTER port
which allows two way communications between
the instrument and a computer (PC or MAC) without the need of a MIDI interface. A cable to connect the instrument to your computer’s (IBM/compatible or Macintosh) serial port can be obtained
from your Generalmusic outlet or computer outlet.
The connection via the COMPUTER port allows
the control of 16 MIDI channels (group A), while
MIDI connections can control 32 (groups A & B).
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©
Note: The COMPUTER port and
PEDALBOARD connector cannot be used at the
same time. Connecting one excludes the other
automatically.
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The Computer function (in Edit General - P.brd/
Computer editor) offers three communication
modes to choose from:
• Macintosh for any Apple Macintosh computer;
• PC1
a slow PC communication suitable for
80386, or earlier models;
• PC2
a fast PC communication suitable for
80486, Pentium or faster processor.
When the COMPUTER port is in use, the MIDI
ports can be used to connect to other musical
instruments.
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CH. 1
WK
COMP.
MIDI
OUT A
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Figure 2 shown below illustrates a simple connection possibility between the SK760/880, a
Computer and an expander.
COMPUTER
CH. A1...A16
RS-232/
MODEM
EXPANDER
MIDI cable
Fig. 2 - Connection of SK760/880 and computer via the COMPUTER
port. Connection of an expander at MIDI OUT A of SK760/880.
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MIDI IN
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User Guide 2•63
MIDI FILTERS
MIDI LOCK
The SK760/880 MIDI Filters allow you to block
the reception and transmission of unwanted MIDI
messages from the MIDI data stream.
This feature allows you to “lock” the MIDI settings of the instrument. Normally, the MIDI Channels, MIDI Configuration and MIDI Filters are
memorized for each Performance. This means
that every time you recall a different Performance,
the instrument’s MIDI settings will change according to the way they were set for the recalled Performance.
For example, if you were playing a midi file from
an external sequencer using the E. Piano 2 sound
from the SK760/880, you might find that every
time you start the playback of the sequence, the
sound switches to, for example, Piano1. This
occurs because of the presence of a Program
change message at the beginning of the Song.
This problem can be overcome by selecting the
“Program change” MIDI IN Filter Program which
“filters off” all program change messages from
the MIDI IN data stream.
In another example, whenever you select a
Sound from the SK760/880 panel, a Program
Change message would also be sent to an expander connected to the SK760/880 MIDI OUT,
causing the expander’s sound to be changed at
the same time. To avoid changing the external
sound every time you select a SK760/880 sound,
you would select a “Program Change” MIDI OUT
Filter to exclude all program change messages
from the MIDI OUT data stream.
MIDI Lock allows you to override the individual
Performance settings, permitting you to select any
Performance without changing the current settings. After enabling the MIDI Lock function (soft
button F8 - option in negative highlight), you may
adjust the MIDI settings as you wish. All subsequent changed made to the MIDI settings will
remain in memory until you change them again,
or until you disable the MIDI Lock function.
Other MIDI features
Very briefly, your SK760/880 offers the following
additional MIDI features:
Common channel: this channel is primarily used
for the sending and receiving of PERFORMANCE
messages. A Program Change message received on the Common channel will not change
one of the individual sound on the keyboard. Instead, it will be interpreted as a PERFORMANCE
CHANGE message.
MIDI Dump: a means of sending all information
currently residing in the instrument’s memory to
another SK760/880, or an external data storage
device. The SK760/880 can also receive a DUMP
from an external source.
System Exclusive: your SK760/880 can be enabled or disabled for the transmission/reception
of System Exclusive messages.
SMF Save Format: this function allows you to
set SK760/880 to save MIDI files as format 0 or
format 1.
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2•64 User Guide
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General MIDI: a GeneralMIDI compatibility on/
off switch.
MIDI In Fix Velocity: allows you to receive velocity as transmitted, or to fix a set velocity value
for all note data, useful for instruments that are
not able to transmit velocity messages.
Local On/Off: a switch which isolates the SK760/
880 as a whole from its internal sound engine
allowing SK760/880 to be used as a MIDI controller.
MIDI PANIC
The SK760/880 features a hidden MIDI PANIC
button. This function can be used in the event of
problems or “lock-ups” during MIDI transmission
or reception.
How to perform MIDI PANIC
• If your machine locks up while working with
MIDI, carry out the MIDI Panic operation by
buttons to the right of
pressing the two
the display.
MIDI Panic sends “All Notes Off” and “Reset all Controllers” commands on all active
channels.
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User Guide 2•65
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2•66 User Guide
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Reference
Guide
• 3 Disk & Hard Disk
• 4 Preload
• 5 Selection/Help
• 6 Songs MIDI Files & Song Recording
• 7 Edit Song
• 8 User Style recording
• 9 Edit Style
• 10 Edit Effects
• 11 Edit MIDI
• 12 Edit Mixer
• 13 Edit Controllers/Pads
• 14 Edit Tracks
• 15 Edit Perf Sound/Sound Patch
• 16 Edit Sound/Sample Translator
• 17 Edit General
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Reference Guide
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• 3 Disk & Hard disk
GENERAL INFORMATION
Working with disks provides you with a means of
building a library of Performances, Styles, Sounds
and Songs that you can load into the SK760/880
RAM memory at any time. As you become more
familiar with your SK760/880, you’ll discover the
practical uses of working with disks, because of
the flexibility and power that they offer.
Floppy disks and the Hard disk
The SK760/880 can handle floppy disks and hard
disks of the following types.
• Floppy disks: 3.5" high density (HD) and
double density (DD).
• Hard disk: a 2,5” IDE or E-IDE unit with a
capacity of 2 Gigabytes (max.). Installation
requires the Generalmusic HDisk kit which
also expands the System-RAM. A Hard disk
has faster access times and more convenient than floppies. The SK760/880 with a
factory installed Hard disk is write-protected
to avoid accidental cancellation of the files it
contains. However, the protection can be deactivated (see “Hard Disk Protection” option
in the Disk Utility page).
conforms to the GMX format, a General MIDI
eXtended format by Generalmusic which renders
the first three banks of all SK760/880 Series instruments fully compatible.
SK760/880 cannot read Song, Style and Sound
data disks originating from non-Generalmusic instruments. Song exchanges with other instruments requires that the Song be saved as a MIDI
file on MS-DOS formatted disks (1.44 Mb or 720
Kb formats).
Files & the block
Data is stored on disks in the form of Files (a
Song, a Performance, a Style, a Setup or a
Block).
Files are organized in sub-directories which are
contained in a Block. The Block reflects the structure of the instrument’s internal RAM, as illustrated below.
Real-Perf
Songs
Group 1
...
Group 8
1
...
16
User Styles
Song disks of other formats, such as the WK3
and PS1500 Series, are recognized if the data
Group 1
...
Group 8
1
...
16
Group 1
...
Group 12
Group 1
Group 2
Group 3
Group 4
Style-Perf
User Styles
Group 1
...
Group 12
Group 1
Group 2
Group 3
Group 4
Setup
Group 1
...
Group 16
Floppy disk formats
SK760/880 is able to initialize disks for every format. It is also possible to load Ram-Sounds,
Styles and Songs from WK, SK, PS, WX and SX
Series disks.
Real-Perf
Songs
Style-Perf
Sounds
SK760/880 recognizes the following formats:
• SK760/880 expanded format (1.6 Mb);
• standard MS-DOS (1.44Mb);
• Atari ST/Falcon format (720 Kb).
Block n
Block 3
Block 2
Block 1
Block
Sounds
Setup
Group 1
...
Group 16
RAMlock)
(1 B
DISKlocks)
(n B
Illustration showing how data is organized in RAM and disks.
Floppy disks can contain more than one Block,
but as a unit of storage, the Block is more suitable for Hard Disks.
When you load a Block using the Load Single
Block command, the entire contents of RAM are
updated.
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Disk & Hard Disk
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3•1
File Types
The types of File encountered when working in
the SK760/880 Disk environment are identified
by a name and, in some cases an extension. The
table which follows summarizes the file types encountered:
File Quantity
Files can be handled as Single elements, as a
Group of files or as an entire set of file types (All),
as shown in the following table:
FILE QUANTITY
Type of File
Description
Single
A single file.
Block
All file types except MIDI files.
Group
Setup
General settings for MIDI channels
video, pedals & pads.
Sound
RAM-Sound and RAM
All the files assigned to one of the
buttons of the Style Groups (ROM
and User), Performance Groups or
Sound Groups. It is also possible to
load to 2 “virtual” Song Groups.
All
All Groups of a file type (all Sounds,
All Performances, All Styles, etc.).
-Sound.
Performances Real Perf Groups.
Style-Perf.
ROM Style Perf banks excluding
USER.
User Style
USER Styles and relative
Style-Perfs.
Song
SK760/880, WK4, SK, PS format;
WX2 format (“Name”.WXS);
SX2 format (Name”.SXS).
MIDI file
MIDI files (“Name”.MID)
Format 0 or 1.
The DISK commands
The Main DISK pages
The Disk commands a spread across 7 main
pages, each identifying a principal Disk operation:
1. Load
Loads data to RAM.
2. Save
Saves data to disk.
3. Erase
Erases data from RAM or disk.
4. Copy
Copies data from floppy disk to hard
disk or vice versa, from disk to disk
or from RAM to RAM.
5. Move
Moves data from floppy disk to hard
disk or vice versa, from disk to disk
or from RAM to RAM.
6. Floppy Utility Useful functions for floppy disks (formatting, disk name).
7. H Disk Utility Useful functions for the Hard disk
(formatting, HD check, restore,
backup, protection).
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3•2 Reference Guide
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The «Disk» commands are specified in the main
Disk pages by combining the File Quantity in one
column with the File Type in the other:
• select the file quantity (Single, Group, All);
• select the file type (Sound, Performance,
Song, etc.).
Example: To load a single Song, specify «SINGLE» and «SONG» in the main LOAD page.
Load, Save, Erase Copy, Move operations
Data stored in floppy disk, hard disk or RAM can
be Loaded, Saved, Erased, Copied or Moved
using one of the following methods:
• as single elements (Single Song, Single User
Style, Single Performance, Single MidiFile,
etc.);
• as a Group of files (User Style Group, Song
Group, etc.);
• as an “ALL” data set containing file types of
all Groups (All Songs, All Sounds, All Style
Groups, All Performance Groups, etc.).
Limitations
The file selector
Some file types cannot be handled more than
one at a time. MIDI Files, for example, can only
be handled using the SINGLE MIDI FILE command. Some files can be handled as Single elements, Groups and All sets, while others are limited to Single and All sets only.
The File Selector corresponds to the second level
of disk operations and is accessed by confirming
the command specified in the main page. Once
in the file selector, you can select the source
files and respective destinations.
The table below shows the valid commands for
each file type:
File Type
Command
Block
Single
Setup
Single
Sound
Single, Group, All
Real Perfs
Single, Group, All
Style Perfs
Single, Group, All
User Styles
Single, Group, All
Song
Single, Group, All
MIDIFile
Single
The file selector is divided into two columns
showing (a) the source file directory (a contents
list) and (b) the destination directory. All «Disk»
operations, except the Erase command and the
Utility, copy or move files from a source to a destination (e.g. from disk to RAM).
The direction of the copy or move operation is
shown in the status bar by an arrow pointing the
direction and the names of the source and destination files.
The source device can be a floppy disk, the Hard
Disk or RAM. The device is selected with the
Soft buttons F1, F2 and F3.
Empty locations are represented by a broken line.
If you select a destination already occupied by a
file, the existing file is replaced by the incoming
one.
source
device
destination page selection device
)
(
selection
device
(a)
quantity
Main «Load» page
directory
file type refresh
(b)
Destination
Directory
Source
Directory
available
memory
«Load Single Song» File selector
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Disk & Hard Disk
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3•3
The general «Disk» procedure
Use the following procedure as a reference for
all the Disk operations. Some specific examples
are also explained in this chapter.
1. If you are working with floppy disks, insert a
disk into the drive.
1
If you are working with the Hard Disk (optional accessory), simply press DISK.
2. Press DISK and go to the page relating to the
desired Disk function (Load, Save, Erase, Copy,
Move, Utility).
Use the
buttons to scroll through the
main disk pages. The example shows the
main Load page.
3. Select, if necessary, the device being handled with
the soft buttons F1, F2, F3.
DISK
2
H. D
+
Load and Save operations show the Floppy
Disk and Hard Disk options. If you are working with the Hard disk, the H.D. LED will turn
on during the course of an operation.
Erase, Copy and Move operations show the
RAM option in addition to Floppy and Hard
Disk.
Utility is an exception, discussed afterwards.
3
F1
F2
F3
F4
F5
F6
F7
F8
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3•4 Reference Guide
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4. Specify the desired command with the directional
arrows (for example, «Load Single Song»).
4
Use the button to move into the quantity
column and select the file quantity (Single,
Group, All) with the / buttons.
Pass over to the other column with the button and select the file type (Sound, Performance, Song, etc.) with the / buttons.
5. Press ENTER to confirm the command and open
the File Selector.
The “Wait Please” message appears for an
instant before opening the File Selector.
The file selector now shows the source directory consisting of one or more Blocks to
choose from, and the destination directory
representing the sector of RAM corresponding to the file type being handled (in this case
the Song memory).
This display example shows the floppy disk
directory (a) with a single Block file, and the
instrument’s RAM directory (b) showing the
empty Song memory. The disk name is
shown at the top of the left column (c). If the
disk has no name, either “NO NAME” or
“UNTITLED” or other will be shown.
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5
ENTER
(a)
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ENTER
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(b)
6
Note: At this point, to exit from «Edit Disk»,
press DISK. Escape exits the File selector.
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TE
ESCAPE
©
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(c)
TE
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6. Select a Block and press ENTER to gain access.
ESCAPE
The contents of the opened Block reveals the
file type selected in step 4 (in this case, several Songs in numerical order).
(d)
At the bottom of both columns, information
regarding the selected file will appear. In this
case, the left column shows the date that the
file was created and its dimensions expressed
in Kb (d). The right column is blank and represents the empty destination.
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Disk & Hard Disk
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3•5
7. If necessary, select the source file.
Use the / buttons to select the source
file from the active column. If you are not in
the desired column, move over with the /
buttons.
7/8
8. If necessary, select the destination.
Move into the destination column with the /
buttons and use the / buttons to select
a destination.
Empty locations are identified by a broken
line. If you select an existing file, it will be
erased by the incoming file.
9
ENTER
TEM
9. Press ENTER to confirm your choice.
You will be prompted with “Are you sure?”.
ESCAPE
10. Press ENTER again to execute the command, or
ESCAPE to cancel the operation.
With ENTER, the command is executed and
a dialog window opens showing a message
relating to the current operation: For example, if you are loading a single Song, the
message will say: “Loading Single Song....”
When the dialog window closes, the operation has been executed.
11. Repeat steps 7, 8, 9 and 10 until your destination is organized according to your requirements.
To select another file from a different block,
return to the source column, press Escape
to escape the current Block, press Escape
again to exit the File Selector, select another
Block, press Enter to gain access and continue as already described.
12. Press DISK (or ESCAPE three times) to exit «Disk».
Pressing DISK escapes the Disk operations
and remembers the last page selected.
Pressing ESCAPE allows you to (1) close the
current Block, (2) close the file selector and
(3) escape from «Disk».
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3•6 Reference Guide
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10
ENTER
TEM
ESCAPE
11
12
ENTER
DISK
H. D
+
or
ESCAPE
TEMPO / DATA
Load Operations
The load operations operate in the direction
Source –> RAM where the source can be Floppy
disk or Hard disk.
1
Have a disk ready containing the data you wish
to load. These can be SK760/880 format disks,
disks of previous formats, such as WX or SX
Series, and MIDI file disks. If you are working
with the Hard Disk, press DISK and select the
HARD DISK option with soft button F2 and proceed from point 3 below.
THE GENERAL LOAD PROCEDURE
DISK
2
H. D
+
1. Insert the floppy disk into the drive.
2. Press DISK to open the main Load page.
If the main Load page is not shown, use the
left page scroll button (
) to open it.
3. Specify the load operation required (example,
Load SingleSong) then press ENTER to open the
File Selector.
From here, proceed as described for the Load
operations on the pages which follow.
3
NOTE: All Load Single operations also feature a SEARCH RESOURCE function which
allows you to search for a single element
(Block, Sound, Real Perf, Style Perf, User
Style, Song, MIDI File). How to use the
Search Resource is explained at the end of
this chapter.
ENTER
TE
ESCAPE
ENTER
4
4. When you have finished, press DISK (or ESCAPE
three times) to exit «Disk».
TEMPO / DATA
DISK
H. D
or
+
ESCAPE
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Disk & Hard Disk
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3•7
LOAD SINGLE
The Load Single command offers the following
possibilities:
Load Single Block
Rewrites the entire contents of RAM. Block data
contains: Setup file, Sounds, Performances, Style
Performances, User Styles (and relative Performances), Songs (and relative Performances).
Load Single Setup
Loads a Setup file into RAM. Setup files contain
information relating to the status of the instrument’s general functions (Tuning/Scale, Audio
Mic/Line settings, the MIDI Lock status, MIDI lock
configurations, Pedals/Pads Lock status, Pedals
and Pads configuration). Load a disk-based
Setup file when you want to change the general
status of the instrument in a single step instead
of programming the individual parameters that
constitute a Setup file. Loading a Setup file into
RAM does not affect other data. Only one Setup
file resides in each Block.
Load Single Song
Loads Songs to RAM one at a time. This operation allows you to choose single Song files from
various different blocks and load to RAM in a preferred order. SK760/880 can load Songs from
disk in its own format (Song), in previous compatible formats (WK, SK, PS, WX, SX), in standard MIDI file format 0 or 1 and in Tune1000™ format.
Loads disk-based MIDI files to RAM one at a time
Loading MIDI Files into RAM automatically converts the files into SK760/880 format Songs. The
«Load MIDI File» procedure is almost identical
to «Load Single Song». In this case instead of
Song names, you’ll see a list of files in the source
directory with the “.MID” extension. In some
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Important: When you load a MIDI File, track 17
is created automatically in order to be able to play
along with the Song in playback.
Load Single Sound
Loads single disk-based sounds to the Sound
Bank destinations. Loads Ram-Sounds as well
as RAM -Sounds. The «Load Single Sound»
procedure is characterized by an increased
number of steps, owing to the fact that there are
16 Sound Groups, each consisting of 8 Banks of
16 slots. You can choose to load your RamSounds anywhere you want, but it is recommended that you load to the original Sound Group
to facilitate future selection.
Load Single Sound also features a Sound Search
function. Owing to the large SK760/880 Sound
library, you might find it easier to pass directly to
a Sound bank by specifying the name of a Sound
that occupies a particular bank. From there, you
can then easily select a destination for the Sound
being loaded. The Sound Search procedure is
explained in detail on pages 3.33 & 3.34.
Load Single Performance
Loads a single Performance (RealTime) to any
of the 64 locations of the Performance Groups
(1-8). The incoming Performances overwrite
those in RAM. The original factory-set Performances can be restored at any time with the Restore Perf. operation.
Load Single User Style
Load Single MIDI File
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cases, other names appear which represent subdirectories containing other MIDI Files.
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3•8 Reference Guide
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Loads a single User Style and associated User
Style Performances to any location in the USER
Style Groups (1-4).
Load Single Style Performance
Loads a single bank of up to 8 user-programmed
Style Performances to the original ROM Style
Performance bank. These Performances cannot be loaded to locations other than the original
source Style Performance bank. For example,
the Style Performances of Style 59 (U.S.Trad)
cannot be loaded to any other location of the ROM
Styles.
If you attempt to load to a destination other than
the correct one, a user message will inform you
of your error with the following message:
Press ESCAPE to close the message and try
again, this time selecting the correct destination.
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Disk & Hard Disk
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3•9
LOAD SINGLE SOUND PROCEDURE (EXAMPLE)
1/2
DISK
H. D
+
Use the Demo Disk 01 supplied with the instrument to load a Sample to memory. For this procedure, your instrument requires additional Sample RAM. If your SK760/880 does not have additional S-RAM, use any SK760/880 Sounds disk
containing edited sounds, or have your instrument
upgraded with optional S-RAM.
1. Insert the supplied Demo Disk 01 in the disk
drive and press DISK.
ENTER
TEM
ESCAPE
3
ENTER
TEM
2. Select SINGLE SOUND from the Load page then
press ENTER to gain access to the File Selector.
The floppy disk directory may show the presence of several blocks, one containing the
Sample, another User Styles, etc.. The instrument’s RAM directory shows the ROM
sounds of the first Group (Piano).
ESCAPE
4
3. Select (if necessary) the Sample Block and press
ENTER to gain access.
In this example, the disk directory shows the
presence of one Percussive Sample
(GRV.bpm 106 ) with Pr. Change and Bank
Select number 114-6.
A
4. Select (if necessary) the Sample and its corresponding destination in RAM (114-6).
Use the
buttons to scroll the Sound
Groups (1, 2, … 15, 16). In this case, scroll
to Group 15 (Percussive - example A).
Use the directional / arrows to scroll to
the desired Bank (in this case, bank 6) and
destination (Program Change 114 - example B).
5. Press ENTER twice to load the Sample file to
memory.
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B
5
ENTER
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©
Note: It is recommended to load Sounds and
Samples to their original locations to facilitate the
on-board file search facilities, but you are free to
load them to any Group.
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3•10 Reference Guide
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ESCAPE
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TEM
LOAD GROUP
Load Group Style Perf
The Load Group command offers a quick way of
loading a Groups of 8 elements at a time.
Loads a Group of 8 Style Performance banks,
each bank containing up to 8 user-programmed
Style Performances. Unlike other Groups, the
Style Groups cannot be “switched” - they must
be loaded to their original locations in memory.
For example, Group 8 (US. TRAD) cannot be
loaded to any other location in RAM other than
Group 8.
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©
Warning: The Group currently in memory is
overwritten by the incoming Group. If, for example,
the User Style Group you are loading contains only
one User Style, all User Styles of the destination
Group currently in RAM will be cancelled and
replaced by the new Group. Be sure that your
Group data are safely saved to Disk or Hard Disk
before proceeding.
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Load Group offers the following possibilities:
If you attempt to load to a destination other than
the correct one, a user message will inform you
of your error with the following message:
Load Group Real Perf
Loads a Group of Performances consisting of up
to 8 user-programmed RealTime Performances
to any Real Performance destination.
Load Group User Style
Press ESCAPE to close the user message and
try again, this time selecting the correct destination.
Loads a Group of up to 8 User Styles (and corresponding Performances) to any User Group destination.
Load Group Song
Loads Songs as “virtual Groups” (Song Group 1
and Song Group 2 found in the Disk environment
only). Each virtual group corresponds to the first
8 or second 8 locations of the Song memory. In
fact, in normal conditions when you press the
Song button to select a Song, the song selection
display shows two columns, left and right. The
left column corresponds to the virtual SongsGroup 1 and the right to Songs-Group 2. This
feature is particularly useful for the WX Series
Songs disks which contain Song Groups containing up to 8 Songs each.
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Disk & Hard Disk
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3•11
LOAD GROUP USER STYLE PROCEDURE
(EXAMPLE)
Use the Demo Disk 01 to load a User Style Group
to memory.
1
DISK
H. D
1. Insert the supplied Demo Disk 01 in the disk
drive and press DISK.
2. Select GROUP USER STYLE from the main Load
page then press ENTER to gain access to the FILE
SELECTOR.
+
2
ENTER
TEM
The floppy disk directory may show the presence of several blocks, one containing the
Sample, another User Styles, etc..
ESCAPE
3. Select the Styles Block and press ENTER to gain
access.
In this example, the disk directory shows the
presence of two User Style Groups (User 3
and User 4).
4. Select the User Group that you wish to load and
its corresponding destination in RAM (1, 2, 3 or
4).
5. Press ENTER twice to load the User Style Group
file to memory.
3
ENTER
TEM
ESCAPE
4
ENTER
TEM
User Style Groups can be interchanged. For
example, User Group 3 on floppy disk can
be loaded to User Group 1 in RAM.
ESCAPE
5
ENTER
ESCAPE
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3•12 Reference Guide
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TEM
LOAD ALL
Use «Load All» to load an entire set of file types
in a single step.
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©
Warning: Use “Load ALL” with care. If, for
example, the disk-based «All User Style» data
contains only one User Style, all your User Styles
currently in RAM will be irremediably lost through
cancellation by the incoming file. Be absolutely
sure, therefore, that your Sounds, Songs, Styles
and Performances are safely stored to Disk or
Hard Disk before using the “Load ALL” procedures.
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The Load All procedure offers the following possibilities:
Load All Song: loads up to 16 Songs;
Load All Sound: an unspecified number of RamSounds and RAM -Sounds;
Load All Real Perf: loads 8 Groups of Real Performances;
Load All Style Perf: loads 12 Groups of Rom
Style Performance banks, each containing up to
8 Style Performances;
1
Load All User Style: loads 4 Groups of User
Styles (including all associated User Style Performances).
ENTER
TEM
LOAD ALL SONG PROCEDURE (EXAMPLE)
1. Select ALL SONG from the main Load page then
press ENTER to gain access to the File Selector
ESCAPE
2. Select the Block containing the Songs required
from the source directory then press ENTER twice
to start the loading procedure.
2
ENTER
TEM
ESCAPE
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Disk & Hard Disk
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3•13
LOAD WX/SX SONGS AND STYLES
SK760/880 can load Songs and Styles from the
following previous format disks:
WX2, WX400, WX Expander, SX2, SX3
The loading procedures are identical to those
used for SK760/880 Songs and Styles.
The Blocks however show the «.WXS» extension instead of «.BLK».
Furthermore, WX2/SX2 disks contain one Block
only.
WX Songs disks contain Song Groups consisting of up to 8 Songs each. For this purpose, the
SK760/880 Disk environment contains two virtual Songs Groups (1 and 2) specific for the WX
Series disks. Refer to the Load Group procedure explained on page 3.12.
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3•14 Reference Guide
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Save operations
The Save procedures operate in the direction
RAM –> Destination where the destination can
be Floppy disk or Hard disk.
The SK760/880 RAM is backed by a rechargeable battery to safeguard the data when the instrument is turned off. For security reasons, however, it is necessary to store your data to floppy
disk or Hard disk with the Save command. The
RAM should be considered as a work area which
can be continually updated, not as a data storage device.
Have a new or used disk ready to save data to.
These can be SK760/880 format disks or standard MS-DOS disks for the exclusive storage of
MIDI files. You can also save MIDI Files to
SK760/880 format disks.
Check that the floppy disk is not write protected if so, remove the protection beforehand. If you
forget to do this, the instrument will prompt you
with an appropriate message when you attempt
to save to the disk.
1
Save operations are characterized by an additional option: the creation of a new Block if necessary.
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©
WARNING - Do not save data to the original
disks supplied with the instrument. As a precautionary measure against data loss, always check
that your original disks are write protected.
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2
DISK
H. D
THE GENERAL SAVE PROCEDURE
+
1. Insert the floppy disk into the drive.
2. Press DISK to open the main Save page.
F1
If the main Save page is not shown, use the
page scroll buttons (
) to open it.
If you are working with the Hard Disk, press
DISK and select the HARD DISK option with
soft button F2.
F2
F3
F4
F5
F6
F7
F8
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Disk & Hard Disk
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3•15
3. Specify the Save operation required (example,
Save All Song) then press ENTER to open the File
Selector.
4. Select an existing Block to save to or empty destination to create a new Block.
Save to an existing Block to backup your data
after a work session when the destination
Block and RAM block are of the same origin.
3
ENTER
TEMP
ESCAPE
Select an empty destination (shown as a broken line with .BLK extension) to create new
block.
4
5. Press ENTER.
If you selected an existing Block, the operation will proceed depending on specified command.
If you save to an empty location, you’ll be
prompted to create a new Block. Use the
keyboard and the numeric keypad as the
sources of alphanumeric data to give the
block a name (see Data Entry procedures in
chapter 1). The extension “.BLK” is created
automatically. Confirm the new name with
ENTER.
5/6/7
ENTER
TEMP
6. Press ENTER to confirm the Save operation.
The existing Block will be updated or the new
Block will be created and the file(s) will be
saved to the Block.
ESCAPE
ENTER
TEMP
Remember that if you save to an existing file,
it will be overwritten by the incoming one.
Whenever possible, try to save to an empty
location (shown as a broken line) to safeguard
existing data on the storage device.
ESCAPE
ENTER
DISK
H. D
7. When you have finished, press DISK (or ESCAPE
three times) to exit «Disk».
+
or
ESCAPE
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3•16 Reference Guide
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TEMPO / DATA
SAVE SINGLE
Save Single Performance
The Save Single command offers the following
possibilities:
Saves a single user-programmed Performance
(RealTime) to any of the 64 locations of the Performance Groups (1-8) on disk or Hard disk. The
incoming Performances overwrite those present
on the storage device.
Save Single Block
Saves the entire contents of RAM to disk or Hard
disk in a single step. Block data contains: a Setup
file, Sounds, Performances, ROM Style Performances, User Styles (and relative Performances)
and Songs (and relative Performances), all
housed in their respective Groups.
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©
Note: If you assign a new block the name
“AUTOLOAD”, you can load the Block into RAM
automatically on a future occasion by turning the
instrument on with the floppy disk inserted in the
drive. Naturally, only one Block with the name
“AUTOLOAD” can exist in a disk.
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Save Single Setup
Saves a Setup file to a Block on floppy disk or
Hard Disk. The Setup corresponds to the configuration of the instrument’s global parameters
(Edit General status) that determine how the
machine operates, regardless of the contents of
RAM. Saving a Setup file to a Block overwrites
the existing Setup file without affecting other data.
Only one Setup file can be saved in each Block.
You can create different Setup files for particular
occasions. For example, one for home sessions,
one for live shows, one for piano-bar work, etc.
Save Single User Style
Saves a single User Style and associated User
Style Performances to any location in the USER
Style Groups (1-4) present on disk or Hard disk.
Save Single Style Performance
Saves a single bank of up to 8 user-programmed
Style Performances. These Performances cannot be loaded to locations other than the original
source Style Performance bank. For example,
the Style Performances of Style 59 (U.S.Trad)
cannot be saved to any other location of the ROM
Styles.
If you attempt to save to a destination other than
the correct one, a user message will inform you
of your error with the following message:
Press ESCAPE to close the user message and
try again, this time selecting the correct destination.
Save Single Song
Saves Songs to disk one at a time. If you have
already loaded some MIDI Files to RAM, use this
procedure to convert the files to SK760/880 format songs.
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©
Hint: A Block can hold up to 16 Songs divided
into two virtual groups. If no empty locations are
shown, it means that the block is fully occupied. In
this case, either overwrite an existing Song that
you don’t mind losing, or close the Block with
ESCAPE, then select an empty location and press
ENTER to create a new Block.
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Single MIDI File
Saves a SK760/880 Song to disk (MS-Dos format) as a MIDI File in order to exchange the song
with other instruments or computers. SK760/880
saves Songs as SMF1 or SMF0 format MIDI files.
Set the “SMF Save Format” parameter in the
«General Set» function of «Edit MIDI».
If you want to save GM compatible MIDI files, set
the “General MIDI” parameter to ON in the «General set» function of «Edit MIDI».
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Disk & Hard Disk
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3•17
Performances are converted into track data (Bank
Select MSB and LSB, Program Change, Volume,
Pan, CC91 and CC93 for the depth of the effects).
If a Score is present, the text is converted into
Lyric events and the chord symbols into Text
events.
The save procedure is almost identical to «Save
Single Song». In this case you’ll see a list of files
in the destination directory with the .MID extension. In some cases, other names appear which
represent sub-directories containing other MIDI
Files. Empty locations are shown as a broken
line with the .MID extension. The .MID extension is attached to the original SK760/880 Song
name automatically.
Have an MS-DOS or Atari ST/Falcon format disk
ready. Use the «Format MS-DOS disk (1.44 Mb)»
and «Format MS-DOS/Atari (720 KB)» functions
in the «Utility» Disk page to format your new disks.
Save Single Sound
Saves single Ram-Sounds as well as RAM Sounds to disk or hard disk to build a library of
Sounds for future use. The «Save Single Sound»
procedure is characterized by an increased
number of steps, owing to the fact that there are
16 Sound Groups, each consisting of 8 Banks of
16 slots.
You can choose to save your Ram-Sounds anywhere you want, but it is recommended that you
save to the same location as the original RAM
position to facilitate future selection.
Bear in mind that the RAM-Sound will take the
ProgramChange number of the chosen destination, therefore, if you save 19-7 SwOrgan to, say,
destination 25-16, the Sound will be shown with
the new ProgramChange number on a future load
operation, not with the old.
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©
Note: You can also use the Sound Search
function to pass directly to a particular Sound and
sound Bank. The Sound Search procedure is
explained in detail on pages 3.33 & 3.34.
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3•18 Reference Guide
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SAVE MIDI FILE PROCEDURE (EXAMPLE)
1
1. Select SINGLE MIDI FILE from the main Save page
then press ENTER to gain access to the FILE SELECTOR.
ENTER
TEMP
2. Select the destination device (Floppy or Hard
disk).
Press soft button F1 to select the Floppy disk.
Press soft button F2 to select the Hard disk.
ESCAPE
3. Select the SK760/880 Song to save as a MIDI
file from the RAM directory and select a “.MID”
destination in disk.
2
F1
If necessary, enter a Block (or sub-directory
shown with the .<DIR> extension) to gain access to other MIDI File locations.
F2
F1
F2
You can create a new Block in the destination device as already discussed in the General Save procedure.
4. Press ENTER twice to start the conversion process.
3
4
TEMPO / DATA
ENTER
ESCAPE
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Disk & Hard Disk
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3•19
SAVE GROUP
The Save Group command offers a quick way of
saving a Group of 8 elements in a single step.
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If you attempt to save to a destination other than
the correct one, a user message will inform you
of your error with the following message:
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©
Warning: The Group currently on disk or hard
disk is overwritten by the incoming Group. If, for
example, the User Style Group you are saving
contains only one User Style, all User Styles of the
destination Group currently on disk will be cancelled
and replaced by the new Group. Be sure of the
contents of the Group data being overwritten before
proceeding.
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Save Group offers the following possibilities:
Save Group Real Perf
Saves a Group of Performances consisting of up
to 8 user-programmed RealTime Performances
to any Real Performance destination on disk or
hard disk.
Save Group User Style
Saves a Group of up to 8 User Styles (and corresponding Performances) to any User Group destination on disk or hard disk.
Save Group Song
Saves Songs as “virtual Groups” (Song Group 1
and Song Group 2 found in the Disk environment
only). Each virtual group corresponds to the first
8 or second 8 locations of the Song memory. The
left column corresponds to the virtual SongsGroup 1 and the right to Songs-Group 2.
Save Group Style Perf
Saves a Group of 8 Style Performance banks to
disk or hard disk, each bank containing up to 8
user-programmed Style Performances. Unlike
other Groups, the Style Groups cannot be
“switched” - they must be saved to their original
locations. For example, Group 8 (US. TRAD)
cannot be saved to any other location on disk
other than Group 8.
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3•20 Reference Guide
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Press ESCAPE to close the user message and
try again, this time selecting the correct destination.
SAVE GROUP STYLE PERFORMANCE (EXAMPLE)
1
1. Select GROUP STYLE PERFORMANCE from the
main Save page then press ENTER to gain access
to the FILE SELECTOR.
ENTER
2. Select the destination device (Floppy or Hard
disk).
Press soft button F1 to select the Floppy disk.
Press soft button F2 to select the Hard disk.
TEMP
ESCAPE
3. Select the destination Block then press ENTER to
gain access.
2
If necessary, select an empty location to create a new Block using the method already
discussed in the General Save procedure.
F1
F2
F1
4. Select the Group file from the RAM directory and
its destination then press ENTER twice to execute
the command.
F2
3
ENTER
TEMP
ESCAPE
4
ENTER
TEMP
ESCAPE
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Disk & Hard Disk
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3•21
SAVE ALL
Use «Save All» to save an entire set of file types
contained in RAM in a single step.
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©
Warning: Use “Save ALL” with care as this
procedure overwrites all data at the destination.
Be absolutely sure, therefore, of the file content in
disk before using the “Save ALL” procedures.
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The Save All procedure offers the following possibilities:
Save All Song: saves up to 16 Songs;
Save All Sound: saves an unspecified number
of Ram-Sounds and RAM -Sounds (16
Groups);
Save All Real Perf: saves 8 Groups of Real Performances;
Save All Style Perf: saves 12 Groups of Rom
Style Performance banks, each containing up to
8 Style Performances;
Save All User Style: saves 4 Groups of User
Styles (including all associated User Style Performances).
SAVE ALL SONG PROCEDURE (EXAMPLE).
1
ENTER
TEMP
ESCAPE
2
F1
1. Select ALL SONG from the main Save page then
press ENTER to gain access to the FILE SELECTOR.
F2
F1
F2
2. Select the destination device (Floppy or Hard
disk).
Press soft button F1 to select the Floppy disk.
Press soft button F2 to select the Hard disk.
3. Select the destination Block in the disk directory.
3/4
ENTER
If necessary, select an empty location to create a new Block using the method already
discussed in the General Save procedure.
ESCAPE
4. Press ENTER twice to start the saving procedure.
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3•22 Reference Guide
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TEMP
Erase operations
Use the Erase command to cancel files no longer
needed from a data storing device (Disk or Hard
Disk) or from RAM to make room for other files.
When you pass to the Erase page, you can
choose the device to erase data from with the
corresponding soft buttons:
• Floppy disk = F1
• Hard Disk = F2
• RAM = F3
The Erase File Selector does not operate between source and destination directories as in
the load and save file selector, but on a single
directory contained in the device you are cancelling files from.
The example which follows shows how to Erase
a single Song from RAM.
1/2
1. Press DISK to open the main Erase page.
DISK
H. D
+
If the main Erase page is not shown, use the
page scroll (
) buttons to open it.
2. Select the ERASE command required from the
main page.
3. Select the source device to erase from.
In this case, select the RAM option with soft
button F3.
If you are erasing from a floppy disk, insert
the disk into the drive and check that the
“Floppy Disk” option is selected (soft button
F1).
If you are erasing from the Hard Disk, select
the “Hard Disk” option with soft button F2.
3/4
F1
F2
ENTER
F3
TEMPO
4. Press ENTER to enter the file selector.
ESCAPE
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Disk & Hard Disk
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3•23
5. If necessary, select the Block containing the file
to erase then press ENTER to access the Block.
6. Select the file to erase.
5
ENTER
TEM
7. Press ENTER twice to erase the file from the directory.
ESCAPE
6/7
ENTER
ESCAPE
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3•24 Reference Guide
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TEM
Copy operations
Use the Copy command to copy a file from one
location to another within the same device, or from
the Hard Disk to floppy (bypassing the RAM) and
vice versa. The source file remains intact.
Models without a Hard disk can copy from floppy
to floppy or from RAM to RAM.
To copy a file from one floppy disk to another,
first load the file to RAM, then save it to the other
floppy.
The example which follows shows how to copy a
single Sound file from Floppy disk to Hard Disk,
and provides sufficient information which you can
apply to all Copy situations.
1/2
DISK
H. D
+
1. Press DISK to open the main Copy page.
If the main Copy page is not shown, use the
page scroll (
) buttons to open it.
2. Select the COPY command required from the
main page.
3. Select the source and destination devices with
soft buttons F1, F2 or F3 and directional arrows.
In this case, use the button to pass to the
source directory and, if necessary, select
Floppy Disk (F1).
Then use the button to pass to the destination directory and select the Hard disk (F2)
as the destination. Entering the Hard disk
for the first time takes some time, depending
on the number of files already present. A
“Please Wait” message appears during the
scanning period.
Selecting «Floppy disk» or «RAM» automatically assigns the same device to source and
destination.
3/4
F1
F2
F3
F4
F5
F6
F7
F8
ENTER
TEMPO / DATA
4. Press ENTER to enter the file selector.
ESCAPE
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Disk & Hard Disk
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3•25
5. If necessary, select the source Block containing
the desired file and press ENTER to gain access.
5
6. Select the File to Copy from the source directory.
7. Pass into the destination directory to select the
destination
ENTER
If necessary, select a Block in the Hard disk
and press ENTER to access then select a
destination.
TEM
ESCAPE
8. Press ENTER twice to copy the file to the destination.
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©
Note: It is not possible to copy a file to itself.
Attempting to do so prompts the following
message:
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Press ENTER or ESCAPE to close the window and repeat the operation by copying to
a different destination.
6/7
8
ENTER
ESCAPE
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3•26 Reference Guide
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TEM
Move operations
Use the Move command to shift a file from one
location to another within the same device, or from
the Hard Disk to floppy (bypassing the RAM) and
vice versa. This option cancels the file at the
source.
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© WARNING - Use the Move function only in
cases where the original file is to be cancelled.
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Models without a Hard disk can move files from
within the same floppy or within RAM.
To move a file from one floppy disk to another,
first load the file to RAM, then save it to the other
floppy.
The example which follows shows how to use
the Move operation within RAM (Move Single
Sound), and provides sufficient information which
you can apply to all Move situations.
1/2
1. Press DISK to open the main Move page.
DISK
H. D
+
If the main Move page is not shown, use the
page scroll (
) buttons to open it.
2. Select the MOVE command required from the
main page.
3. Select the source and destination devices with
soft buttons F1, F2 or F3.
In this case, select RAM as the device to work
in. Selecting «Floppy disk» or «RAM» automatically assigns the same device to source
and destination.
3/4
4. Press ENTER to enter the file selector.
F1
ENTER
TEM
F2
F3
ESCAPE
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Disk & Hard Disk
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3•27
5. If necessary, select a Block containing the desired file then press ENTER to access the Block.
6. Select the File to Move from the source directory.
7. Pass into the destination directory and select the
destination.
In this case, use the Page scroll
buttons to scroll through the Sound Groups and
the / directional arrows to scroll through
the individual Sound Group locations.
5
ENTER
TEM
ESCAPE
6/7
8. Press ENTER twice to Move the Sound file to the
selected destination.
The file at the original location (in this case,
19-7) is cancelled and moved to the new location (in this case, 17-8).
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©
Note: It is not possible to move a file to itself.
Attempting to do so prompts the following
message:
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Press ENTER or ESCAPE to close the window and repeat the operation by moving to a
different destination.
8
ENTER
ESCAPE
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3•28 Reference Guide
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TEMPO / DATA
Utility
After pressing DISK, use the page scroll
button to pass to the last two Disk pages: Floppy
Disk Utility and Hard Disk Utility.
These pages provide useful functions for disk and
hard Disk formatting and servicing.
FORMAT WORK DISK (1.62 MB)
This operation force-formats a 3.5” HD floppy disk
for SK760/880 use.
• Format Work Disk (1.62 MB);
This extended format procedure prepares the disk
with a capacity of 1.62 megabytes (compared with
the standard 1.4 of MS-DOS disks). This format
cannot be read by computers.
• Format Ms-Dos Disk (1.44 MB);
1. Insert a new floppy disk into the drive.
The Floppy Disk Utility page options include:
• Format Ms-Dos/Atari (720 KB)
You can also use a formatted disk, provided
that you are not interested in conserving its
contents.
• Change Disk Name
The Hard Disk Utility options include:
• Hard Disk Check-Recovery
2. Select «Format work disk (1.62 Mb)».
The following dialog window appears:
• Hard Disk Sleep Time
• Hard Disk Protection
• Hard Disk Back-up
• Hard Disk Restore
3. Press ENTER to start the formatting procedure.
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© WARNING:
All the Disk initializing procedures
cancel the entire contents of a used disk - be
absolutely sure that the contents include files that
you don’t mind losing.
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FORMAT MS-DOS DISK (1.44 MB)
Floppy Disk Utility page
This operation formats a 3.5” HD floppy disk in
MS-DOS format (capacity: 1.44 megabytes).
This format permits file exchange with computers running MS-DOS, Windows, OS/2, Macintosh, Atari, Amiga, and all computers capable of
reading MS-DOS format disks.
The procedure is identical to that described for
the «Format work disk (1.62 Mb)» operation.
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Disk & Hard Disk
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3•29
FORMAT MS-DOS/ATARI DISK (720 KB)
FORMAT HARD DISK
This operation formats a 3.5” DD floppy disk in
MS-DOS / Atari ST format (capacity: 720 kilobytes), suitable in particular for MIDI file exchanges.
The procedure is identical to that described for
the «Format work disk (1.62 Mb)» operation.
This operation formats the Hard disk and is used
in two cases:
1) as an essential operation after installing a
new Hard disk kit (if you install a Hard Disk
supplied by Generalmusic, do not format the
unit as it will contain factory loaded files);
2) when a rapid cancellation of the HD contents is required.
CHANGE DISK NAME
Use this operation to assign a name to a floppy
disk. Giving your disks a specific name allows
quick recognition of the contents during a search
through disks without labels. If you write the disk’s
name on the index label, you can reduce the
search times even further.
SK760/880 assigns a generic code name to disks
formatted with the Utility formatting procedures the name depending on the size.
For example, a 1.62 Mb work disk will be assigned
a code name such as the one shown below:
1. From page 6 of the “Utility page“, press the page
scroll button ( ) to page to page 7.
2. Select (if necessary) the «Format hard disk» function.
The following dialog window appears:
Use the standard name entry procedure to give
your disks a name.
Confirm the entry with ENTER or cancel with
Escape.
Hard Disk Utility page
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3•30 Reference Guide
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3. Press ENTER to confirm or ESCAPE to cancel.
2. Select «Hard disk check/recovery» .
The following dialog window appears:
As a security measure, a second confirmation request appears (for security reasons):
3. Press ENTER to start the recovery of the data.
Shortly after, another dialog window appears
similar to the one below:
4. Press the Soft button F1 (not ENTER) to start the
hard-disk format procedure, or ESCAPE to cancel.
HARD DISK CHECK/RECOVERY
This procedure can restore a damaged Hard Disk
to its original status. Damage to the Hard Disk
can be caused by:
• a power failure during a Save operation;
• physical defects of the disk.
In this case, the message shows no errors.
In cases where errors exist, make a note of
the numbers shown in the dialog window as
they are useful to provide information for technical assistance.
If the Hard disk is damaged, attempting to access it prompts a message similar to the following:
• Check version - Version of the test program and data recovery.
• Error found - Code relating to the error
found. “None” appears in cases where no
errors are encountered.
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© WARNING - Never turn off the instrument while
the Hard disk or disk drive are writing data (Save,
Copy, Move, Erase operations).
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Use the following recovery procedure as soon
as possible.
1. Enter «Edit Disk» and go to the «Hard Disk Utility» page.
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HARD DISK SLEEP TIME
To avoid hearing the noise caused by the rotation of the hard disk, you can set this parameter
to turn the hard disk off after an operation.
Options: Off (always on), 5 sec ... 60 sec.
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Disk & Hard Disk
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3•31
HARD DISK PROTECTION
HARD DISK BACKUP
As a safety measure to prevent unwanted file loss,
use the Hard Disk Protection function to protect
your hard disk
Note: All SK760/880 instruments with factory fitted Hard Disks leave the factory with the Hard
Disk Protection active.
In order to use the Save, Erase or Move operations on the Hard Disk, the protection must be
removed.
Select the Hard Disk Protection function and
press ENTER to activate the protection function.
Use the right/left cursor arrows to toggle between
the two options (Unprotect/Protect).
This option allows you to backup part or all the
Hard disk data to floppy disk in compressed or
decompressed form. By default, the “Compress”
option is selected.
At the end of a work session, always remember
to copy all newly elaborated data present on Hard
disk to floppy disks. Should the Hard disk suffer
damage and data loss, you will always be able to
recuperate the data from disks.
Press ENTER to save the selected status to
memory.
How to back up your Hard Disk data
1. Have some empty formatted data disks ready.
As a general rule, 1000 Kb of Hard Disk data
are compressed to approx. 50% of the original value in the case of Songs, and 30% in
the case of Sounds. Use this conversion to
calculate approximately how many disks you
will require to backup your data.
The size of each selected Block file is shown
at the bottom of the directory.
2. Select Hard Disk Backup and press ENTER to
activate the function.
Selecting this function opens a second level
display showing the Hard disk directory on
the left and a column on the right where you
can prepare a list of data to backup and compress.
The backup list can consist of Block files only,
not individual files normally found in a block.
Hard Disk not protected
Hard Disk protected
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Hard Disk Backup - list
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3•32 Reference Guide
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3. Prepare a list containing the block(s) to backup.
Select a Block with the Up/Down cursor arrows and press ENTER to insert it into the
list.
The cursor moves down to the next empty
location automatically.
Select All (F7)
Use Select All (F7) to select all the Block contained in the Hard disk
Execute (F8)
• Press EXECUTE (F8) to start the backup process.
After a short period, the unit is ready to
backup the data and a dialog appears requesting you to insert Disk n. 1:
Repeat the operation for other blocks
If you attempt to insert a Block that has already been inserted, an appropriate warning
is displayed. Press ESCAPE to cancel the
warning and select a different Block.
4. Press EXECUTE to start the backup process.
See EXECUTE below.
Overwrite (F1)
Select OVERWRITE (F1) if you want to overwrite
data on disks previously used for other backups.
• Insert a disk into the drive and press ENTER to
start saving to the disk.
When the Backup has finished, a message
is displayed saying:
This function is selected by default.
“Operation completed”.
Deselect this function if you want the backup
floppies to retain any data currently stored in
them.
If the Backup procedure requires more than
one disk, a dialogue appears requesting the
insertion of disk n. 2 and so on..
Compress (F2)
Select COMPRESS (F2) to compress the files of
the backup list.
This function is selected by default.
Delete (F5)
Select DELETE (F5) to cancel a block from the
list.
The Delete option does not cancel a Block from
the Hard Disk directory.
Reset (F6)
Select RESET (F6) to cancel a list containing two
or more Blocks in a single step.
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Disk & Hard Disk
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3•33
4. Prepare a list containing the block(s) to restore.
HARD DISK RESTORE
Use the HARD DISK RESTORE function to load
backup data from floppy disk back into the Hard
Disk.
Select a Block with the Up/Down cursor arrows and press ENTER to insert it into the
list.
How to restore backup data to the Hard disk
The cursor moves down to the next empty
location automatically.
1. Insert the Floppy disk containing the backup file
or files into the drive.
Repeat the operation for other blocks
2. Select Hard Disk Restore and press ENTER to activate the function.
The floppy disk may contain more than one
backup file (shown with the “.AR” extension),
If you attempt to insert a Block that has already been inserted, an appropriate warning
is displayed. Press ESCAPE to cancel the
warning and select a different Block.
5. Press EXECUTE to start the hard disk restore process.
When the Hard Disk restore procedure is finished, a message is displayed saying:
“Operation completed”.
3. Select the file to restore to the Hard disk and
press ENTER to confirm.
Confirming the backup file selection opens a
second level display showing the Floppy disk
directory on the left and a column on the right
where you can prepare a list of backup data
to decompress.
If the Hard disk restore procedure requires
more than one disk, a dialogue apppears requesting the insertion of disk n. 2 and so on..
Delete (F5)
Select DELETE (F5) to cancel a block from the
list.
The Delete option does not cancel a Block from
the Restore directory.
Reset (F6)
Select RESET (F6) to cancel a list containing two
or more Blocks in a single step.
Select All (F7)
Use Select All (F7) to select all the Blocks contained in the Restore directory.
Execute (F8)
Press EXCECUTE (F8) to start the restore process.
Hard Disk Restore - list
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3•34 Reference Guide
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Additional functions
This section explains the various options found
in the main Disk pages and in the File Selector,
some of which are permanent, others specific to
a particular command or disk page.
NEW FL. DISK (F5)
Updates the current directory after changing a
disk inserted in the drive, allowing the instrument
to recognize the disk change.
SAMPLE-RAM... (F8)
This option is active only if the instrument has
been installed with one or both optional Sample
RAM kits.
The Sample-RAM option, which appears in all
the main Disk pages except Utility, selects the
type of Sample-RAM required to access.
Pressing the F5 Soft button opens the following
dialog window:
Select the type of Sample-RAM with the cursor
buttons and press ENTER to confirm.
You can also see the new directory by closing
the «Edit Disk» environment with ESCAPE then
re-entering «Edit Disk».
FREE MEMORY (F6)
This option displays the amount of memory remaining in the floppy disk, Hard disk, SystemRAM, volatile Sample-RAM and in the Backed
Sample-RAM.
Once a RAM -Sound is loaded into memory, a
‘flag’ is applied to it to indicate which SampleRAM contains the sound’s associated sample.
When you save the RAM -Sound, the ‘flag’ is
retained in the disk. When you load the Sounds
again with the Load All Sound or Load Single
Block operations, the RAM
-Sounds are directed to the Sample-RAM indicated by the ‘flag’.
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© Note -
The samples saved in a Block with
successive Save Single Sound operations may be
too large to reside in the Backed S-RAM. In this
case, the instrument attempts to load all the
samples into the Volatile S-RAM. If in this case
also the samples are too large for the available
memory, the loading operation will be interrupted.
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Disk & Hard Disk
3•35
BLOCK RENAME (F7)
SEARCH RESOURCE (F4)
This option, which appears in all File Selectors,
allows you to modify the name of the selected
Block. Use the standard method of name entry
as described in the Data Entry paragraph in Chapter 1.
This option appears in all second level pages of
all Single File operations. The second level pages
are those that appear after confirming a File Selector selection.
BLOCK SIZE (F8)
This option, which appears in all File selectors,
determines the dimensions of the currently selected Block. The information appears under the
directory of the active File Selector.
The dimensions of the same Block residing in
RAM and in disk can differ by a few kilobytes,
due to the fact that some Setup data in RAM is
not saved to disk.
The Search Resource function is particularly useful if your instrument is fitted with a Hard Disk
containing a large number of files.
For example, if you do not remember in which
Block of the Hard disk you stored a user-programmed Sound, or you want to go directly to a
Block name without scrolling through the entire
Hard Disk contents, press the Sound Search option to open an insertion window where you can
specify a name.
The name can be of the particular file you are
looking for, or part of the entire name. For example, if your Sound name includes the word “organ” or a Block contains a particular sequence
of letters, you can search for all files which include the inserted name.
Press ENTER to start the search and the first
Sound which includes the written name will appear, showing its location:
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3•36 Reference Guide
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If the displayed file is not the one you are looking
for, use the “F7 to Previous” and “F8 to Next options” are required.
When you find the file you are looking for, press
ENTER to pass directly to the file location or
ESCAPE to abort the search operation.
SOUND SEARCH... (F7)
The Sound Search function appears in the third
level directory displays for the following operations:
• Load Single Sound;
• Save Single Sound;
• Erase Single Sound;
• Copy Single Sound;:
• Move Single Sound.
Sound Search will also inform you of the absence
a specified name by showing “Not Found”.
The function recalls the nearest Sound having
the string of characters specified in the active
zone.
1. Press Soft button F7.
The following dialog window appears:
2. Insert the string of characters that relate to the
Sound you are looking for.
2 or 3 letters are sufficient.
3. Press ENTER.
The cursor goes directly to the first Sound
found containing the specified characters.
SEARCH NEXT (F8)
This option recalls the next Sound on the search
list containing the string of characters specified
in the Sound Search option.
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Disk & Hard Disk
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3•37
General disk handling information
If you’re new to working with floppy disks and
are not sure as to how you should handle these
delicate accessories, please read this section for
some useful information.
Inserting a Disk into the disk drive
Floppy disks must be inserted into the disk drive
label side up and shutter first. Push the disk firmly
into the drive until it “clicks” into place.
The Write Protect Tab
Floppy disks contain a write protect tab which
allows you to protect valuable data from being
accidentally overwritten.
To prevent writing data to disk and so avoid accidental erasure, slide the tab fully down to “open”
the window.
To permit writing data to disk, slide the tab fully
up to “close” the window.
Disk not protected
Disk protected
Use a pen or other pointed object to set the tab
as shown.
Avoid forcing a disk into the drive and hold the
disk straight while inserting it.
Ejecting a Floppy Disk
Before ejecting a disk, make sure that the disk
drive operating led is off and that the SK760/880
display is not currently showing a “Loading” or
“Saving” message.
To extract the disk, press the eject button and
remove the disk.
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3•38 Reference Guide
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Handling Floppy Disks
When handling floppy disks, certain precautions
should be taken to avoid damage or data loss.
• Do not open the metal protection shutter or
touch the surface of a disk
• If your SK760/880 has to be transported,
make sure that a floppy disk is not inserted
in the disk drive. Vibration may cause the disk
drive head to scratch the disk, rendering it
unusable.
• Do not store or place floppy disks in close
proximity of television sets, computer monitors, loudspeakers, or other devices that are
potential sources of magnetic fields. Doing
so may render the disk unusable.
• Do not store or place floppy disks in locations subject to extremes of temperature and
humidity, direct sunlight, or excessive dust
and dirt.
• Do not place objects on top of a floppy disk.
• Return disks to their protective cases after
use.
Backup copies
Disk Drive Head Cleaning
At the end of a work session, always remember
to copy all elaborated data present on RAM or
Hard disk to Floppy Disks.
After a prolonged period of use, disk save and
load errors may become frequent due mainly to
dirty disk drive heads, indicating that the disk drive
head may need cleaning. This can be done using a good-quality fluid-type head cleaning kit for
3.5 inch (double-sided) disk drives. Do not use a
cleaning kit intended for single-sided disk drives.
Should you accidentally erase some files from
RAM, or should the hard disk suffer damage and
data loss, you will always be able to recuperate
the data from your disks.
It is advisable to keep backup copies of all your
disk data. “Backup” is technical jargon for “a second copy”. Backup copies stored in a safe place
are extremely important. Disks can become damaged or lost, so please backup your work.
1. Moisten the cleaning disk with cleaning fluid.
2. Insert the cleaning disk into the disk drive.
3. Execute a load function. An error message will
appear. This is normal.
4. After approximately 10 seconds, eject the disk.
Do not use the disk drive for about 5 minutes.
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Disk & Hard Disk
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3•39
Precautions to observe when using SK760/880
disks with a computer
In name write situations, the SK760/880 allows
file names of up to 10 characters, except the Block
which accepts 8, in compatibility with MS-DOS
and Windows 3.1 OS. Block files also include
the extension «.BLK». If your files are to be used
in MS-DOS devices (IBM PC’s and compatibles),
bear in mind the 8 character limit of these systems when naming your files.
In the Macintosh, OS/2 and Windows 95 systems,
file names can include more that 8 characters.
When a name is modified on a computer, the following rules should be remembered:
• do not change the Block file extension.
• avoid Block names longer that 8 characters.
• the maximum number of files in a Block cannot exceed the limit imposed by the SK760/
880 RAM.
• do not change the names of the permanent
files contained in the Blocks (e.g. the ROM
Style Group names). SK760/880 requires
standard names to recognize the structure
of the data.
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3•40 Reference Guide
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Furthermore, owing to some limitations of MSDOS, Windows 3.1 and Atari, it is essential to
bear in mind the following advice:
• do not insert spaces within a file name (e.g.:
«MY FILE.BLK»). To separate a name into
two parts, you can either:
1) separate two parts by the “underscore”
symbol (e.g.: MY_FILE.BLK»).
2) Use Uppercase (capital) letters for the first
letters of both parts of the name, lowercase
for the others (e.g.: «MyFile.BLK»).
• do not assign two files the same name using
uppercase and lowercase letters (e.g.
«MYFILE» and «myfile»).
The aspect of the Blocks are as folders (Macintosh, Atari) or sub-directories (MS-DOS, Windows, OS/2). Other sub-directories or folders can
be found in a Bloc.
• 4 Preload
THE PRELOAD FUNCTION
The Preload function is a background loading
facility which allows you to playback all the Songs
and/or MIDI Files contained in a floppy disk or
Hard disk with a single command, without having to load all the data to memory beforehand.
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©
Note: if the disk or Hard disk contains more
than one Block, only the songs contained in the
first Block will be played while those of other Blocks
are ignored.
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Furthermore, if the «Auto Preload» option is enabled, Preload loads a Song together with all associated RAM-Sounds and RAM -Sounds to
ensure the correct playback.
PLAYBACK ALL THE SONGS OR MIDI
FILES ON DISK
If you have a SK760/880 Songs disk, or have
purchased a MIDI File data disk, or your Hard
disk contains Song files, you can playback all the
files in a Block with a single command, without
having to load them to memory beforehand.
Preload plays back up to 16 Songs or MIDI files
one after the other.
1. Insert the disk into the disk drive and press
PRELOAD.
After short disk scanning period, the first Song
on the disk starts to play. During playback,
the background loading procedure for the
second song begins (the message
“Preloading Song” appears for an instant).
It is also possible to prepare a “Preload” list consisting of Songs and MIDI files, provided that both
files types are present on the source device
(floppy or Hard disk); you can select files from
different Blocks.
Playback continues non-stop until all the
Songs or MIDI Files on disk have been
played. During playback, the Song view page
is shown, where you can select a track and
set it to key-play in order to play along with
the Song. Use the << and >> buttons to advance or rewind the Song at will.
Playback stops automatically when the last
Song or MIDI File reaches the end.
2. During playback, press PRELOAD to enter the
Preload display.
Once you have entered the Preload display,
you will have access to the available options
using the corresponding Soft buttons F1…F8.
3. Press STOP at any time during playback to stop
the current song and return to the Song view
page.
This will, however, cancel the Preload operation.
Preload: Song or MIDI File playback from disk
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Preload 4•1
Create a Preload list
1. If the Preload window is not showing, press
PRELOAD with a disk inserted in the drive,
press PRELOAD again then press RESET
LIST (F4).
Reset List cancels all the Songs from the
current list and stops playback instantly.
The PRELOAD window shows the Songs or
MIDI files disk directory on the left, and the
destination directory on the right, represented
by the Preload list.
2. If necessary select the source device using
the Soft buttons F1 («Floppy disk») and F2
(«Hard disk»).
3. Select the type of file to include in the list using the soft buttons F5 («SONG») and F6
(«SMF», Standard MIDI File).
4. Use the cursor buttons to select the Song or
MIDI file to include in the list and press ENTER. The selected file is added to the first
available space in the list and the destination
frame moves one step forward.
Return the cursor to the right again and select an empty location for the next file on the
list. Return the cursor to the left to select the
next file and continue as before until your list
is complete.
You can fill the list in a single step using the
«Select All” function (F7).
7. Press F8 («Play») to start the playback of the
Songs in the list.
During playback, the Song View page is
shown. You can select a track and set it to
key-play in order to play along with the Song.
Use the << and >> buttons to advance or rewind the Song at will.
Press STOP only if you want to stop playback, otherwise you will cancel the Preload
operation.
If the disk contains more than one Block,
press ESCAPE to exit from the current directory, select another block and press ENTER
to gain access.
5. Select other files and press ENTER each time
to include them in the list.
©
IMPORTANT: If you are working from
Floppy disk, do not extract the disk during the file insertion procedure; doing so
will provoke the cancellation of the list.
6. If you want to change an inserted file, take
the cursor over to the right of the display,
select the file that needs replacing, return the
cursor over to the left, select the file to insert
and press ENTER.
Preload display showing a list of 8 Song files
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4•2 Reference Guide
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The Preload functions
FLOPPY DISK (F1)
SMF (F6)
Selects the floppy disk. The list on the left corresponds to the disk directory showing the files contained in the disk (Block files or Song/SMF files).
The files that appear depend on whether the
SONG (F5) or SMF (F6) option is selected.
When this option is selected, the left part of the
display shows the MIDI files contained in the disk,
identified by the extension ‘.MID’, together with
any other sub-directories present (shown with the
.<DIR> extension).
HARD DISK (F2)
SELECT ALL (F7)
Selects the Hard disk (if installed). The list on
the left corresponds to the Hard disk directory
showing the files contained in the disk (Block files
or Song/SMF files). The files that appear depend
on whether the SONG (F5) or SMF (F6) option is
selected.
Selects all the files shown in the left part of the
display and inserts them directly into the list. The
list can contain a maximum of 16 files.
If the SMF option is selected, Select All inserts
all MIDI files present in the current directory. The
list will show the Song names without the .MID
extension.
AUTO PRELOAD (F3)
When this option is selected (negative highlight),
Songs are loaded into memory together with all
associated RAM-Sounds and RAM Sounds. If
there is not sufficient memory in RAM to accept
the associated Sounds, ROM Sounds will be used
instead and the Song may playback incorrectly.
If the Auto Preload option is not selected, the
Songs associated RAM-Sounds and RAM
Sounds will not be loaded.
PLAY (F8)
Starts the playback of the Songs contained in the
list, after a short period. If the songs shown originate from Midi files, the preloading period takes
more time due to the conversion process.
During playback, you can advance or rewind the
Song using the << and >> buttons. You can select one or more tracks, set them to key-play and
play along with the Song. It is not possible, however, to select the Song-Performances.
RESET LIST (F4)
To stop the playback, press the STOP button.
Cancels the current list and stops the playback
instantly.
The instant you start the playback, all Songs currently residing in memory are cancelled, except
the one currently playing.
SONG (F5)
Preload exploits the Song memory locations 1
and 2 for playback and stand-by of the background loaded files.
When this option is selected, the left part of the
display shows SK760/880 or WX/SX format
Songs only.
If the «Auto Preload» option is selected, a Song
will load with its associated RAM Sounds and
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Preload 4•3
RAM -Sounds contained in the Block housing
the Song. If there is not sufficient memory in RAM
for the operation, the Song will play incorrectly
using ROM-Sounds.
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© Hint: When the samples of a Song are loaded,
the Auto Preload utilizes the free Sample-RAM,
then starts to substitute the samples of the Song in
playback with the samples of the new Song. At a
certain point, the Song in playback will start to play
incorrectly. It is advisable, therefore, to avoid using
an excessive amount of samples (not more than
half the available Sample-RAM).
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4•4 Reference Guide
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• 5 Selection/Help
Selection
Name of the selected
Performance group
SELECTING PERFORMANCES
Panel selection
Panel selection is preferable when playing live.
If the STYLE LOCK button is off, selecting Performances from the Performance Groups also
changes the Style, the Variation and Tempo.
1. Press one of the PERFORMANCE GROUPS
buttons to open a «Select Performance» window.
2. Select a Performance with the corresponding Soft button.
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Performance (selected with the
corresponding Soft button)
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© Note: When you select a Performance, SK760/
880 sends CC00 [value 48]-PC messages in rapid
succession on the Common Channel . The
BankSelect, ProgramChange, Volume and Pan
messages of the tracks are sent on the normal
MIDI channels.
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Selection via MIDI
SK760/880 must receive the relative selection
messages on the Common Channel. Send Control Change 00 (value = 48) and Program Change
messages in rapid succession to SK760/880.
Message...
selects...
CC00 [48] - PC [0...7]
Performance 1...8
CC00 [48] - PC [8...15]
Performance 9...16
...
CC00 [48] - PC [56...63]
Performance 57...64
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Selection/Help 5•1
SELECTING STYLES
Selecting Styles via MIDI
Panel selection
SK760/880 must receive the relative selection
messages on the Common Channel. The Common Channel is set in «Edit MIDI »
1. Press one of the STYLE GROUPS buttons
to open a «Style Select» window.
2. Use the Page scoll buttons (
) to pass to
the second bank of Rom Styles or to return
to the first bank.
3. Select a Style with the corresponding Soft
button.
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©
Note: When you select a Style, SK760/880
sends CC00 [value 32, 33 or 44]-PC messages in
rapid succession on the Common Channel . The
BankSelect, ProgramChange, Volume and Pan
messages of the tracks are sent on the normal
MIDI channels.
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To select ROM Styles, send Control Change 00
(value = 32) and a Program Change.
To select USER Styles, send Control Change 00
(value = 44) and a Program Change.
Message..
selects...
CC00 [32] - PC [0...15]
8 BEAT - Style 1...16
...
CC00 [32] - PC [112..127] US.TRAD - Style 113...128
CC00 [33] - PC [0…15]
TRAD 1 - Style 129…144
…
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CC00 [33] - PC [48…63] LATIN 2 - Style 177…192
Recalling Styles by selecting the Performances
If the LED of the STYLE LOCK button is OFF
when you select a Performance, you also recall
a Style, Variation and Tempo. If STYLE LOCK is
ON, the current Style rests unchanged when you
select a Performance.
As well as track data (Bank Select, Program
Change, Volume, Pan) the Programmable Performances memorize (a) the selection of a Style,
(b) the selection of a Variation of the Style, (c)
the Tempo.
CC00 [44] - PC [0...7]
USER 1 - Style 1...8
...
CC00 [44] - PC [24...31]
USER 4 - Style 25...32
Name of the selected
Style Group
1. Deactivate the STYLE LOCK button.
2. Press one of the PERFORMANCE buttons
of the PERFORMANCE GROUPS to open a
«Select Performance» window.
3. Select a Performance with the corresponding Soft button. The memorized Style and
Variation will be recalled.
Style (select with the
corresponding Soft buttons)
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5•2 Reference Guide
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SELECTING STYLE-PERFORMANCES
Panel selection
To select a ROM Style-Performance or a User
Style-Performance, the Single Touch Play button should be on. If this button is not on, selecting a Style Performance sets S.T. PLAY to on
automatically.
STYLE P.
1. In Style mode, press the STYLE.P button to
open the «Select Style-Performances» window.
2. Select a Style-Performance with the corresponding Soft button.
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©
Note: When you select a Style-Performance,
SK760/880 sends CC00 [value 36 or 40]-PC
messages in rapid succession on the Common
Channel. The BankSelect, ProgramChange,
Volume and Pan messages of the tracks are sent
on the normal MIDI channels.
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©
Note: If a Style-Performance is selected in
record mode, the selection number specified is
recorded in the Master Track.
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SELECTION VIA MIDI
Style Performances (select with
the corresponding Soft button)
To select a Style-Performance (ROM or User) via
MIDI, the selection message must be sent to
SK760/880 on the Common Channel. Send the
Control Change 00 [Value 36 for ROM, value 40
for User] and a Program Change message in
rapid succession.
Message...
selects...
CC00 [36] - PC [0...7]
ROM Style-Perfs 1...8
CC00 [40] - PC [0...7]
User Style-Perfs 1...8
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Selection/Help 5•3
SELECTING SOUNDS
Recall Sounds by selecting Performances or Styles
Refer to the previous sections relating to the selection of Performances or Styles.
While playing, Sounds are instantly recalled by
selecting Performances or Styles. Program your
Performances or Style-Performances accordingly
before you play.
Name of the selected
Sound Group
Panel selection
1. Press one of the SOUND GROUPS buttons
to open a «Sound Select» window.
2. Scroll through the Banks with the
buttons. The Bank number corresponds to the
Control Change 00 MIDI message (CC00/
BankSelect MSB).
3. Select a Sound with the corresponding Soft
button.
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ProgramChange
©
Note: When you select a Sound, SK760/880
sends CC00-CC32-PC messages in rapid
succession on the MIDI channel assigned to the
track.
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CC00/BankSelect MSB
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Selecting with the Numeric keypad
It is possible to specify a Sound selection message on the numeric keypad (EDIT/NUMBERS
section). This section can send a MIDI message
consisting of Control Change 00 (CC00/
BankSelect MSB), Control Change 32 (CC32/
BankSelect LSB), ProgramChange (PC) to an
external unit connected to the SK760/880 MIDI
OUT.
To select a SK760/880 Sound, it is sufficient to
specify the message CC00-PC. The CC32 message can be ignored.
The keypad insertion zone will close automatically after a few seconds of inactivity.
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5•4 Reference Guide
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Bank (select it
)
with
Keypad selection procedure
1. Select the track to which a Sound is to be
assigned.
2. Press KEY PAD (LED on) to activate the
EDIT/NUMBERS section as a numeric
keypad. An insertion zone opens in the display showing the number of the current sound
assigned to the track.
3. Specify the Program Change number of the
Sound to select.
If the Sound belongs to a different Bank, add
a separating hyphen (symbol «-») followed
by the corresponding bank number
(BankSelect MSB).
In MIDI situations, if necessary, add another
separating hyphen and a BankSelect MSB
number (not for SK760/880 internal Sounds).
4. Confirm the entry with KEY PAD or ENTER,
or press ESCAPE to cancel the entry. The
LED on the KEY PAD button goes off.
5. Press STORE PERF followed by ENTER to
memorize the modification to the current Performance.
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Insertion Zone
CC32/BankSelect LSB
CC00/BankSelect MSB
PC/ProgramChange
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©
Note: Sound selection messages are
transmitted and received via MIDI in the order
CC00-CC32-PC with the ProgramChange last. For
practical purposes, the reverse order has been
adopted for the panel selection procedure, given
that the ProgramChange on its own is sufficient to
select all the Sounds of the current Bank.
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When working with an external sequencer,
messages must be entered in the order CC00CC32-PC. If it is intended to select only the
SK760/880 Sounds, the PC32 part of the message
can be ignored.
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PC/ProgramChange
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CC00/BankSelect MSB
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Selection/Help 5•5
Selection via MIDI
The Sound selection message must be received
on the MIDI channel assigned to the track to which
the Sound is assigned.
To select a SK760/880 Sound, you must send a
Control Change 00 (CC00/BankSelect MSB) and
Program Change (PC) message.
The relative numbers are also displayed in the main
page (Multi mode) and the selection window that
appears when you select a SOUND GROUPS
button.
The Sound table in the Appendix lists all the
SK760/880 Sounds and corresponding MIDI selection messages.
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5•6 Reference Guide
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SELECTING SONGS
Panel selection
Selecting a Song sets SK760/880 to Song mode.
1. Press the SONG button to open the «Select
Song» window.
2. Select a Song with the corresponding Soft
button.
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©
Note: When you select a Song, SK760/880
sends CC00 [value 55]-PC messages in rapid
succession on the Common Channel . The
BankSelect, ProgramChange, Volume and Pan
messages of the tracks are sent on the normal
MIDI channels.
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Song (select with the
corresponding Soft buttons)
SELECTION VIA MIDI
SK760/880 must receive the relative selection
messages on the Common Channel. Send Control Change 00 (value = 55) and Program Change
messages in rapid succession to SK760/880.
Message..
selects...
CC00 [55] - PC [0...15]
Song 1...16
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Selection/Help 5•7
SELECTING SONG-PERFORMANCES
Panel selection
To select a Song Performance, SK760/880 must
be set to Song mode.
F1
1. Press the SONG P. button with the F4 Soft
button to open the «Song-Performance» selection window.
2. Select a Song-Performance with the corresponding Soft button.
F2
F3
F4
F5
F6
F7
F8
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©
Note: When you select a Song-Performance,
SK760/880 sends CC00 [value 64]-PC messages
in rapid succession on the Common Channel..
The BankSelect, ProgramChange, Volume and
Pan messages of the tracks are sent on the normal
MIDI channels.
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©
Note: If PLAY or STOP are pressed, the SongPerformance recorded in the Song is recalled (the
initial one or the most recent one). All temporary
modifications will, therefore, be cancelled.
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©
Note: If a Song-Performance is selected in
record mode, the selection number specified is
recorded in the Master Track.
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SELECTION VIA MIDI
To select a Song-Performance via MIDI, the selection message must be sent to SK760/880 on
the Common Channel. Send the Control Change
00 [Value 64] and a Program Change message
in rapid succession.
Message...
selects...
CC00 [64] - PC [0...7]
Song-Perfs 1...8
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5•8 Reference Guide
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Song-Performance (select with
the corresponding Soft buttons
Display Hold
Effects Off
You can select items from a selection display without closing the selection window by pressing the
D. HOLD button.
You can choose to select and play your Performances, Styles and Songs without the programmed
effects by activating the EFFECTS OFF button.
The LED of the button turns on to indicate the
activation of the function.
The LED of the button turns on to indicate the
activation of the function. When the LED is on,
the effects are bypassed and the current Performance, Style or Song plays “dry” (i.e. without effects).
CONTRAST
UNDO
HELP
D. HOLD
KEY PAD
EFFECTS
BYPASS
D. HOLD remains active (LED on) until the button is pressed again.
Use ESCAPE to close the current selection window without deactivating D. HOLD.
EFFECTS OFF remains active (LED on) until the
button is pressed again.
Use Display Hold when selecting Sounds, Styles,
Programmable Performances and Songs.
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Selection/Help 5•9
Help
SK760/880 incorporates an on-line-help system
which provides brief information on the basic functions of the instrument. This feature is particularly helpful if you get stuck and do not have access to the owner’s manual at the time.
Also incorporated is a PANIC function which helps
to unlock the instrument in MIDI situations.
Generally, pressing HELP opens a page showing information regarding the currently set mode.
Therefore, if you are in Style/Performance mode,
press HELP to get information concerning the
default situation (main page).
Similarly, if you are currently working in one of
the Edit environments, (Edit Effects, for example), press HELP to get information on the Effects section.
Some Help pages consist of a General information page and one or more ‘Detail’ pages which
provide detailed information regarding the current topic.
HOW TO USE HELP
1. Press the HELP button when you want general information regarding the current mode.
A GENERAL page will open showing information regarding the current operating mode.
2. If available, press DETAILS (F7/F8) to open
a sub-page with specific details concerning
the current help topic.
Depending on the current mode, a NEXT
page (F3/F4) may or not be available.
Once you have entered a NEXT page, the
PREVIOUS option (F1/F2) will be available.
Options not available will be shown with broken lines.
3. To return to a GENERAL page, press F5/F6.
4. To pass to another HELP topic, regardless of
the current operating mode, press NEXT (F3/
F4) or PREVIOUS (F1/F2).
5. Press ESCAPE to close the current HELP
page.
Help - General Default - main page information
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5•10 Reference Guide
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Help - EDIT Midi - Details information
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• 6 Songs, MIDI files & Song recording
ABOUT SONGS
A Song is a multitrack recording of several instrumental parts, each corresponding to a track.
SK760/880 can load Songs from disk in its own
format (Song), in previous compatible formats
(WK, SK, PS, WX, SX), in standard MIDI file format 0 or 1 and in Tune1000™ format.
SK760/880 Songs are ‘free’, that is, tracks can
be recorded starting from any point, without start
or end segment limitations, which characterize
most sequencers. Your recorded Songs can also
be saved as MIDI Files.
Tracks contain MIDI events, that is, notes and
control data. Control data can include PitchBend
and Aftertouch messages, ProgramChange and
BankSelect messages for sound changes,
ControlChange messages to control the effects
sends, Sustain pedal and other control parameters. MIDI events recorded on tracks are not
the internal Wave sounds, but messages which
activate the SK760/880 internal sound generator or an expander controlled by SK760/880. A
Song is a MIDI event list – a list for each track.
General control messages are recorded in the
Master Track. These messages relate to the instrument in general, such as effects change or
Performance selections.
ABOUT STANDARD MIDI FILES
A Standard MIDI File is a storage format created
to maintain data compatibility among different devices complying with the Standard MIDI File format. This format allows Songs to be exchanged
between different instruments and computers. If
you save your recorded Songs as MIDI files on
an MS-DOS disk, you can be certain that all the
most recent generation of instruments and
sequencers/computers will be able to load and
read your SK760/880 Songs.
General MIDI
To facilitate compatibility between different makes
of instruments, MIDI files should be in General
MIDI standard, a common platform for sounds
and the way they are selected. General MIDI
stipulates common standards regarding the listing of sounds, Program Change numbers for
sound selection, the percussive sound configuration in the Drumkits, the assignment of MIDI
channel 10 to the Drumkits, a minimum polyphony
(24) and a maximum number of tracks (16).
In SK760/880, Sound Banks 1 and Drumkit Bank
2 are fully GM compatible. SK760/880 recognizes
GM compatible MIDI Files, thanks to a messages
contained in the MIDI File (General MIDI ON flag).
If this message is not detected, sounds that differ
to a Drumkit may be assigned to MIDI channel 10.
To ensure correct loading of GM compatible MIDI
files that do not contain the General MIDI ON flag,
be sure that the General MIDI parameter is set
to ON in the “General Set” parameter of «Edit
MIDI» before loading.
SK760/880 can save GM compatible MIDI Files
when the General MIDI parameter is set to ON.
MIDI Files loaded into the SK760/880 memory
are converted to SK760/880 Songs.
GMX format
GMX refers to the “General MIDI eXtended” format, specifically created by Generalmusic, which
renders the first three sound banks of the SK760/
880 with previous series instruments (WK, SK,
PS) completely compatible.
To program SK760/880 Songs that are perfectly
compatible with all WK, SK, PS Series instruments, use the Sounds of the first three Sound
banks and record the Songs using 16 tracks only
(MIDI channels A1…A16).
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Songs 6•1
SONG-PERFORMANCES
Song Playback/Jukebox
Normally, Sound change messages
(ProgramChange and BankSelect) are inserted
in the single track. Effects change messages are
inserted in the Master Track.
Using the Song-Performance is an alternative and
rapid method of changing Sounds and Effects.
Song-Performances instantly reset the instrument, therefore, they are very useful during a real
time Song recording.
Generally, when programming a Song from an
external computer, it is convenient to insert all
the messages in the tracks, while during a real
time Song recording, it is better to program several Song-Performances and select them during
the recording. The selection message is recorded
in the Master Track as a ProgramChange.
Each Song contains up to 8 Performances, which
are loaded and memorized with the corresponding Song.
When a MIDI file is saved, Performances are converted in track data (ProgramChange, Pan, Volume, effects send).
To select Song Performances, refer to the Selection chapter of the Reference Gide.
PROGRAMMING SONG-PERFORMANCES
The method used to program Song-Performances is identical to that used for the Performances of the Performance Groups (Real). Refer
to the Store Performance procedure discussed
on page 2.38 in the Quick Guide.
A Song has a maximum of 32 tracks.
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© Note: After having programmed or modified a
Song-Performance, press STORE PERFORMANCE to save it to RAM. The selection of another
or the same Performance or pressing STOP and
PLAY, will erase the modifications.
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6•2 Reference Guide
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SEQUENCER
SCORE
SONG
STOP
PLAY
Song playback
control buttons
PLAYBACK CONTROL BUTTONS
The buttons which control the playback of Songs
in memory are in the SEQUENCER section.
PLAY
This button starts the Song playback (or recording). During the playback, the LED on the PLAY
button is on. The location (LOC) in the display
shows the current position of the Song. If the
Song is not playing, pressing PLAY starts the
Song from the current position.
<</>>
The << and >> buttons rewind or advance one
measure (bar) at a time. If you hold these buttons pressed, the Song rewinds or advances at
high speed. These buttons are active either in
Song play or stop status.
During playback, the DIAL changes the Song’s
playing speed (tempo).
STOP
This button stops the Song playback (or recording). When the Song has been stopped at a position that differs to the initial Song start position,
the LED on the STOP button flashes. When the
Song is not playing and at its initial starting position, the LED on the STOP button remains on.
«Play view» parameters
The main page of Song mode («Play View») contains position pointers and performance control
parameters.
SONG VIEW/PLAY VIEW
You can opt to see the Song in «Play View» mode
in order to modify the playing parameters, or in
«Sound View» mode in order to see the sounds
assigned to the tracks of the current Song-Performance. You can pass from one mode to another by pressing the corresponding Soft button
(F5 or F6).
Tempo
Metronomic Tempo. The value represents the
playing speed (beats per second) at the current
song position. During the playback, the Tempo
can be modified with the DIAL.
The [i] or [e] symbols, shown after the tempo value,
are an indication of the status of the synchronizing
MIDI clock: [i] = internal (SK760/SK880) or [e] =
external (external sequencer connected to the
SK760/SK880 MIDI IN). The synchronization is
programmed in «Edit MIDI», «General settings»
page.
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©
Note: The starting tempo can be changed by
modifying the Master Track in «Edit Song», or by
using the DIAL in «Play View». The selected value
remains in memory.
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Locator (Song position pointer)
This section shows the current Song position
expressed in measures and beats. When the
Song is not playing, the Locator can be modified
in the «Play View» page in order to select a starting point for the playback. It can be also modified with the [<<] and [>>] buttons regardless of
the status of the sequencer (playing or off).
Locator (programmable)
«Sound View» page
Repeats the same information of the locator
shown in the status bar, but also contains the
sequencer resolution (or ‘tick’).
When the sequencer is off, the three parts can
be individually modified (if selected) by rotating
the DIAL.
Play/Rec mode
There are three Play or Record options to choose
from:
•
Linear: the Song starts at the point indicated
by the locator and stops at the natural Song
end.
«Play View» page
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Songs 6•3
•
Forced stop: the Song starts at the point indicated by the locator and stops at the specified End.
•
Loop: the Song starts at the point indicated
by the locator, stops at the End, then repeats
from the Starting point. The loop repeats continuously until stopped with the Stop button.
Play view Soft buttons
JUKEBOX... (F1)
Recalls the Jukebox function (explained afterwards).
Start
OPTION... (F2)
Determines the start measure and can be modified only if the Play mode is set to «Loop». If
Loop is selected, this parameter indicates the
starting point of the loop. Modify this parameter
when it is in a selected state, or when the Song
has already been recorded, by rotating the DIAL.
Metronome options.
Countdown - activates a one measure lead
into the recording of a sequence during which
events cannot be captured. Options: On, Off.
Metr. volume - Sets the metronome volume.
Options: Off, 10...127.
End
Determines the end measure and can be modified only if the Play mode is set to «Forced stop»
or «Loop». If Loop is selected, this parameter
indicates the point at which the sequence ends
before looping back to the Start locator. If Forced
stop is selected, it indicates the automatic Stop
point.
This parameter can be modified when it is in a
selected state by rotating the DIAL.
Time Signature (programmable with an empty
Song)
This parameter can only be modified before recording the Song.
Start Tempo (programmable when the Song is off)
Determines the starting tempo of a Song. This
parameter can be modified when the Song is off.
The value of the setting is recorded in the Master
Track, as the Start Parameter.
Song memory (not programmable)
Shows the Song dimensions expressed in Kilobytes. Each Song is limited to 400 kb of memory,
independent of the memory remaining in the System RAM.
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6•4 Reference Guide
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SOUND VIEW (F5)
Recalls the «Sound View» page, where you can
see and change the sounds of the current Performance.
PLAY VIEW (F6)
Recalls the «Record View» page, where you can
control the record/playback parameters.
ERASE... (F7)
Track or Song erase parameter.
Track- Cancels the selected track.
Song - Cancels all tracks (all Song) leaving
an empty Song, ready to start another recording.. The Song-Performances are not cancelled.
METRONOME (F8)
Activates/deactivates the metronome.
Jukebox Soft buttons
Delete (F4)
Removes a selected Song from the Jukebox list.
Insert (F5)
Inserts the Song selected in the left part of the
display into the Jukebox list on the right, moving
the names which follow afterwards one step forward. This command can be used instead of
ENTER to insert a Song without cancelling another at the same location.
Reset list (F6)
Removes all the names from the Jukebox list.
All Song (F7)
Includes all the Songs contained in memory to
the Jukebox list. An existing list will be cancelled
and substituted with the new.
Execute (F8)
Starts the playback of the Jukebox. Once
pressed, this button appears in the Play View
page of the Song.
To stop the playback of Jukebox press STOP.
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Songs 6•5
Recording a Song
SK760/880 offers two principal Song recording
methods: Quick Rec and Record.
Quick Rec recording
The “Quick Rec” method exploits existing Styles
in order to record your keyboard tracks with automatic accompaniments. This method is a quick
and easy way of recording which does not involve
the more advanced options common to the more
traditional Song Record method explained afterwards. The Quick Rec method is an excellent
way of recording backing tracks for vocalists.
Record method
The more traditional “Record” method allows you
to record one track at a time and does not exploit
existing structures.
For example, to record a Drum track, you must
build the drum accompaniment note for note using the individual percussive instruments of a
Drumkit assigned to one of the tracks.
3. Select a Style and set the accompaniment
controls (MIXER LOCK, TEMPO LOCK, ARRANGE ON/OFF, ARRANGE MEMORY,
LOWER MEMORY, ARRANGE MODE OPTIONS).
4. Program the Performance as required and
save the changes with STORE PERFORMANCE.
5. If necessary, activate KEY START, INTRO,
FILL or ENDING.
6. Press START/STOP to start the recording.
The PLAY button activates automatically.
7. Play the keyboard sounds with the automatic
accompaniment, using the Fills and Intro at
will.
8. Conclude your song (use the Ending).
9. Press STOP. The LED on the RECORD button goes off. At this point it is possible to
modify the song recording in «Edit Song», or
to record other tracks using the normal
Record method described on the next page.
THE QUICK REC METHOD
(N.B. See also page 2.50).
1. Press SONG to open the «Songs» dialog
window and select a free location (User).
2. Select the QuickRec option from the «New
Song» dialog window by pressing the soft
button F2.
The RECORD LED lights up and the Quick
Record page activates showing a negative
highlight page.
A new Song and Song Performance is created based on the starting Performance (if
modifications were previously applied, entering record mode saves the modifications to
the new Song-Performance).
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6•6 Reference Guide
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tracks
«QuickRecord» page
menu
The Record method
• Press F2 («Option»)
to open the «Option»
dialog window where
you can program the metronome and countdown options. Press ENTER to confirm the
settings.
PREPARATION
1. Press SONG. In the «Select Song» dialog
window and select an empty location (User see display example below).
2. In the «New Song» dialog window, select the
Record option.
3. The LED of the RECORD (ST/SONG) button lights up and the display shows the
«Record View» page for Song mode in negative highlight.
• Press F3 («Controls
rec...») to activate or
deactivate the recording of the Tempo,
Pedal Volume, Effect
Change events. Press
ENTER to confirm the settings.
5. Select and program the initial Song parameters:
• «Time Signature» to modify
the time signature (metronome).
4. Program the recording options.
• «Tempo» to
modify the playing
speed.
• Press F1 («Rec
Mode») to open the
«Rec Mode» dialog
window, select the
mode required and
press ENTER to confirm.
free locations
«Select Song» window
Song name
Song-Performance name
locator
(measure
counter)
Tempo
tracks
menu
Song Mode - Record View display
(record/play parameters display)
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Recording a Song 6•7
6. Select
the
«Quantize» parameter to modify the prequantization (auto-correction of timing errors)
during the recording phase.
7. If necessary,
select «Play/
Rec Mode» to
alter the Song Play/Rec mode:
• The Linear option causes the Song to play
or be recorded once only, from the beginning
to the point at which you press STOP.
• The Forced Stop option causes the song
to play or be recorded from the specified start
locator to the end locator.
• The Loop option allows you to play or record
in a cyclic manner from the Start point to the
End point.
8. If
necessary,
modify the Start
and End locators.
These parameters can be modified only if the
Song contains recorded data (it will not be
possible to specify the measures if no recorded events exist).
The Start locator can be modified only when
the Play/Rec mode is set to Loop. The End
locator can be modified only if the Play/Rec
mode is set to Forced Stop or Loop.
Song Mode - Sound View display
(Sounds display)
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6•8 Reference Guide
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9. Select the track(s) to record and set it (them)
for recording. Only tracks marked by the
record icon will capture data and be heard:
To place all the tracks in record, press F4
(«Select all tracks»). All the tracks will be
activated for recording and the parameter
changes to «Deselect all tracks».
10. To change sounds, select the «Sound View»
option by pressing F5.
After assigning your Sounds, save the Performance with STORE PERFORMANCE.
Press F6 («Rec View») to return to the «Rec
View» page.
11. Activate the metronome with F8 («Metronome»).
RECORDING
UNDO
1. Press PLAY to start the recording. If Countdown is ON wait for the countdown to finish
before playing (events are not recorded during the countdown phase).
If, during the recording phase, you want to cancel the last performed recording task, use UNDO
to cancel the last performed task. The UNDO
button is located to the right of the display, just
after the Contrast knob.
2. Start to play after the countdown. Events will
be recorded in the track or tracks active for
recording.
3. When you have finished, stop the recording
with STOP.
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©
Note: Pressing STOP twice rewinds the Song
back to the beginning.
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For example, after adding new events to an existing drum pattern, you might want to return to
the original pattern and just cancel the new
events. A quick an easy way is to use UNDO.
Just press UNDO and confirm the request with
ENTER or cancel with ESCAPE.
1. If, after recording a track, you wish to return
to the previous situation, press UNDO.
4. To add additional events to the same tracks,
press STOP again to take the song pointer
to the starting point and repeat points 1 - 3.
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UNDO
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©
Note: To add notes to existing ones in a track,
select the Overdub option. To substitute existing
notes in a recorded track with new ones, select the
Replace option.
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You are prompted with a request to confirm
the operation.
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5. If you are satisfied with the recording, confirm the track or tracks by pressing the corresponding Soft buttons. The recording will be
confirmed and the tracks set to «seq-play».
6. Repeat the recording procedures for other
tracks.
7. Press RECORD to escape «Record» mode.
The LED of the RECORD button goes off and
the display returns to normal.
2. Press ENTER to cancel the last performed
operation, or ESCAPE to cancel the request
and retain the last operation.
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Recording a Song 6•9
The «Record View» page in detail
Mode... (F1)
the instrument using the Volume pedal .
These events are recorded as CC07 (see Appendix). Settings: On, Off.
Opens the «Record Mode» dialog window where
you can select various recording options.
Replace - The new notes substitute “old”
notes already present in the tracks being recorded.
Overdubb - New notes are merged with
those already present in the tracks being recorded.
Punch In/Out - A means of inserting a correction without repeating a recording. Punch
recording is activated by pressing an appropriately programmed pedal (in «Controllers/
Pads» of «Edit Performance»).
Activate the recording with PLAY. When the
song reaches a position just before the point
at which the correction must be inserted,
press the pedal. At this point, the recording
proceeds in “replace” mode. When the correction is complete, release the pedal to stop
the replace recording.
Effect - To record the changes of the effects
assigned to the Performance and respective
effect volume levels. These events are captured as CC16, CC17, CC48, CC49 (see
Appendix). Settings: On, Off.
Select all tracks (F4)
©
Select all tracks (F4)
© Once pressed, the option changes to «Deselect
all tracks».
Activates all the tracks for recording. «Deselect
all tracks» resets all the tracks in «key-play» or
«seq-play» status.
Sound View (F5)
Recalls the «Sound View» page in which it is
possible to see and change the sounds assigned
to the Performance.
Option... (F2)
Rec View (F6)
Metronome options.
Countdown - A lead into the recording during which time no events can be captured..
Settings: On, Off.
Metronome vol. - Volume setting of the metronome tick. Settings Off, 10...127.
Recording options for Tempo, Master Volume,
effects changes. These events are captured in
the Master Track.
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Erase... (F7)
Cancellation of the track or Song.
Track - Cancels the selected track.
Controls rec... (F3)
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Recalls the «Record View» page in which it is
possible to control the record/play parameters.
Song - Cancels all the tracks (entire Song)
and leaves an “empty” Song, ready to capture recorded events. The Song Performance
remains intact.
Tempo - To record the Tempo variations.
Settings: On, Off.
Metronome (F8)
P.Volume. - To record the general Volume of
Activates/deactivates the metronome.
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6•10 Reference Guide
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LOC
END
Locator. Indicates the current position of the
Song, expressed in measures, beats and resolution (tick).
End point marker. If Loop is active (Play/Rec
Mode= Loop) this parameter indicates the point
at which the repeating song ends before looping
back to the Start marker. If the Play/Rec
Mode=Forced Stop, this parameter indicates the
automatic Stop point.
measure (bar)
resolution
beat
The parameter can be modified with the DIAL.
The measure can be modified with the DIAL. It
is not possible to select the next measure after
the Song end point. For example, if the recorded
Song terminates at measure 10, the Locator cannot be given a value greater than 10 -1 -1.
PLAY/REC MODE
Recording and playback options for the Song.
The options are:
Linear - A linear recording or playback of the
Song, starting from the current locator to the
Song end. In record mode, new events are
recorded as the recording proceeds.
Forced stop - The Song is played back or
recorded from the current Locator to a specified End locator. With Forced Stop active, the
Loc and End indicators determine the start
and end point of the recording.
Loop - Song playback or recording repeats
continuously. When the Song reaches the
end, it loops back to the beginning and starts
again and continues to repeat until stopped
with STOP.
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TIME SIGNATURE
Metro. This parameter can be modified only before starting a recording. If the Song contains
recorded events, the parameter cannot be modified.
TEMPO
Initial playing/recording speed. The parameter
can be modified with the DIAL in the «Play View»
or «Record View» page, or in the Master Track.
Tempo changes can be carried out during the
recording by using the DIAL. The events are
captured in the Master Track, provided that the
appropriate option is active («Controls rec», dialog window F3).
The Master Track always contains the initial
Tempo of the Song. The value can be modified
but not cancelled.
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©
Note: The loop requires an additional memory
buffer. When this mode is selected, the memory
progress bar shows an increased amount of used
memory.
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START
Starting indicator. If Loop is active (Play/Rec
Mode= Loop) this parameter indicates the point at
which the Song starts to repeat. The parameter
can be modified with the DIAL.
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Recording a Song 6•11
QUANTIZE
EDITING YOUR SONGS
An auto-corrector of timing errors during the recording phase. The selection values are normal,
triplets or swing.
The “Edit Song” functions allow you to modify the
recorded song, by copying or moving entire parts
of a song, by correcting timing errors, by inserting events in ‘event edit’ environments (Microscope and Master Track). For detailed information, refer to the Edit Song chapter 7.
Value
Quantization
1/4
q
1/8
e
1/12
e triplet
1/16
x
1/24
x triplet
1/32
r
1/48
r triplet
1/64
(1/64)
1/96
(1/64 triplet)
free
no quantization
1/8 B...F*
q. e (swing)
1/16 B...F*
e. x (swing)
free
no quantization
RESTORING THE SONGS MEMORY
If you have loaded disk-based Songs or recorded
Songs and used up all the memory dedicated to
the storage of Songs, a quick and easy way of
clearing Song memory and making room for other
Songs is to use the Restore Songs operation.
Naturally, you must remember to save the Songs
that you don’t want to lose to disk before proceeding with the restore procedure.
1. Press GENERAL in the EDIT section to gain
access to the «Edit General» environment.
* B … F indicate an adjustment of the Swing feel.
2. Press F6 («Restore Songs») to cancel all the
Songs (and relative Song-Performances) in
RAM.
You are prompted with a request to reconfirm your choice.
MEMORY PROGRESS BAR
A bar graph which monitors the amount of
memory being used up by the song as it is being
recorded. In Play mode, the parameter changes
to SONG MEMORY, expressed as a numerical
value and is independent of the total amount of
memory remaining in RAM. Each Song is limited to 400 kb.
3. Press ENTER to confirm, or ESCAPE to cancel.
With ENTER, the Songs are cancelled from
memory.
With ESCAPE, the song data are retained.
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©
Hint: To cancel the entire contents of RAM in a
single operation, use the «Restore All» command.
If the RAM already contains a large amount of
data, a dialog window may appear showing the
message «Memory full!», which indicates that the
recording cannot proceed further. The recording
is instantly interrupted.
You can increase the amount of space in RAM
by deactivating the Undo function.
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6•12 Reference Guide
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• 7 Edit Song
After recording a Song using either the «Record»
method or the «QuickRec» method, it can be edited by entering «Edit Song».
THE EDIT PROCEDURE
HOW TO ENTER «EDIT SONG»
2. Select the editor that you wish to edit using
the DIAL or the cursor buttons. It is also possible to enter an editor by specifying the relative number on the numeric keypad.
Select the Song that requires editing.
The name of the Song will appear in the title bar
of the display.
1. In Song mode, press ST./SONG to enter «Edit
Song». The main menu appears.
3. Press ENTER to gain access to the editor.
4. Select the desired option with the soft buttons.
Song name
5. Select the parameters with the directional
arrows. Modify the parameter with the DIAL
or the numeric keypad.
Press the ST./SONG button in the EDIT section
to enter «Edit Song».
Entering this section the first time opens the main
menu (page 00/10). On all successive occasions,
the last page selected is recalled.
ST. / SONG
Editors
7. Pass to another editor with the buttons
.
Otherwise, return to the main menu with ESCAPE and select another editor.
ESCAPE «EDIT SONG»
7
Page name
6. Confirm the operation with ENTER.
Locator
To escape from «Edit Song» press ESCAPE
(once or twice, depending on the currently selected level). To escape without closing the edit
page, press the ST./SONG button. To pass to
another edit environment, press the corresponding button in the EDIT section.
Edit Song: Main menu
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Edit Song 7•1
EDIT SCORE (F6)
The main Menu Options
Opens the Score Edit function.
UNDO (F2)
When this parameter is selected (shown in negative highlight), the UNDO function is enabled.
Undo cancels the last operation or series of operations carried out. This function consumes exactly the same amount of RAM memory as the
Song. If there is a shortage of memory in RAM,
it is a good idea to deactivate UNDO.
Score Edit is described separately in detail in the
«Score & Edit Score» section towards the end of
this chapter.
SONG NAME (F8)
Modifies the name of the Song.
Press the UNDO panel button to execute the
desired Undo operation.
UNDO
You will be prompted with a request to confirm
the operation with ENTER or cancel with ESCAPE.
The characters are insereted using the method
described on page 1.4 of the «Data Entry» section of chapter 1. You can move the cursor with
the Soft buttons or the DIAL and insert the characters with the keys of the keyboard.
Name - Name of the Song which appears in the
SK760/880 file selector. This name does not appear when the disk is read by a computer. Maximum character length: 10.
Title - Full name of the Song.
If UNDO is disabled, pressing the UNDO button
and confirming with ENTER activates the following user message:
Press ESCAPE to close the window and repeat
the UNDO operation, this time with UNDO enabled.
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7•2 Reference Guide
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Author - Name of the composer.
Pub - Song Publisher.
Erase
Cancels the events from a single track or from all
tracks.
© Set the parameters and press ENTER to con-
firm the cancellation.
SOFT BUTTONS F3 ... F8
Use the Soft buttons F1...F8 to select the track
from which events will be cancelled. Depending
on the type of track selected, the following parameters may or may not appear.
Track (F3) - Single track. Select the track
with the Soft buttons A...H.
Master track (F4) - The Master Track records
events pertaining to the general controls of
the Song (Tempo, Time Signature, selected
Performance, selected effects).
Chords track (F5) - Track for the chord symbols inserted in the score.
Music track (F6) - Track for the notes of the
score (standard notation).
Lyrics track (F7) - Track for the lyrics of the
score.
All tracks (F8) .
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Edit Song 7•3
ERASE PARAMETERS
Event type
(Only for tracks which capture note events). Selects the type of event to cancel.
«Duplicate note» eliminates the note with the lowest velocity value when two notes of the same
pitch start at the same position.
Options: All, Duplicate note, Note, Pitch Bend,
Mono touch, Poly touch, Velocity Off,
ProgramChange, ControlChange 00...31,
ControlChange 64...127.
Note range from... to...
The highest and lowest limits of the note range
to cancel. To cancel a single percussive instrument from the Drum track, assign the same value
to the “from” and “to” parameters. For example,
to cancel the snare (D2), set the parameter as
«Note range from D2 to D2».
Assignable values: C-1 ... G9.
From locator... To locator...
Determines the start and end point of the part to
cancel. In some cases it is possible to specify
the measure, beat and resolution (tick), in others, only the measure.
Assignable values: within the limits of the Song.
It is not possible to specify a point before the start
or after the end of the Song.
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7•4 Reference Guide
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Move
Shifts events from one point of the selected track
to another.
© Set the parameters and press ENTER to con-
firm the movement.
PARAMETERS
From locator... To locator...
Determines the start and end point of the part to
move. It is possible to specify the measure, beat
and resolution (tick).
Assignable values: within the limits of the Song.
It is not possible to specify a point before the start
or after the end of the Song.
Start locator
Determines the new position of the part that is to
be moved.
Assignable values: any point, even after the end
point of the Song.
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Edit Song 7•5
Copy
Copies events from a single track or from all
tracks.
© Set the parameters and press ENTER to con-
firm the copy.
SOFT BUTTONS F3 ... F8
Use the Soft buttons F1...F8 to select the track
from which events will be copied. Depending on
the type of track selected, the following parameters may or may not appear.
Track (F3) - Single track. Select the track
with the Soft buttons A...H.
Master track (F4) - The Master Track records
events pertaining to the general controls of
the Song (Tempo, Time Signature, selected
Performance, selected effects).
Chords track (F5) - Track for the chord symbols inserted in the score.
Music track (F6) - Track for the notes of the
score (standard notation).
Lyrics track (F7) - Track for the lyrics of the
score.
All tracks (F8) .
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7•6 Reference Guide
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COPY PARAMETERS
Copy mode
Determines the copy mode. «Merge» unites the
copied events to those already present at the destination. «Replace» substitutes the events
present at the destination with those copied.
Options: Merge, Replace.
From track... to track...
Specifies the source and destination track of the
copy. The «From track...» part is selected with
the Soft buttons A ... H. The «To track...» part is
modified with the DIAL.
value to the “from” and “to” parameters. For example, to copy the snare (D2), set the parameter
as «Note range from D2 to D2».
Assignable values: C-1 ... G9.
From locator... To locator...
Determines the start measure and end measure
of the part to copy. Bars and Resolution cannot
be specified.
Assignable values: within the limits of the Song.
It is not possible to specify a measure after the
end of the Song.
Start locator
Assignable values: any track (1...32).
Determines the new position of the copied part.
To Song...
Assignable values: any point, even after the end
point of the Song.
Determines the destination Song for the copy. If
the selected Song is non existent, it will be created by the act of confirming the copy command.
Copy times
Assignable values: any Song (1...16).
Specifies the number of consecutive copies.
Each copy starts exactly where the previous one
ends.
Note range from... to...
Assignable values: 1...998.
Determines the highest and lowest limits of the
note range to copy. To copy a single percussive
instrument from the Drum track, assign the same
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Edit Song 7•7
Quantize
An auto-corrector of timing errors. Includes triplet and swing quantize values.
© Set the parameters and press ENTER to con-
firm the quantization.
SOFT BUTTONS F1 AND F2
These select the «Note On Quantize» and «Note
Off Quantize» parameters.
Note On Quantize - Quantization of the Note
On event.
Note Off Quantize - Quantization of the Note
Off event. After a Note On quantization, a
Note Off quantization affects the duration of
the notes, adapting them to the quantization
grid.
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7•8 Reference Guide
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QUANTIZE PARAMETERS
Note Off quantization
Note On quantization
Determines the Note Off quantize value. Same
as Note On.
Determines the Note On quantize values.
Value
Quantization
1/4
q
1/8
e
1/12
e triplet
1/16
x
1/24
x triplet
1/32
r
1/48
r triplet
1/64
(1/64)
1/96
(1/64 triplet)
free
no quantization
1/8 B...F*
q. e (swing)
1/16 B...F*
e. x (swing)
free
no quantization
Note range from... to...
Determines the highest and lowest note range to
quantize. To quantize a single percussive instrument of the Drum track, assign the same note to
the highest and lowest limit. For example, to
quantize the snare (D2), set the parameter to
«Note range from D2 to D2».
Assignable values: C-1 ... G9.
From locator... To locator...
Determines the start and end point of the part
that requires quantizing. Only measures can be
selected.
Assignable values: within the limits of the Song.
It is not possible to specify a point after the end
of the Song.
* B … F indicate an adjustment of the swing feel.
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Edit Song 7•9
Insert measures
Inserts a specified number of measures. The part
of the Song after the insertion point shifts forward
the same number of bars as those inserted.
Given that the Time Signature of the inserted
measures can differ to the Time Signature of the
Song, the Insert Measures parameter permits the
creation of a Song with multiple Time Signatures.
© Set the parameters and press ENTER to con-
firm the insertion.
PARAMETERS
Measures to insert
a
b
1
2
3
4
1
2
3
4
Specifies the number of measures to insert. Assignable values: 1...999.
Time Signature
Determines the Time Signature of the measures
to insert.
Insert from locator
Specifies the measure at which the new measures will be inserted.
Assignable values: from the first measure of the
Song, to the first measure after the end measure
of the Song (coda insertion).
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7•10 Reference Guide
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(1)
(2)
(a)
(b)
5
(3)
6
(4)
Insert measures example. Two measures are inserted at
measure 3. Measure 3 and all successive measures are moved
forward.
Delete measures
Cancels a specified number of measures. The
measures directly after the point of cancellation
shift towards the beginning of the Song and join
with the measures preceding the cancellation
point.
© Set the parameters and press ENTER to con-
firm the cancellation.
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© Hint: To cancel measures without shifting those
after the deletion point, use the Erase events
function.
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PARAMETERS
Measures to delete
Specifies the number of measures to delete.
Assignable values: any number that does not exceed the total number of measures in the Song.
For example, if the Song is 50 measures long,
the maximum value that can be assigned is 50.
Delete from locator
2
3
4
1
2
3
4
(1)
This parameter indicates the first measure of
those to be deleted.
Assignable values: within the actual limits of the
Song. The parameter is linked to the previous
one, which can be modified if the measures between the deletion start point and the end of the
Song are less than those shown in «Measures».
1
(2)
(5)
5
6
(6)
Example of Delete measures. Measures 3 and 4 are cancelled.
All the measures after the delete point shift towards the
beginning of the song.
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Edit Song 7•11
Velocity
Modifies the key Velocity. This parameter represents the speed with which a note is played, or
its intensity. Generally, the greater the velocity
the higher the volume. Velocity also affects the
filter of many sounds, rendering them brighter with
increased velocity.
© Set the parameters and press ENTER to con-
firm the dynamic changes.
PARAMETERS
Velocity mode
Provides two velocity modes to choose from
which affect the way the “Change Velocity” function operates.
Normal - The value indicated in «Velocity
change» is added to or subtracted from the
key Velocity values.
Fixed - The key Velocities are all set to the
value specified in the «Change Velocity» parameter.
Change Velocity
Specifies the amount by which the velocity values can be changed. This depends on the option
selected in «Velocity Mode».
Note range from... to...
Assigns the upper and lower limits of the notes
to be affected. To modify the velocity of a single
percussive instrument of the Drum track, assign
the same note to the highest and lowest limit.
For example, to change the snare (D2) set the
parameter to «Note range from D2 to D2».
Assignable values: C-1 ... G9.
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7•12 Reference Guide
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From locator... To locator...
Determines the start and end point of the part to
be affected. It is possible to specify Measure,
Beat and ‘tick’.
Assignable values: within the actual limits of the
Song. It is not possible to specify a point beyond
the end of the Song.
Transpose
Transposition of a recorded track by semitones.
Also available are options to transpose the
Chords and Music tracks of the Score of a song.
This allows you to see the score in the correctly
transposed status after a transpose operation.
Track (F6)
Transposition of a Song track by semitones.
Chords trk (F7)
Transposition of the Chords track of the Score
by semitones.
Music trk (F8)
Transposition of the Music track of the Score by
semitones.
© Set the parameters and press ENTER to con-
firm the operation.
Transpose value
Determines the value of the transposition (in semitones).
Note range from... to...
Assigns the upper and lower limits of the notes
to be affected. To transpose a single percussive
instrument of the Drum track, assign the same
note to the highest and lowest limit. For example, to change the snare (D2) set the parameter
to «Note range from D2 to D2».
Assignable values: C-1 ... G9.
From locator... To locator...
Determines the start and end point of the part to
be affected. It is possible to specify Measure,
Beat and ‘tick’.
Assignable values: within the actual limits of the
Song. It is not possible to specify a point beyond
the end of the Song.
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Edit Song 7•13
Event List
Microscope
track in edit
The Microscope allows you to modify every single event recorded in the tracks. The Event List
at the centre of the display shows all the events
recorded.
ACCESSING THE EVENT EDIT MODE
1. Select the track whose events you wish to
see in the Event List.
2. Use the / buttons to scroll through the
events. The selected notes are played automatically.
measure
beat
resolution
3. Select the parameter to modify using the cursor buttons / .
Value 1
Value 2
Value 3
event type
(Status)
Gate
4. Use the DIAL to modify the selected parameter.
EVENTS AND PARAMETERS WHICH CAN
BE CHANGED
The «Status» column shows the type of event.
One or more parameters can be modified for each
event.
SHOW... (F2)
Recalls a dialog window where it is possible to
select the events that will be displayed in the
Event List.
Set the events that you want to mask to OFF.
Refer to the events table on the following page
for an explanation of each event.
Set the parameters and press ENTER.
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7•14 Reference Guide
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EVENTS TABLE AND RELATED PARAMETERS
STATUS
VALUE 1
VALUE 2
VALUE 3
GATE
Note
Note name
[C–1 … G9]
Key On Velocity
[1 … 127]
Key Off Velocity
[1 … 127]
Note Length
expressed as the
Sequencer resolution
(q=192) [0 … 63323]
Program
Change
Program change
message. The PC
contained in the tracks
and shown in the
Microscope has
priority over the PC
recorded in the
Performance.
[1 … 128]
Bank Select MSB
message. To select
the SK760/880 banks,
use numbers 1 … 16
[1 … 128]
Bank Select LSB
message. Not
necessary to select
the SK760/880
sounds
[1 … 128]
Control
Change
Type of Control
Change (or MIDI
controller).
Example: CC00 =
BankSelect MSB,
CC32 = BankSelect
LSB, CC01 =
Modulation, CC07 =
Volume
[1 … 128]
Control Change
Value
Pitch
Bend
Value of LSB (Least
Significant Byte).
[0= Off, 1…127 = On]
Value of MSB
(Most Significant
Byte). Effectifve
value of bending.
[0…63 = down
64 = neutral
65…127 = up]
Mono
Touch
Channel
Aftertouch intensity
[0 … 127]
Poly
Touch
Note to which
Aftertouch is applied.
[C–1 … G9]
Note Aftertouch
intensity.
[0 … 127]
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Edit Song 7•15
INS: (X) (F3)
DELETE (F6)
Inserts the event specified in the “INS. TYPE”
function at the current cursor position. To position the inserted event precisely, modify its locator
accordingly (the parameters to the left of the Status).
Cancels the selected event.
The events are inserted with the following default parameter values:
Status
1V
2V
3V
Gate
Note:
C4
64
64
128
P. Ch
1
1
1
Contr.
1
0
----
P.Bend
0
64
----
M.Tch
0
----
P.Tch
C4
0
CATCH LOCATOR (F7)
Selects the event currently playing (when the
Song is in playback mode), or the event immediately after the current Song position.
GO TO LOC... (F8)
Takes the cursor directly to the first event of the
specified locator (measure). The number can be
specified with the DIAL.
---Specify the locator and press ENTER to confirm.
After inserting the desired event, modify its parameters accordingly.
INS TYPE... (F4)
Recalls a dialog window where you can select
the type of event to insert manually with the
«Ins(x)» function.
Select the event type to insert and press ENTER.
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7•16 Reference Guide
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Initial parameters
Master Track
Event List
The Master Track editor allows you to modify the
events recorded in the Master track which contains events pertaining to the general controls of
the Song. This Track records changes in Performance, general Volume (Pedal Volume), Effect
Changes, Effect Volume, Scale, Tempo changes,
initial Time Signature and the Score Key.
The structure of the page is analogous to the Microscope. The events are shown in the Event List
at the center of the display.
bar
Accessing the Event Edit Mode
1. Use the cursor buttons
the events.
/
beat
value
resolution
to scroll through
event type
(Status)
2. Select the parameter to modify using the cursor buttons / .
3. Use the DIAL or the numeric keypad to modify
the selected parameter.
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© Note: When loading a MIDI file, normally the
INITIAL PARAMETERS OF THE SONG
Performance settings are ignored, due to the fact
that commercially available MIDI files contain
initializing events at the start of each track
The events that define the Song at the start point
can be modified but not deleted. To access and
modify the events press F1 («Start param»).
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VOLUME - Overall volume, controlled by the
Damper pedal set for continuous control and assigned the Volume function.
PERF - Initial Performance. Sets the initial values of some of the track parameters (Program
Change, Volume, Pan, Effects). If the same parameters are also found at the beginning of each
track, the sound, volume and pan settings are
selected and controlled by the events contained
in the tracks and not by the initial Performance.
Assignable values: one of the 8 (max) Song Performances.
KEY - Key for the correct visualization of the
score. Alters the score according to the specified key (inserts the correct accidentals), rendering the score easier to read. For example, if the
score was captured in the key of C, you can display the score in the key of F# with all the correct
accidentals shown in the initial key signature by
setting the Key parameter to F#.
TEMPO - Metronome pulse. Can also be set on
«Play View» or «Record View» pages.
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Edit Song 7•17
PROGRAMMABLE EVENTS AND PARAMETERS
The «Status» column shows the type of event.
One or more parameters can be modified for each
event. The table shown opposite lists the events
and parameters which can be modified.
START PARAMETERS (F1)
STATUS
VALUE
TEMPO
Metronomic Tempo. If the
Tempo Rec option is enabled
during the recording, all tempo
variations are recorded.
[20 … 250]
PERFORMANCE Change of Performance
[1 … 8]
VOLUME
Volume variation via MIDI
(through the Common channel)
or by means of the Volume
Pedal. Does not record
Volume changes made with the
M.VOL slider.
[0 … 127]
EFF. DEVICE
SEL.
Selection of a DSP device.
Corresponds to CC18.
EFF. TYPE
Type of effect assigned to the
selected DSP. Corresponds to
CC48. The tables of the
assignable effects are in the
Appendix.
EFF. DEVICE
VOLUME
General Effect Volume of the
effect type assigned to the
DSP. The Effect Sends
(amount of effect applied) for
each track is regulated in the
Microscope by means of the
Control Change messages
CC91 & CC93.
Enters the edit of the Song’s start parameters.
Press F1 again to return to the edit of the successive parameters.
SHOW... (F2)
Recalls a dialog window where it is possible to
select the events that will be displayed by the
Event List.
Set the events that you want to mask to OFF.
INS: (X) (F3)
Inserts the specified event type at the cursor position. To position the inserted event precisely,
modify its locator (the parameters to the left of
the Status).
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7•18 Reference Guide
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The events are inserted with the following default parameter values:
Status
Value
Tempo
120
Performance
1
Volume
64
Eff. Dv. Sel
0
Status
Value
Eff. Type
0
Eff. Vol
0
RotaryA
Slw/Fst
RotaryB
Slw/Fst
CATCH LOCATOR (F7)
Scale
1
Key Sign
C
Selects the event currently playing (when the
Song is in playback mode), or the event immediately after the current Song position.
Select the type of event and press ENTER.
DELETE (F6)
Cancels the selected event.
After inserting the desired event, modify its parameters accordingly.
GO TO LOC... (F8)
INS TYPE... (F4)
Takes the cursor directly to the first event of the
selected measure. The number can be specified
with the DIAL.
Recalls a dialog window from which you can select the type of event to insert manually with the
«Ins(x)» function.
Specify the required number and confirm with ENTER.
Press the
into view.
cursor arrow to bring other events
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Edit Song 7•19
Score & Edit Score
THE SCORE BUTTON
THE SCORE TRACK
Press SCORE to view the notes, lyrics and chord
symbols on the display and/or on an external
monitor.
The Score track is a “ghost” track that is added
to the tracks of a Song. This track allows the
insertion and viewing of notes (Music), words
(Lyrics) and chord symbols (Chords).
SCORE
The Score displays a melody line and not chords.
A track of chords is analyzed, the highest notes
are extracted and a melody line is generated.
Press F8 («Score controls...») to select the viewing options and the video standard.
When a Song containing a Score is in playback,
an indicator ( ) monitors the current position
of the score.
The score can be viewed on the instrument’s display, or projected onto an external monitor by
pressing SCORE. To view on an external monitor, the SK760/880 must be fitted with
Generalmusic’s optional Audio/Video card.
The Score is created in «Edit Song».
Press ESCAPE to exit Score.
Score page - All mode
(notes, lyrics and chord symbols)
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Score page - Lyrics 1 mode
(lyrics in large type)
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7•20 Reference Guide
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Score Controls
In the «Score» page, press F8 to open the «Score
Control» dialog window.
VIDEO CONTROLS
Viewing options for an external monitor.
Echo LCD
F4
F5
F6
F7
F8
ON: the external monitor displays exactly what is
shown on the SK760/880 display.
OFF: the monitor displays only the Score parts
(music, lyrics, chords).
Options: On, Off.
View mode
Selects a color for the lyrics and for the background. This option is valid for the external monitor only.
Options: 1…16.
Score control dialog window
(viewing options for external monitor)
When finished, press ENTER to confirm or ESCAPE to cancel.
Video mode
RGB: the RGB port transmits RGB and Composite Video signals.
CV: the RGB port transmits Composite Video signals. For a correct Composite Video image, this
option is recommended.
PARTS OF THE DISPLAYED SCORE
Options: RGB, CV.
Select the parts of the Score to display with the
Soft buttons F3 … F8.
Y shift
Controls the vertical alignment.
All - Notes, lyrics, chord symbols.
Lyric 1...Lyric4 - Lyrics only across the display,
with characters of various dimensions.
Score split
Chords - Traditional chord symbols without notes.
This option refreshes the display very quickly
which can be useful for guitarists and bassists.
OFF: the notes are displayed on the treble clef
only. Notes that normally occupy the bass clef
are shown with the symbol «
» (bass 8ve).
ON: the notes are displayed on a staff.
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Score/Edit Score 7•21
Chords on lyrics
If ON, the viewing options Lyric 1 ...Lyric 4 show
chord symbols together with lyrics on the external monitor.
Edit Score
HOW TO ENTER EDIT SCORE
1. Press SONG and select a Song.
2. Press ST./SONG in the EDIT section to enter «Edit Song».
SPECIAL SYMBOLS
At times, the music score will show special symbols.
The «octave lower» symbol.
The displayed note or notes
are in reality one octave
lower.
The «note too high» symbol.
The note at the position
corresponding to the displayed symbol is too high to
appear in the staff.
The «note too low» symbol.
The note at the position
corresponding to the displayed symbol is too low to
appear in the staff. This
symbol rarely appears with a
standard music staff («Score
split» option in the «Score
controls” window set to ON).
3. Press F5 («Edit Score») in the main menu of
«Edit Song» to open Edit Score.
If the Song does not contain a score, select
the «Get Score» command (F4) to create one
(this procedure is explained afterwards).
HOW TO EXIT EDIT SCORE
Press ESCAPE to return to «Edit Song». Press
ESCAPE once again to return to the «Play View»
or «Record View» page.
Score Edit - Chord mode
(chord symbol edit)
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7•22 Reference Guide
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INSERTING NOTES
To create a Score, notes are withdrawn from a
Song track.
1. Press F4 («Get Score»):
2. User the DIAL to select the track to transcribe.
3. Press ENTER to confirm. Wait a few seconds for the score to be generated.
INSERTING CHORD SYMBOLS
Chord symbols correspond to the MIDI ‘Text’
event. These are loaded and saved with MIDI
files. Chord symbols can be inserted into a new
Song using the procedure explained on the next
page.
1. Press F5 («Chords») to take the cursor to
the chord line (above the staff).
2. Press the soft button G («Go to loc...») to go
to a specific measure:
Specify the measure with the DIAL then press ENTER to
confirm or ESCAPE to cancel.
3. Move the insertion point to the previous or
next note using the soft buttons D («Next
event») and E («Previous event»).
4. Each note is ideally subdivided into 1/16ths.
In addition to a symbol at the beginning of a
note (first 1/16th), you can insert symbols in
one of the 1/16ths which follow. Press F8 to
open the symbol insertion zone:
Insertion of the symbol at the second 1/16th
Insertion of the symbol at the third 1/16th
Insertion of the symbol at the fourth 1/16th
The number shown on the left of the insertion zone indicates the current 1/16th. To
move the insertion point to one of the other
1/16ths, use the soft buttons H («<<1/16»)
and F8 («>>1/16»).
To escape and return to the note, press the
soft button E («Previous event»). To escape
and pass to the next note press the soft button D («Next event»).
5. Play the chord below the Split Point. The
chord symbol appears, in the following form:
CMaj, Dmin, E7th...
Score Edit - Lyrics mode
6. If you want to indicate a bass extension, or a
pedal note, press the function button F («Extension») and play the alternative chord. The
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Score/Edit Score 7•23
bass extension will appear in the following
form: CMaj/D, Dmin/G...
2. Press soft button G («Go to loc...») to go to a
specific measure (bar):
Press the soft buttons D («Next event» or E
(«Previous event») to pass to another event.
7. You can modify the selected symbol by playing a different chord.
8. You can modify a chord by transforming it,
for example, from a major to minor chord to
seventh. Press F7 («Root») repeatedly to
alternate between the bass of the chord (the
root: A, B, C, etc.) and the abbreviation of
the chord (min, 7th, dim, aug...).
The entire symbol is selected.
Press F7 («Root»).
The root note is selected.
Press F7 («Root»).
Specify the measure with the DIAL then press ENTER confirm
or ESCAPE to cancel.
3. Move the insertion point to the previous note
or the next note with the soft buttons D («Next
event») and E («Previous event»).
4. Each note is ideally subdivided into 1/16ths.
In addition to syllables at the beginning of the
note (first 1/16th), you can insert syllables in
one of the 1/16ths which follow. Press F8 to
open the syllable insertion zone.
Insertion of the syllable at the second 1/16th
Insertion of the syllable at the third 1/16th
The chord abbreviation is selected.
Press F7 («Root»).
Insertion of the syllable at the fourth 1/16th
The entire symbol is selected again.
Rotate the DIAL or play another chord to
modify the selected element (the root or abbreviation).
INSERTING LYRICS
Lyrics corresponds to the MIDI Lyrics event. This
type of event is loaded and saved with MIDI files.
Lyrics can be inserted into a new Song in the
following manner:
1. Press F6 («Lyrics») to take the cursor to the
lyrics line (below the staff).
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7•24 Reference Guide
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The number shown on the left of the insertion zone indicates the current 1/16th. To
move the insertion point to one of the other
1/16ths, use the soft buttons H («<<1/16»)
and F8 («>>1/16»).
To escape and return to the note, press the
soft button E («Previous event»). To escape
and pass to the next note press the soft button D («Next event»).
At this point, «Next event» and «previous
event» pass from 16th to 16th instead of from
note to note.
5. In this operating mode, the keyboard transforms into a source of alphanumeric data (see
the «Data Entry» paragraph on page 1.4 of
Chapter 1). Write the required syllable using
the keys of the keyboard.
6. Press soft button F («End phrase») to terminate the verse. The end of the verse is indicated by the “end phrase” symbol ‘I’.
Do not write lines consisting of more than 20
characters. This is to avoid the incorrect
syllabisation of words when you are viewing
lyrics in large type. For example, the word
“Ballgame” may syllabize to “Bal-lgame”, or
“Ballg-ame” or other, instead of “Ball-game”.
7. You can modify a selected syllable by rewriting it entirely or partially.
To replace one character with another, remain
in Overwrite mode (rectangular cursor). If you
are in Insert mode (cursor in the form of a
vertical line), press note D#2 («INS/OVER»)
to pass to Overwrite mode. Move the cursor
with the DIAL, then insert the new character.
To insert a character without cancelling another, pass to Insert mode. Press note D#2
(«INS/OVER»); the cursor will take the form
of a vertical line. Move the cursor with the
DIAL, then insert the new character. Press
D#2 to return to Overwrite mode.
The «Edit Score» page
CHORDS (F5)
Takes the cursor to the Chords line (above the
staff).
LYRICS (F6)
Takes the cursor to the Lyrics line (below the staff).
NEXT EVENT (D)
Takes the cursor to the next event (note or pause).
PREV. EVENT (E)
«Previous event». Takes the cursor to the previous event (note or pause).
GO TO LOC... (G)
Takes the cursor to the beginning of the specified measure. Press soft button G to open the
dialog window:
Specify the measure with the DIAL.
Press ENTER to confirm or ESCAPE to cancel.
>> 1/16 (F8)
Each note greater than a sixteenth (demisemiquaver) is ideally subdivided into sixteenths; this
button takes the cursor to the next sixteenth. For
example, a quaver (8th) is divided into two 1/
16ths, a crotchet (quarter) into four 1/16ths, etc..
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Score/Edit Score 7•25
The edit takes place in an active zone:
You can modify the extension with the DIAL, or
play a different chord.
To escape and return to the normal edit of the
note, press soft button E (“Previous event»). To
escape and pass to the next note, press soft button D («Next event»).
<< 1/16 (H)
See above. Takes the cursor to the previous sixteenth
GET SCORE... (F4)
Creates a score from the selected track from
which the melody is transcribed. Press F4 to open
the dialog window:
Play the chords below the Split Point.
ROOT (F7)
This command allows you to modify the root note
of a chord and its related abbreviation separately.
Select a chord and press F7 repeatedly to place
the chord parts in edit, first the root, then the abbreviation, then to return to the edit of the entire
chord symbol.
You can modify the selected part with the DIAL,
or by playing a different chord.
Play the chords below the Split Point.
END PHRASE (F)
Specify the track with the DIAL.
Press ENTER to confirm or ESCAPE to cancel.
If the track contains chords, the analyser withdraws the highest notes, attempting to eliminate
notes not related to the melody. A score is obtained with excellent results from a track containing a melody line only.
EXTENSION (F)
This command allows you to add an alternative
bass extension to the chord. Select a chord and
press soft button F, then play a complete chord
which contains the alternative bass root required
to insert.
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7•26 Reference Guide
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This command inserts an ‘End phrase’ symbol
(‘I’) at the end of a verse. In the viewing modes
Lyrics 1 … Lyrics 4, when the verses that end
with the “End phrase” symbol are reached, the
next verse starts on a new line.
We recommend that you write lines using not
more than 20 characters, to avoid displaying incorrectly syllabized words when the Lyrics 1 option (large types) is used.
This symbol can be cancelled as any other character by selecting the syllable with D («Next
event») or E («Previous event»). Select the symbol with the DIAL and cancel the symbol with note
F2 (DELETE).
• 8 User Style recording
The four USER buttons (1, 2, 3 and 4) of the
STYLE/SONG GROUPS section recall User-programmable Styles, or free locations that allow you
to record your own auto accompaniments. Up to
32 User Styles can reside in memory, 8 in each
User Group.
A new Style can be created by recording every
part yourself, or by modifying a copy of an existing Style. This second option is discussed in the
Edit Style chapter.
Disk based User Styles can be loaded into
memory and user-programmed Styles can be
saved to disk, using the methods described in
the Disk chapter 3 of the Reference Guide.
The table shown below lists all the Riffs that make
up a Style.
The basic Riff is the principal pattern of the Style
which repeats continually until stopped, or until it
is “broken” by a Fill, Intro or Ending pattern.
The Fills, Intros and Endings are triggered by
pressing the relative FILL, INTRO, or ENDING
buttons.
A Riff can vary in length from one to sixteen measures long.
Each Riff consists of up to 8 Style tracks: Drum,
Bass, Acc1, Acc2, Acc3, Acc4, Acc5, Acc6.
THE BASIC STRUCTURE OF A STYLE
Styles provide automatic accompaniments based
on the system of chords. In particular, the Major,
Minor and Seventh chords trigger three completely different arrangement patterns.
There are 4 Variations of the Major, minor and
7th chords and each Variation breaks down into
several different elements: basic, Intro, Fill, Ending. These four elements form the basis of a
structure consisting of 48 short sequences, or
“Riffs”, for each Style.
WHAT IS A RIFF?
A Riff is a musical motif capable of repetition (looping). It can also be expressed as a “phrase” or
“lick”, but it is important to understand that the
Riff must be capable of repetition. In fact, when
you play with Styles, you will note that the patterns are short repeating sequences.
Var1
Var2
Var3
Var4
Basic Major Basic Major Basic Major Basic Major
Basic Minor Basic Minor Basic Minor Basic Minor
Basic 7th
Basic 7th
Basic 7th
Basic 7th
Fill Major
Fill Major
Fill Major
Fill Major
Fill Minor
Fill Minor
Fill Minor
Fill Minor
Fill 7th
Fill 7th
Fill 7th
Fill 7th
Intro Major Intro Major
Intro Major
Intro Major
Intro Minor Intro Minor
Intro Minor
Intro Minor
Intro 7th
Intro 7th
Intro 7th
Intro 7th
End Major
End Major
End Major
End Major
End Minor
End Minor
End Minor
End Minor
End 7th
End 7th
End 7th
End 7th
Riffs of a Style
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User Styles 8•1
Recording
PREPARATION
1. Select a USER Style. Select a free location
(User) to create a new Style.
2. You are prompted to create a new style. Press
F1 («Ok»).
environment
name
Style name
Tempo
locator
(measure
counter)
3. The Style «Record View» page activates and
the «Select Riff» dialog window is also shown:
tracks
Style Mode - Record View display
(record/play parameters display)
4. Select the Variation, element and chord with
the cursor buttons and press ENTER to confirm. The LED on the RECORD button lights
up and the «Record View» page is shown in
negative highlight.
5. Once the dialog window closes, press F1
(«Mode») to select the recording mode. The
«Record Mode» dialog window opens where
you can select the required mode.
Select the record mode and press ENTER to confirm.
6. Select and program the basic Style parameters:
• «Time Signature» to modify
the time signature.
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8•2 Reference Guide
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Style Mode - Sound View display
menu
• «Tempo» to
modify the playing
speed.
RECORDING
1. Press START/STOP to start the recording. A
one-measure countdown with start.
• «Key note» to
specify the reference key. When a chord is played, SK760/
880 transposes the riffs. You must, therefore, indicate the key in which the riffs are
programmed.
2. Start playing after the lead-in. The recording
proceeds in a cyclic manner: once the end of
the riff is reached, the recording starts again
from the beginning.
7. Set both
parts of
the «Scale conversion» parameter. The
Scale Converter reconstructs the riffs of two
chords starting from the complementary
chord. For example, you can program the
Basic Major riff and the Scale Converter engages the task of reconstructing the Basic
Minor and Basic 7th. Refer to the Scale
Converter tables at the end of this chapter.
4. To add notes to the same tracks, repeat points
1 - 3.
Note: If the Overdubb recording mode is selected, new notes will be added to the tracks
each time the recording repeats. If Replace
is selected, new notes will cancel those already existing on the next cycle. In Replace
mode, the recording returns to Overdubb
mode at the end of the first cycle.
8. Select
the
«Quantize» parameter to modify the pre-quantization setting (auto-correction of the timing) during the
recording.
9. Select the tracks that you want to record and
set them to Record mode. Only Tracks showing the record icon will capture events:
3. Stop the recording with START/STOP.
5. Select the tracks shown in «record» and set
them to «seq-play».
6. If necessary, repeat the procedure for other
tracks.
7. Press RECORD to escape «Record» mode.
The LED on the RECORD button goes off.
UNDO
10. If you want to assign different Sounds, open
the «Sound View» page with the F5 Soft button
After assigning the sounds, save the Performance with STORE PERF. Return to the «Rec
View» page with Soft button F6.
11. Activate the metronome with F8 («Metronome»).
If, during the recording phase, you want to cancel the last performed recording task, use UNDO.
For example, after adding new events to an existing drum pattern, you might want to return to
the original pattern and just cancel the new
events. A quick and easy way is to use UNDO.
Just press UNDO and confirm with ENTER to
return to the previous status, or ESCAPE to retain the last task.
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User Styles 8•3
RESTORING THE USER STYLES MEMORY
If you have loaded disk-based User Styles or recorded User Styles and used up all the memory
dedicated to the storage of Styles, a quick and
easy way of clearing User Style memory and
making room for other Styles is to use the Restore Styles operation.
Naturally, you must remember to save the User
Styles that you don’t want to lose to disk before
proceeding with the restore procedure.
1. Press GENERAL in the EDIT section to gain
access to the «Edit General» environment.
2. Press F5 («Restore Styles») to cancel all the
User Styles (and relative User Style-Performances) in RAM.
You are prompted with a request to reconfirm your choice.
3. Press ENTER to confirm, or ESCAPE to cancel.
With ENTER, the User Styles are cancelled
from memory.
With ESCAPE, the User Styles are retained.
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Opens the «Record Mode» dialog window where
you can select various recording options.
Replace - The new notes substitute “old”
notes already present in the tracks being recorded.
Overdubb - New notes are merged with
those already present on the tracks being recorded.
Punch In/Out - A means of inserting a correction without repeating a recording. Punch
recording is activated by pressing an appropriately programmed pedal (in «Edit Controllers/Pads»).
Activate the recording with PLAY. When the
song reaches the point at which the correction must be inserted, press the pedal. At
this point, the recording proceeds in “replace”
mode. When the correction is complete, release the pedal to stop the recording.
REC RIFF... (F2)
Hint: To cancel the entire contents of RAM in a
single operation, use the «Restore All» command.
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MODE... (F1)
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The «Record View» page
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Opens a dialog window where you can select a
riff to record.
Select the Variation, section and chord with the
cursor buttons and press ENTER to confirm.
SOUND VIEW (F5)
Recalls the «Sound View» page where you can
see and change the sounds assigned to the Performance.
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8•4 Reference Guide
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REC VIEW (F6)
SCALE CONVERSION
Recalls the «Record View» page where it is possible to control the record/play parameters.
If you program a Style accompaniment based on
the Major scale, the SK760/880 arranger will automatically convert a minor or 7th chord accordingly. This allows you to limit your User Style
recording times by, for example, recording only
the Major riff of Variation 1, in order that when
you play with the recorded style, a minor or 7th
chord will be automatically adjusted for the
change. However, in harmonic terms, this type
of ‘over-simplification’ creates errors when using
the more complex chord structures. To overcome
this problem, the SK760/880 Scale Converter provides a selection of chord inversion systems,
based on algorithms in order to render the conversion more musical.
ERASE... (F7)
Cancellation of a track, riff, variation or Style.
Track - Cancels the selected track.
Riff - Cancels the selected riff.
Variation - Cancels the selected variation.
Style - Cancels the entire Style.
METRONOME (F8)
Activates/deactivates the metronome.
TIME SIGNATURE
Valid for the entire Style. This parameter can be
modified only before starting a recording. If the
Style contains recorded events, this parameter
cannot be modified.
MEASURES
Determines the length of a riff expressed in measures (max 16).
TEMPO
The playing speed (metronomic Tempo). Valid for
the entire Style.
KEY NOTE
Reference key. Indicates the key in which the
original riff is recorded. When you play the indicated chord, the riff will play back in exactly the
same manner as recorded. If other chords are
played, the riff will be transposed accordingly.
You can program the Major chord only and set
the scale converter for the other two chords (minor and/or 7th). If, on a future occasion, you wish
to program also the respective riffs, the relative
Scale conversion will be ignored. The parameter
consists of two variable parts, corresponding to
the two complementary chords with respect to the
one being recorded.
If the “Off” setting is selected, the arranger carries out the simplified conversion referred to. The
tables at the end of this chapter show how the
Scale Converter operates, both in the off status,
as well as for the Minor and 7th chords. Several
different solutions for each chord are provided
for.
The tables on pages 7 and 8 refer to chord and
bass patterns played in the key of C and shows
which notes are converted. The changes are expressed in semitones, therefore, if the note C
shows a conversion of –2, the note is converted
2 semitones down (Bb). Notes not converted are
shown blank.
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User Styles 8•5
QUANTIZE
FREE MEMORY (CANNOT BE MODIFIED)
An auto-corrector of timing during the recording
phase. The selection values are normal, triplets
or swing.
The amount of memory remaining to record the
riff. Each riff can occupy up to 30.000 bytes (30
kilobytes).
If the RAM contains a large amount of data, a
dialog window may appear showing the message
«Memory full!» indicating that the recording cannot proceed further. The recording is instantly interrupted.
Value
Quantization
1/4
q
1/8
e
1/12
e triplet
1/16
x
1/24
x triplet
1/32
r
1/48
r triplet
1/64
(1/64)
1/96
(1/64 triplet)
free
no quantization
1/8 B...F*
q. e (swing)
1/16 B...F*
e. x (swing)
free
no quantization
You can increase the amount of space in RAM
by deactivating the Undo function.
* B … F indicate an adjustment of the Swing feel.
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8•6 Reference Guide
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SCALE CONVERSION TABLES
Scale Converter in OFF status: C Major riff –> C 7th riff
C#
C
accomp.
D#
D
F#
E
G#
F
A#
G
–2
bass
A
B
+1
–1
+1
–1
Scale Converter in OFF status: C Major riff –> C minor riff
C#
C
D#
D
F#
E
G#
F
A#
G
A
B
accomp.
–1
+1
–1
bass
–1
+1
–1
Scale Converter active: C Major riff –> C 7th riff
C#
C
7th 1 accomp.
D#
D
F#
E
G#
F
A#
G
A
B
–2
7th 1 bass
7th 2 accomp.
–2
–1
7th 2 bass
7th 3 accomp.
–1
–2
+1
7th 3 bass
7th 4 accomp.
+1
–2
7th 4 bass
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User Styles 8•7
Scale Converter active: C Major riff –> C minor riff
C#
D#
C
F#
D
E
F
G#
G
A#
A
B
min 1 accomp.
–1
min 1 bass
–1
min 2 accomp.
–1
–1
min 2 bass
–1
–1
min 3 accomp.
–1
+1
min 3 bass
–1
+1
min 4 accomp.
–1
–1
min 4 bass
–1
–1
min 5 accomp.
–1
–1
–1
min 5 bass
–1
–1
–1
min 6 accomp.
–1
–1
+1
min 6 bass
–1
–1
+1
min 7 accomp.
–1
–1
–1
–1
min 7 bass
–1
–1
–1
–1
Complex chords
The logic applied to the conversion of the more complex chords follows similar lines to that used for the
standard Major, minor and 7th chords indicated above. The user is invited to experiment with the Scale
Converter in order to discover the most suitable conversion for the Style being programmed.
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8•8 Reference Guide
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• 9 Edit Style
After recording a User Style, the Style riff can be
modified in «Edit Style».
ST. / SONG
7
ENTERING «EDIT STYLE»
In Style/RealTime mode, select the Style you wish
to modify.
If you select a User Style, all the Edit Style functions will be available. The Style name appears
in the status bar of the display.
Style name
EDIT PROCEDURE
1. Press ST./SONG to enter «Edit Style». The
main menu appears.
2. Select the editor that you wish to edit using
the DIAL or the cursor buttons. It is also possible to enter an editor by specifying the relative number on the numeric keypad.
3. Press ENTER to enter the editor.
Press the ST./SONG button in the EDIT section
to enter «Edit Style».
4. Select the desired option with the soft buttons.
Entering this section the first time opens the main
menu page. On all successive occasions, the
last page selected is recalled.
5. Select the parameters with the cursor buttons and modify their value with the DIAL or
the numeric keypad.
6. Confirm the operation with ENTER.
7. Pass to another editor with the / buttons.
Otherwise, return to the main menu with ESCAPE and select another editor.
page name
Editors
ESCAPE FROM «EDIT STYLE»
To escape from «Edit Style» press ESCAPE
(once or twice, depending on the currently selected level). To escape without closing the edit
page, press the ST./SONG button. To pass to
another edit environment, press the corresponding button in the EDIT section.
Edit Style - Main menu
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Edit Style 9•1
UNDO (F2)
STYLE NAME (F8)
When this parameter is selected (shown in negative highlight), the UNDO function is enabled.
Undo cancels the last operation or series of operations carried out. This function consumes exactly the same amount of RAM memory as the
Style. If there is a shortage of memory in RAM, it
is a good idea to deactivate UNDO.
Changes the name of a Style. This function only
applies to USER Styles; the names of the ROM
Styles are permanent and cannot be modified.
Press the UNDO panel button to execute the
desired Undo operation.
UNDO
The method used to insert characters is described
in the «Data Entry» paragraph of chapter 1, page
1.4. You can move the cursor with the soft buttons or the DIAL. Insert the characters with the
keys of the keyboard.
You will be prompted with a request to confirm
the operation with ENTER or cancel with ESCAPE.
«EMPTY TRACK» INDICATION - NOTES
PRESENT IN THE TRACK
The presence of notes in a track is indicated by
the seq-play icon:
If UNDO is disabled, pressing the UNDO button
and confirming with ENTER activates the following user message:
In play mode, this status icon indicates the presence of notes in at least one riff. If the current riff
of the track does not contain notes, the «empty
track» message is displayed at the bottom of the
Edit Style page:
In record mode, tasks are performed directly on
a riff, and the icon indicates the presence of notes
in the track and in the riff being recorded.
Press ESCAPE to close the window and repeat
the UNDO operation, this time with UNDO enabled.
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9•2 Reference Guide
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Erase
Cancellation of events.
© Set the parameters and press ENTER to con-
firm the cancellation.
SOFT BUTTONS F5...F8
Use the Soft buttons F5...F8 to select the part of
the Style to cancel the events from. Depending
on the part selected, the following parameters
may or may not appear.
Track (F5) - Single track, the current riff.
Riff (all tracks) (F6) - An entire riff (all the
tracks of the riff).
Var (all riffs) (F7) - An entire Variation (all
the riffs of the Variation).
Style (all vars) (F8) - An entire Style (the 4
Variations of the Style).
PARAMETERS
Variation
Selects one of the 4 Variations. Only Variations
that contain at least one recorded riff can be selected.
Riff
Selects one of the riffs of the selected Variation.
Only existing riffs can be selected. If the Style is
empty, the phrase «No Riff» appears.
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Edit Style 9•3
Event type
Determines the type of event to be erased.
«Duplicate note» eliminates the note with the lowest velocity value when two notes of the same
pitch start at the same position.
Options: All, Duplicate note, Note, Pitch Bend,
Mono touch, Poly touch, Velocity Off,
ProgramChange, ControlChange 00...31,
ControlChange 64...127.
Note range from... to...
Sets the upper and lower limits of the notes to
cancel. To cancel a single percussive instrument
of the Drum track, assign the same note to the
highest and lowest limit. For example, to cancel
the snare (D2) set the parameter to «Note range
from D2 to D2».
Assignable values: C-1 ... G9.
From locator... To locator...
Determines the start and end point of the part to
cancel. It is possible to specify the measure, beat
and resolution.
Assignable values: within the actual limits of the
riff. It is not possible to specify a point beyond
the end of the riff.
Erase Variation
Selects the Style Variation to cancel [«Var (all
riffs)» option].
Erase Style
Selects the Style to cancel [«Style (all Vars)» option].
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9•4 Reference Guide
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Move
Shifts events from one point to another within the
selected track.
© Set the parameters and press ENTER to con-
firm the operation.
PARAMETERS
Variation
Selects one of the 4 Style Variations. Only Variations that contain at least one recorded riff can
be selected.
Riff
Selects one of the riffs of the current Variation.
Only existing riffs can be selected. If the Style is
empty the phrase «No Riff» appears.
From locator... To locator...
Sets the start and end points of the part to be
moved. The measure, beat and resolution can
be specified.
Assignable values: within the actual limits of the
riff. It is not possible to specify a point beyond
the end of the riff.
Start locator
Sets the new position of the section being moved.
Assignable values: any point within the riff.
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Edit Style 9•5
Copy
Copies events from a single tracks or from all the
tracks.
© Set the parameters and press ENTER to con-
firm the operation
SOFT BUTTONS F5...F8
Use the Soft buttons F5...F8 to select the type of
track to copy events from. Depending on the type
of track selected, the following parameters may
or may not appear.
Track (F5) - Single track, the current riff.
Riff (all tracks) (F6) - An entire riff (all the
tracks of the riff).
Var (all riffs) (F7) - An entire Variation (all
the riffs of the Variation).
Style (all vars) (F8) - An entire Style (the 4
Variations of the Style).
PARAMETERS
Copy to Style...
Selects the destination Style to copy the current
Style (part or whole) to.
Assignable values: any USER Style.
From var... to var...
Selects the source and destination Variations for
the part to be copied.
Assignable values: 1 ... 4.
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9•6 Reference Guide
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From riff... to riff...
Copy Variation... to Variation...
Selects the source and destination riffs for the
part to be copied. For example, it is possible to
copy the patterns of a Basic Major riff to a minor
Fill riff.
The source and destination of the copied Variation («Var (all riffs)» option).
Assignable values: any riff.
To Style...
Track... to track...
Specifies the source and destination tracks for
the copied elements. «From track» shows the
track selected using soft buttons A...H. «To
track...» can be modified using the DIAL.
Assignable values: any accompaniment track
(9...16).
Assignable values: 1 ... 4.
The destination Style of the copy.
Assignable values: any of the USER Styles.
Copy current Style to Style
Selects the USER location where the entire current Style is to be copied to («Style [all Vars]»
option).
From locator... To locator...
Sets the start and end point of the part to be copied. Only the measure (bar) can be specified.
Assignable values: within the actual limits of the
riff..
Start locator
Sets the new position of the copied part.
Assignable values: within the actual limits of the
destination riff.
Copy times
Sets the number of consecutive copies. Each
copy starts exactly where the previous one ends.
Assignable values: depends of the length of the
riff. The copy must not exceed the riff length.
Copy mode
Determines the copy mode. «Merge» unites the
copied events to those already present at the destination. «Replace» substitutes the events
present at the destination with those copied.
Options: Merge, Replace.
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Edit Style 9•7
Quantize
The Quantize function is an auto-corrector of timing errors. Includes triplet and swing quantize
values.
© Set the parameters and press ENTER to con-
firm the quantize operation.
SOFT BUTTONS F1...F2
These select the «Note On Quantize» and «Note
Off Quantize» parameters.
Note On Quantize - Post-Quantization of the
Note On event.
Note Off Quantize - Post-Quantization of the
Note Off event. After a Note On quantization,
a Note Off quantization affects the duration
of the notes, adapting them to a quantization
grid.
PARAMETERS
Variation
Selects one of the 4 Variations. Only existing
Variations can be selected (those with at least
one riff recorded).
Riff
Selects one of the riffs from the chosen Variation. Only existing riffs can be selected. If the
Style is empty, the phrase «No Riff» appears.
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9•8 Reference Guide
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Note On quantize
Note Off quantize
Specifies the Note On quantize values.
Determines the Note Off quantize value. Same
as Note On.
Value
Quantization
Note range from... to...
1/4
q
1/8
e
1/12
e triplet
1/16
x
1/24
x triplet
1/32
r
1/48
r triplet
1/64
(1/64)
From locator... To locator...
1/96
(1/64 triplet)
free
no quantization
1/8 B...F
q. e (swing)
Determines the start and end point of the part
that requires quantizing. Only measures can be
selected.
1/16 B...F
e. x (swing)
free
no quantization
Sets the highest and lowest note range to
quantize. To quantize a single percussive instrument of the Drum track, assign the same note to
the highest and lowest limit. For example, to
quantize the snare (D2), set the parameter to
«Note range from D2 to D2».
Assignable values: C-1 ... G9.
Assignable values: within the actual limits of the
Riff.
*B … F indicate an adjustment of the Swing feel.
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Edit Style 9•9
Insert Measures
Inserts a specified number of measures. The part
of the Riff that follows the insertion point shifts
forward the same number of measures as those
inserted. The length of the Riff changes.
© Set the parameters and press ENTER to con-
firm the insertion.
PARAMETERS
Variation
Selects one of the 4 Variations. Only existing
Variations can be selected (those with at least
one recorded Riff).
Riff
a
b
1
2
3
4
1
2
3
4
Selects one of the riffs from the selected Variation. Only existing riffs can be selected. If the
Style is empty, the phrase «No Riff» appears.
Measures to insert
Specifies the number of measures to insert.
Assignable values: depends on the length of the
riff (max 16 measures).
(1)
Insert from locator
Specifies the measure at which the new measures will be inserted.
Assignable values: from the first measure (bar)
of the Riff, to the first measure after the end measure of the Riff.
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9•10 Reference Guide
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(2)
(a)
(b)
5
(3)
6
(4)
Insert measures example. Two measures are inserted at
measure 3. Measure 3 and all successive measure are moved
forward.
Delete measures
Cancels a specified number of measures. The
measures directly after the point of cancellation
shift towards the beginning of the Riff and join
with the measures preceding the cancellation
point.
©
Set the parameters and press ENTER to confirm the cancellation.
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© Hint: To cancel measures without shifting those
after the deletion point, use the Erase events
function.
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PARAMETERS
Variation
Selects one of the 4 Variations. Only existing
Variations can be selected (those with at least
one recorded Riff).
Riff
Selects one of the riffs from the chosen Variation. Only existing riffs can be selected. If the
Style is empty, the phrase «No Riff» appears.
Assignable values: a number that does not exceed
the length of the Riff. For example, if the Riff is 4
measures long, the maximum assignable value if 4.
2
3
4
1
2
3
4
(1)
Measures to delete
Specifies the number of measures to delete.
1
(2)
(5)
5
6
(6)
Delete measures example. Measure 3 and 4 are cancelled. All
the measures after the deletion point shift towards the
beginning of the Riff.
Delete from locator
This parameter indicates the first measure of
those to be deleted.
Assignable values: within the actual limits of the
riff. Dependent on the previous parameter.
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Edit Style 9•11
Velocity
Modifies the key Velocity value. This parameter
represents the key-strike velocity, or its intensity.
Generally, the greater the velocity the higher the
volume. Velocity also affects the filter of many
sounds, making them brighter with increased velocity.
© Set the parameters and press ENTER to con-
firm the dynamic changes.
PARAMETERS
Change Velocity
Variation
Specifies the amount by which the velocity values can be changed. This depends on the option selected in «Velocity Mode».
Selects one of the 4 Variations. Only existing
Variations can be selected (those with at least
one recorded Riff).
Riff
Selects one of the riffs from the chosen Variation. Only existing riffs can be selected. If the
Style is empty, the phrase «No Riff» appears.
Velocity mode
Provides two velocity modes to choose from
which affect the way the “Change Velocity” function operates.
Normal - The value indicated in «Velocity
change» is added to or subtracted from the
Velocity values of the notes.
Fixed - The note Velocities are all set to the
value specified in «Velocity change»
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9•12 Reference Guide
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Note range from... to...
Sets the upper and lower limits of the notes to be
affected. To modify the velocity of a single percussive instrument of the Drum track, assign the
same note to the highest and lowest limit. For
example, to change the snare (D2) set the parameter to «Note range from D2 to D2».
Assignable values: C-1 ... G9.
From locator... To locator...
Determines the start and end point of the part to
be affected. It is possible to specify measure,
beat and resolution.
Assignable values: within the actual limits of the
Riff.
Transpose
Transposition in semitone steps.
Variation
Selects one of the 4 Variations. Only existing
Variations can be selected (those with at least
one recorded Riff).
Riff
Selects one of the riffs from the chosen Variation. Only existing riffs can be selected. If the
Style is empty, the phrase «No Riff» appears.
Transpose
Determines the value of the transposition (in semitone steps).
Assignable values: -64 ... +64.
Note range from... to...
Sets the upper and lower limits of the notes to be
affected. To transpose a single percussive instrument of the Drum track, assign the same note
to the highest and lowest limit. For example, to
change the snare (D2) set the parameter to «Note
range from D2 to D2».
Assignable values: C-1 ... G9
From locator... To locator...
Defines the start and end point of the part to be
affected. It is possible to specify the measure,
beat and resolution.
Assignable values: within the actual limits of the
Riff.
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Edit Style 9•13
Microscope
Event List
track in edit
The Microscope allows you to modify every single event recorded in the tracks. The Event List
shown at the center of the display shows all the
events recorded.
ACCESS TO THE EVENT EDIT
1. Select the track where you want to edit the
events in the Event List.
2. Use the / cursor buttons to scroll through
the events. The selected notes are played
automatically.
3. Select the parameter to be changed using
the / cursor buttons.
measure
beat
The «Status» column shows the type of event.
One or more parameters can be changed for each
event. See the next page for a table of events
and their parameters.
Value 2
resolution
Value 3
event type
(Status)
4. Use the DIAL to change the selected parameters.
PROGRAMMABLE EVENTS AND PARAMETERS
Value 1
SHOW... (F2)
Opens a dialog window where it is possible to
select the events that will be displayed in the
Event List.
Set the events to mask to «Off»
SELECT RIFF... (F1)
Selects the riff to edit. Select the variation and
the riff in the dialog window
Set the parameters and press ENTER.
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9•14 Reference Guide
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Gate
EVENTS TABLE AND RELATVE PARAMETERS
STATUS
VALUE 1
VALUE 2
VALUE 3
GATE
Note
Note name
[C–1 … G9]
Key On Velocity
Key Off Velocity
Note Length
expressed as the
Sequencer resolution
(q=192) [0 … 63323]
Program
Change
Program change
message. The PC
contained in the tracks
and shown in the
Microscope has
priority over the PC
recorded in the
Performance.
[1 … 128]
Bank Select MSB
message. To select
the SK760/880 banks,
use numbers 1 … 16
[1 … 128]
Bank Select MSB
message. Not
necessary to select
the SK760/880
sounds
[1 … 128]
Control
Change
Type of Control
Change (or MIDI
controller).
Example: CC00 =
BankSelect MSB,
CC32 = BankSelect
LSB, CC01 =
Modulation, CC07 =
Volume
[1 … 128]
Control Change
Value
Pitch
Bend
Value of LSB (Least
Significant Byte).
[0= Off, 1…127 = On]
Value of MSB
(Most Significant
Byte). Effectifve
value of bending.
[0…63 = down
64 = neutral
65…127 = up]
Mono
Touch
Channel
Aftertouch intensity
[0 … 127]
Poly
Touch
Note to which
Aftertouch is applied.
[C–1 … G9]
Note Aftertouch
intensity.
[0 … 127]
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Edit Style 9•15
INS: (X) (F3)
DELETE (F6)
Inserts the event specified in the “INS. TYPE”
function at the current cursor position. To position the inserted event precisely, modify its locator
(the parameters to the left of the «Status» column).
Deletes the selected event.
The events are inserted with the following default parameter values:
Status
1V
2V
3V
Gate
Note:
C4
64
64
128
P. Ch
1
1
1
Contr.
1
0
----
P.Bend
0
64
----
M.Tch
0
----
P.Tch
C4
0
CATCH LOCATOR (F7)
Selects the event currently playing, or the event
immediately after the current riff position.
GO TO LOC... (F8)
Takes the cursor directly to the first event in the
specified measure. The number can be entered
using the DIAL.
---Specify the locator and press ENTER to confirm.
After inserting the desired event, modify its parameters accordingly.
INS TYPE... (F4)
Opens a dialog window where you can select the
type of event to insert manually with the «Ins:
(x)» function.
Select the type of event and press ENTER.
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9•16 Reference Guide
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Mask
The Mask function allows you to program the Basic elements of two Variations (Var 2 and 4) in
order to automatically obtain the Basic elements
of the remaining two Variations (Var 1 and 3).
The Basic Variation 2 generates the Basics of
Variations 1 and 2. The Basic Variation 4 generates the Basics of Variations 3 and 4. To obtain
the best results, program your Variations with all
6 accompaniment tracks (Acc.1,2,3,4,5,6) as well
as Drums and Bass.
The idea is to reduce your Style recording times
by recording 2 Variations and exploit the automatic features to create a Style with 4 Variations.
Then, using the Arranger Tracks function, mask
one or two accompaniment sections in one or
two Variation to reduce the instrumental content
of the respective accompaniments.
The Bass tracks rest unchanged and cannot be
altered.
Program the Intro, Ending and Fill of the 4 Variations to create a complete Style.
PARAMETERS
Mask
Arranger tracks
Activates the Mask function.
Deactivates the individual Arrangement parts
(A1...A6) of each Variation.
When the Mask parameter is enabled (ON), the
Basic Variation 2 automatically generates Basic
Variation 1, while Basic Variation 4 generates the
Basic Variation 3.
Options: On, Off.
For example, if you have programmed tracks
A1...A6 of Variation 2 and you want to mask A4,
A5 and A6 for Variation 1, A2 and A3 for Variation
2, program the first two lines as follows:
V1 = Off/Off/Off/A4/A5/A6
V2 = Off/A2/A3/Off/Off/Off
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Edit Style 9•17
DRUM MASK (F7/F8)
Opens the «Drum mask» dialog window.
As in the Mask function for the Arrangement
tracks, the Drum Mask excludes individual percussive sounds from the Drum tracks of the Variations.
Four keyboards (or drumkits) appear in the dialog window, each representing the Drum track
(DR) of the four different variations.
Select the variation with the cursor buttons / .
Play the notes corresponding to the percussion
instruments to exclude them from the selected
variation.
The excluded notes are denoted by a small black
line on white notes and a white line on the black
notes.
Play the same note to cancel the line and to play
the sound in the selected variation.
Press ENTER to confirm the programming, or
ESCAPE to cancel.
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9•18 Reference Guide
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Drum track of Variation 1 showing masked Percussive
instruments
• 10 Edit Effect
Press the EFFECTS button in the EDIT section
followed by ENTER (or the page
button) to
gain access to the «Edit Effect» environment.
EFFECTS
1
The «Edit Effect» environment contains general
parameters that affect the instrument as a whole
(amount of general reverb), Performance parameters (effects assigned to the DSPs), and track
parameters (amount of effects sends).
ENTER
The SK760/880 models (without the optional Audio/Video card) show the Edit Effect environment
with only one editor. The SK760/880 with A.V
card, shows two editors; Effect and Vocal Processor (see page 10. 7).
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ESCAPE
Performance
Page stored in Performance
©
Note: Save the modifications with
STORE PERFORMANCE. The
parameter configurations that are
memorized to the Performances
show the letter in the top left hand
corner of the Edit I.D. Icon.
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EFFECTS TYPE (F1)
This function assigns the effects to the DSP. Each
Performance can have its own effect and the
general level (volume) can be regulated. The effect levels for each track are adjusted using the
«Send level» function.
Group A & B
Eff1. The Reverb selector. Rotating the Dial when
this parameter is selected scrolls through the 24
available Reverb effects.
Reverbs: refer to the table on page 5 for a detailed list of the Reverb effects.
Vol. General Reverb level (volume).
Assignable values: 0 ... 127.
Edit Effects - Effects type selection
Group A & B
Eff2. The modulation effect selector (delay/chorus/flanger, etc). Rotating the Dial when this parameter is selected scrolls through the 32 available Modulation effects.
Effects: refer to the table on page 6 for a detailed
list of the modulation effects.
Vol. General Modulation effect Level (volume).
Assignable values: 0 ... 127.
Group A & B
Effect 2 to Effect 1: Determines the quantity of
feedback of Eff2 into Eff1.
Assignable values: 0 (no feedback) ... 127 (maximum feedback of the signal).
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Edit Effect 10•1
SEND LEVEL (F2)
GENERAL EFF1 BALANCE (F3)
This function controls the amount of effect assigned to each track. The zero level corresponds
to a deactivated effect for the track.
Value added or subtracted from the general
reverb level, regardless of the selected Performance. Allows you to adapt the reverberation of
the SK760/880 to the natural reverb of the surroundings.
Grp (Group)
In Style/RealTime mode, the Group parameter
cannot be selected. The accompaniment tracks
are processed by the Group B effects. The keyboard tracks are processed by the Group A effects.
In Song mode, the Group parameter can be
switched from A to B and vice versa.
The reverb duration varies according to the dimensions and absorption characteristics of the
surroundings in which you play. You can program the SK760/880 reverb in order to obtain
the best results over headphones, or for home
listening, and then regulate this parameter to
adapt the reverb to the surroundings in which you
play in public.
The setting is not retained in memory at power
down.
E1 (Effect 1 - Reverbs)
Regulates the send level of Effect 1 (reverb) for
each track.
Assignable values: 0 (dry) ... 127 (wet).
Assignable values: 0% (all dry) ... 100% (all wet).
The value of 70% corresponds to the factory set
value.
E2 (Effects 2 - Modulations)
Regulates the send level of Effect 2 (modulations)
for each track.
Assignable values: 0 (dry) ... 127 (wet).
Track in edit
Edit Effects - Send level (Style/RealTime mode)
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10•2 Reference Guide
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Edit Effects - General Effect Balance
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EFFECTS PROGRAMMING (F4)
Room Size
Editor of the currently selected effect. The parameter values and parameter configurations vary
according to the «Effect type» selected.
Dimensions of the simulated room. The time
lapse between the first reflection and the remainder of the reverb.
The tables at the end of this chapter list the Effect types and relative values of the parameters.
Diffusion
Duration of the reverb (Early type reverbs).
L.P.Filter (Low Pass Filter)
Rev.Time (Reverb Time)
Determines the cutoff frequency of the filter.
Decay time of the reverb.
Delay (delays)
Delay (reverbs)
Initial delay between the emission of the original
sound (dry signal) and the reverb (wet signal).
H.F.Decay (High Frequency Decay)
Decay of the high frequencies. The parameter
indicates the final frequency of the filter. The decay of the high frequencies has a longer duration
than that of the low frequencies.
Velocity of the delay repetition.
Feedback (delays)
Interaction of the delay with itself. Determines
the number of repetitions of the delay.
Feedback (phasers and flangers)
Interaction of the phaser or flanger with itself.
Determines the harmonic amount of the effect.
Freq.Modul. (Frequency Modulation)
DSP1 Parameters
(GrpA-Eff1)
DSP3 Parameters
(GrpB-Eff1)
DSP2 Parameters
(GrpA-Eff2)
DSP4 Parameters
(GrpB-Eff2)
Modulation velocity of chorus and flanger effects.
Depth
Depth of the action of the effect.
Feedback (Distortion)
Saturation of the distortion.
Speed (rotary effects)
Time required to pass from slow to fast or vice
versa.
Rotary
Edit Effects - Effect programming
(Edit of the Effect assigned to the Performance)
Slow/fast velocity.
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Edit Effect 10•3
Semitone
Transposition in semitone steps.
Detune
Detuning over a range of ±100 Cents.
Low Gain
Enhancement of the low frequencies.
Medium Gain
Enhancement of the mid frequencies.
High Gain
Enhancement of the high frequencies.
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10•4 Reference Guide
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Effect 1 - Reverb table
Effect 1 - Reverbs
1 Hall 1
2 Hall 2
3 Hall 3
4 Warm Hall
5 Long Hall
6 Stereo Concert
7 Chamber
8 Studio Room 1
9 Studio Room 2
10 Studio Room 3
11 Club Room 1
12 Club Room 2
13 Club Room 3
14 Vocal
15 Metal Vocal
16 Plate 1
17 Plate 2
18 Church
19 Mountains
20 Falling
21 Early 1
22 Early 2
23 Early 3
24 Stereo
Rev. Time [0 (0.1 s) … 99 (10s)]
“
“
“
“
“
“
“
“
“
“
“
“
“
“
“
“
“
“
“
Room Size [0 … 64]
Room Size [0 … 64]
Room Size [0 … 64]
Room Size [0 … 64]
Delay [0 ms … 99 ms
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Diffusion [0 … 127]
Diffusion [0 … 127]
Diffusion [0 … 127]
Diffusion [0 … 127]
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H.F.Decay [0=Bypass … 10 kHz]
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L.P.Filter [0-Bypass…10-16kHz]
L.P.Filter [0-Bypass…10-16kHz]
L.P.Filter [0-Bypass…10-16kHz]
L.P.Filter [0-Bypass…10-16kHz]
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Edit Effect 10•5
Effect 2 - Delay/Chorus/Flanger/Modulation table
Effect 2 - Delay/Chorus/Flanger/Modulations
1 Mono Delay 1
Delay [0 (0ms)…125 (500ms)]
2 Mono Delay 2
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3 Stereo Delay 1
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4 Stereo Delay 2
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5 Multitap Delay 1
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6 Multitap Delay 2
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7 Ping-pong
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8 Panmix
Delay [0-(0ms)…125-(500ms)]
9 Chorus 1
Freq.Mod [0-0kHz…30-6kHz]
10 Chorus 2
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11 Ensemble 1
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12 Ensemble 2
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13 Phaser 1
Freq.Mod [0-0kHz…30-6kHz]
14 Phaser 2
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15 Flanger 1
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16 Flanger 2
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17 Chorus/Delay1 Delay [0-(0ms)…125-(500ms)]
18 Chorus/Delay2
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19 Flanger/Delay1
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20 Flanger/Delay2
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21 Dubbing
Delay [0-(0ms)…125-(500ms)]
22 Distortion
Depth [0% … 100%]
23 Distortion/Delay Depth [0% … 100%]
24 Pitch Shifter 1 Semitone [-12 … +12]
25 Pitch Shifter 2
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26 Shift/Delay
Delay [0-(0ms)…125-(500ms)]
27 Rotary 1
Speed [1s … 11s]
28 Rotary 2
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29 EQ Jazz
Low Gain
30 EQ Pop
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31 EQ Rock
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32 EQ Classic
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10•6 Reference Guide
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Feedback [0% … 99%]
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Freq.Mod [0-bypass…30-6kHz]
Depth [0 … 100]
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Depth [0 … 100]
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Freq.Mod [0-bypass…30-6kHz]
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Feedback [0% … 99%]
Feedback [0% … 100%]
Delay [0-(0ms)…125-(500ms)]
Detune [-100c … +100c]
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Feedback [0% … 99%]
Rotary [slow/fast]
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L.P.Filter [0-bypass…10-16kHz]
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L.P.Filter [0-bypass…10-16kHz]
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L.P.Filter [0-bypass…10-16kHz]
L.P.Filter [0-bypass…10-16kHz]
Feedback [0% … 99%]
L.P.Filter [0-bypass…10-16kHz]
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Detune [-100c … +100c]
L.P.Filter [0-bypass…10-16kHz]
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High Gain
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• Vocal Processor (Edit Effect)
INTRODUCTION TO THE VOCAL PROCESSOR
The Vocal Processor function allows solo vocalists to add vocal harmonies to their performance.
Up to 4 extra melody lines can be added to any
kind of sound source (voice, guitar, synth, etc.).
If your SK760/880 contains the Vocal Processor
function, in «Edit Effect» you’ll find parameters
for Effects editing (Effect editor) and the Vocal
Processor (Vocal Proc. editor).
Press the EFFECTS button in the EDIT section
to gain access to «Edit Effect», select the Vocal
Proc. editor and press ENTER to gain access.
If your SK does not have the on-board Vocal Processor, it can be easily upgraded with the Vocal
Processor function by installing the optional Audio/Video + Vocal Processor and loading the relative disk-based Operating System software.
ENTER
EFFECTS
FEATURES OFFERED BY THE VOCAL
PROCESSOR
1
ESCAPE
1. The Vocal Processor is a function which can
add vocal harmonies to your voice according to various preset configurations which
enrich the vocal backings automatically.
2. The Vocal Processor implements new controlling functions assignable to the Pads and
Pedals. Also implemented are specific MIDI
Controllers to control the Vocal Processor via
MIDI.
3. In the Edit General environment, the Vocal
Processor implements an Equalizer (the Mic/
Line editor) which affects the Microphone signal only.
4. The rear-panel MIC/LINE INPUT 1 is predisposed to accept a Microphone signal in order to be processed by the Vocal Processor
function.
Edit Effect- Main Menu
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Vocal Processor 10•7
CONNECTIONS
ACTIVATE THE VOCAL PROCESSOR
To work with the Vocal Processor, the minimum
amount of equipment you will need is:
The Vocal Processor operates only if both the
Mic/Line On/Off and Vocal Processor On/Off options in Edit General are enabled. For example
if, after loading the Vocal Processor operating system, you attempt to use the Vocal Processor,
you’ll find that it will not respond.
1. A low impedance microphone with a standard jack connector on the output end of the
cable.
2. A switch-action pedal (optional).
3. An amplification system for instrument not
fitted with internal amplification (domestic hifi unit, amplified speakers, mixer, etc.).
Switch Pedal: plug the switch pedal into PEDAL
1 or 2 jack and assign the pedal one of the Pedal
functions to control the Vocal Processor (Vocal
On/Off, Vocal Mute, Mode recall, etc.). The Mute
function can also be assigned to the Pads.
Therefore, before gaining access to the Vocal
Processor editor, it is more convenient to go into
«Edit General», enter the Mic/Line editor and
enable the Mic/Line On/Off and Vocal On/Off
options with the corresponding Soft buttons.
PEDAL
2
DAMPER
1
VOLUME
Press ESCAPE or EFFECTS to exit Edit General and return to the Edit Effects section.
Microphone: connect the Microphone to the MIC/
LINE 1 jack. You can regulate the microphone’s
sensitivity (Gain) with the small knob 1. In Edit
General, Mic/Line editor, you will find the Mic/Line
On/Off and Vocal On/Off options and an Equalizer which affects the microphone input signal
only.
MIC / LINE IN
1
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10•8 Vocal Processor
2
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The instrument will memorize the status of the
selected parameters even after power down.
Vocal Processor
The four voices can be selected from the six available:
Voice 1 : Extreme Lower octave
Voice 2 : Close Lower octave
Voice 3 : Extreme Upper octave
Voice 4 : Close Upper octave
Main : “doubles” the input voice
Bass : “doubles” the input voice one octave down.
Select the Vocal Processor editor from the main
Edit Effects menu with the cursor buttons ( / )
and press Enter to access the editor.
It is also possible to enter the editor directly using the Page scroll buttons (
).
The parameter configuration displayed depends
on the mode selected.
Three operating modes are available: Chord /
Vocoder / Unison.
You can regulate the Volume and Pan parameters of each single voice (F1/F2).
You can mute or activate the various voices with
the function buttons A-F.
CHORD (F5)
Ex: an active voice shows the icon
N.B. THIS MODE IS OPERATIVE ONLY IN
STYLE MODE
a muted voice shows the icon
CHORD mode recognizes the chords you play
and determines the most appropriate harmony
intervals for your singing. This mode produces
up to four voices according to the recognized
chord and chord type (Close or Smart - see Vocal Processor Edit). The harmonic voices are
generated within the octaves above and below
the input note with two different intervals: one
interval near the input note (Close) and another
further away (Extreme). The interval extensions
vary according to the chord played .
The Harmony parameter controls the general
volume of the Vocal Processor:
Vocal Processor - Chord mode, Volume option
Vocal Processor - Chord mode, Pan option
The Volume page operates in the same manner
as the same page in «Edit Mixer»; in other words,
you can regulate the levels with the Dial or Sliders.
The Volume and Pan controls are common to all
three operating modes.
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Vocal Processor 10•9
NB. The number of voices produced by the
Vocal Processor is always a maximum of 4.
Example: if voices 1, 2, 3 and 4 are active in
order to activate the Main or Bass voice, you
must mute one of the active voices.
VOCODER (F6)
VOCODER mode operates both in Style mode
as well as Song mode.
The VOCODER mode operates by referring to
the notes played in real time on the keyboard, or
reproduced by the sequencer, and the Vocal
Processor responds by shifting the pitch of your
voice exactly to the notes played.
The Vocoder is always tied to one of the tracks
(see Vocal Processor - Edit).
Vocal Processor - Vocoder mode, Volume option
You can regulate the Volume and Pan parameters of each single voice (F1/F2).
You can mute or activate the various voices with
the function buttons A-F.
In VOCODER mode, the Main and Bass voices
are not present.
The assigned Vocoder track is able to receive
Pitch and Modulation messages.
Vocal Processor - Vocoder mode, Pan option
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10•10 Vocal Processor
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UNISON (F7)
UNISON mode operates both in Style mode as
well as Song mode. In this mode, the Vocal Processor automatically produces the same note as
the input note, doubling up to 4 Voices.
Each voice is doubled with a slight detune effect
above and below the input note according to the
following scale.
Voice 1 = +12 cents
Voice 2 = + 7 cents
Voice 3 = – 7 cents
Voice 4 = – 12 cents
Vocal Processor - Unison mode, Volume option
You can regulate the Volume and Pan parameters of each single voice (F1/F2).
You can mute or activate the various voices with
the function buttons A-F.
In UNISON mode, the Main and Bass voices are
not present.
Vocal Processor - Unison mode, Pan option
EDIT (F3)
The Edit page allows you to apply a Low Frequency Oscillator (LFO) to the voices produced
by the Vocal Processor. The modifications affect
the voices globally, not individually.
The parameters of the Edit page are common to
all three operating modes.
About the LFO
LFO is a periodic (repeating) control source which
produces a low speed (low frequency) waveform
which is applied to the voice Pitch to obtain a
cyclic modulation.
Because of its periodic nature, the LFO applied
to the pitch creates the Vibrato effect to simulate
the natural vibrations of the human voice.
Vocal Processor - Edit
Sine
Triangle Saw-tooth
Square
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Random Sample&Hold
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Vocal Processor 10•11
THE EDIT PAGE PARAMETERS
VOICE SET (F4)
LFO Wave
In this page, it is possible to recall up to 16 Custom configurations.
Each Custom recalls a different setting of all the
Vocoder parameters (Volume, Pan, Mute, Mode,
lfo,...). The Custom settings are not programmable.
You can use the Custom Voice Sets as a starting
point for your configurations and, any subsequent
changes to the settings can be memorized to the
Performances.
Selects the waveform of the low frequency oscillation.
Assignable values: Off, Sinus, Triangle, Saw,
Square, Random, Sample/Hold.
LFO Rate
Determines the velocity of the LFO.
Assignable values: 1 … 200.
LFO Depth
Determines the depth of action of the LFO.
Assignable values: 0 … 7.
LFO Delay
Determines the delay before the entry of the LFO.
Entry of the LFO is gradual.
Assignable values: 0 … 64.
Pitch Filter
Checks the pitch of the voices. In Free mode, all
pitch imperfections detected due to minor
changes in the pitch of the voice rest unchanged.
In Auto Correction mode, the imperfections are
automatically corrected.
Assignable values: Free, Auto Correction.
Chord Type
Selects from two different modes of harmonization according to the chord played.
Assignable values: Close and Smart..
[See also Harmony Type in «Edit Tracks/Splits»].
Vocal Processor - Voice Set
LOCK (F8)
The LOCK function locks the current Vocal settings to protect them from subsequent Performance changes.
To lock the current setting, press the function
button F8 to activate the Lock. The icon is shown
in negative highlight and the small lock closes.
Vocoder Track
Selects the track exploited by the Vocoder.
Assignable values: 1 … 32.
Transpose
Transposes the Vocoder track one octave above
standard pitch.
Assignable values: Off, Octave+.
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10•12 Vocal Processor
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Vocal Processor - Chord mode, Volume option, Lock on
Additional changes
In addition to the above, the following additional
modifications are implemented by the Vocal Processor:
PADS AND PEDALS
In «Edit Controllers/Pads”.
The following additional assignable functions are
implemented for the pads and pedals:
•
Vocal On/Off (Pedals/Pads)
•
Vocal Volume (solo Pedals Assign.)
•
Vocal Custom 1-16 (Pedals/Pads)
•
Vocal Mute (Pedals/Pads)
•
Vocal Chord/Vocoder/Unison (Pedals/Pads)
NB. All the parameters described above can be
memorized to the Performances.
Edit Controllers/Pads - Vocal Volume and Vocal On/Off
assigned to the pedals
VOCAL ON/OFF AND EQUALIZER
In «Edit General», the Mic/Line editor with the
Audio/Video card and vocal Processor installed.
The Mic/Line In editor includes an Equalizer which
prompts the following window when activated:
•
High gain
•
Middle Freq
•
Middle gain
•
Low gain
The Equalizer parameters exclusively affect the
Microphone signals at input 1 of the Mic/Line interface.
The Vocal On/Off option enables/disables the
Vocal Processor
The Mic/Line On/Off option enables/disables the
MIC/LINE interface.
NB. These parameters are memorized in Edit
General.
Edit General - Equalizer
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Vocal Processor 10•13
SPECIAL MIDI CONTROLLERS ASSOCIATED TO THE VOCAL PROCESSOR
LOADING MIDI FILES CONTAINING A
VOCODER TRACK
To control the Vocal Processor via MIDI, the following special MIDI controllers (Common Channel) are available:
When a MIDI File containing a Vocoder track is
loaded from disk, the Vocoder track sets to track
5 by default.
Cntrl No.
Description
Value
12
Vocal volume
0 … 127
13
Vocal On/Off
0 Off/On (toggle)
64-127 On
14
Mode recall
0 = Chord mode
1 - Vocoder mode
2 = Unison
15
Voice Set recall
1=1
2=2
3=3
…
15 = 15
16 = 16
85
Voice Mute mode
0 = Voice 1
1 = Voice 2
2 = Voice 3
3 = Voice 4
4 = Main
5 = Bass
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10•14 Vocal Processor
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• 11 Edit MIDI
The «Edit MIDI» environment contains general
parameters and parameters pertaining to single
tracks.
MIDI
2
Press the MIDI button in the EDIT section to gain
access to the «Edit MIDI» environment.
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©
Note: Save any modifications with STORE
PERFORMANCE. The Performance memorizes
pages whose icons shows the symbol
.
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Performance
Page memorized to
the Performance
Track in edit
MIDI CHANNELS (F1)
This parameter assigns the MIDI channel (1…16)
and MIDI port (A or B) to each track.
The Performances are independently programmable for a MIDI configuration.
Edit MIDI - MIDI Channels
(MIDI Channels and ports for each track)
The «MIDI Lock» option (soft button F8) locks
the current configuration for all Performances,
overriding the individual MIDI configurations of
the Performances when you change Style or
Performance.
MIDI IN port
(A or B)
MIDI OUT
channel
(1...16)
MIDI OUT
channel
(1...16)
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MIDI OUT
port (A or B)
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Edit MIDI 11•1
CONFIGURATION (F2)
Internal sound generator icon
This function sets the track configuration which
determines how the tracks are connected to MIDI
IN, to the keyboard, to the sound generator and
MIDI OUT.
When on (icon showing), the events generated
by the track are sent to the internal sound engine. When OFF, the track is not connected to
the internal sound engine, but can send data to
an expander via MIDI OUT.
The keyboard icon also indicates the Common
Channel (equivalent to the incorporated keyboard
of SK760/880).
Pass from one icon to another with the cursor
buttons. Modify the status of the icons with the
DIAL (when the icon shows, the parameter is on;
when the parameter is deactivated, the icon is
substituted by OFF).
MIDI OUT icon
When on (icon showing), the events generated
by the track are sent to an external MIDI device
via the MIDI OUT port. When OFF, the track does
not transmit MIDI data to external units.
MIDI IN icon
When on (icon showing), the track responds to
MIDI data received at the MIDI IN port. When
OFF, the track does not receive external MIDI
data.
Keyboard/Common Channel icon
When on (icon showing), the track can be played
from the keyboard. When OFF, the track cannot
be played from the keyboard, but can receive data
via MIDI, or it can be exploited by a Song or Style.
The icon also corresponds to a master keyboard
connected via the Common Channel, which simulates the SK760/880 keyboard and on-board controllers (pedals).
Edit MIDI - Configuration
(track configuration - internal/external connections)
MIDI
IN
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11•2 Reference Guide
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keyboard/
Common Channel
internal sound
generator
MIDI
OUT
MIDI FILTERS (F3)
GENERAL SETTINGS (F4)
This function programs MIDI Filters for data received at MIDI IN and data sent via MIDI OUT.
This function provides settings that influence the
instrument as a whole (saved to the Setup).
It is possible to program up to 7 MIDI IN filters
and 7 MIDI OUT filters for each track.
MIDI Clock
Options: Off, Program Change, Pitchbend, Mono
touch, Poly touch, ControlChange 00...31,
ControlChange 64...127.
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©
Hint: To avoid transmitting ProgramChange
data to an expander connected to the SK760/880
MIDI OUT, activate the MIDI OUT ProgramChange
filter for the track.
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A MIDI synchronizer to synchronize SK760/880
with external rhythm units and sequencers.
Setting “Internal” renders SK760/880 independent from the Clock of external MIDI devices.
Setting “External” places SK760/880 on standby, waiting to receive the PLAY, START or STOP
command from the external device connected to
the instrument’s MIDI In port. The external device also controls the tempo.
The Song Position Pointer is received and transmitted with the same precision as MIDI (1 tic = 1/
24th of a beat). This parameter allows a Song to
be stopped at a precise point.
Options: Internal, External.
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© Note: SK760/880 receives or transmits MIDI
Clock on the same MIDI port (A or B) as the
Common Channel.
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Edit MIDI - MIDI Filters
(filters of data in reception and transmission for each track)
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Edit MIDI - General settings
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Edit MIDI 11•3
Clock send
MIDI IN fix velocity
Determines whether or not the SK760/880 MIDI
Clock is transmitted to external MIDI devices. If
deactivated, SK760/880 cannot control the tempo
and the Start/Stop of MIDI devices connected to
the SK760/880 MIDI OUT.
Enables the Velocity switch. If this parameter is
set to OFF, notes are received via MIDI IN with
the correct velocity value. Other values set the
indicated value to the notes received.
Options: Off, 1 ... 127.
Options: On, Off.
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©
MIDI Merge
Enables data received at MIDI IN to be merged
with data transmitted at MIDI OUT.
If Merge=Off, the data received at MIDI IN are
directed to the internal sound engine and to MIDI
THRU.
If Merge=On, the data received at MIDI IN are
directed to the internal sound engine, to MIDI
THRU and MIDI OUT. Unlike data sent from MIDI
THRU, the data transmitted via MIDI OUT are
processed by the tracks (volume, pan, transpose,
velocity curve, MIDI filters).
Hint: Some accordions transmit velocity at a
fixed level, not able to be regulated. With this
parameter, it is possible to modify the velocity
value received by the accordion.
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© Note: The parameter cannot be programmed
when the COMPUTER port is active («Computer»
editor of «Edit General»).
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Enables the transposition of data received at MIDI
IN. Deactivating this parameter can be useful to
avoid unwanted transpositions when you program
Songs with a computer.
A computer operates as a THRU device. After
receiving data by a SK760/880 track which has
been transposed, the computer can return the
notes to the same track which will transpose them
further. This will not occur if MIDI IN Transpose
is deactivated.
Options: On, Off.
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Enables the transmission and reception of system exclusive messages. System Exclusive data
control the editing parameters of the instrument,
and can cause radical changes in the way SK760/
880 works. These messages are widely used in
the most recent MIDI files, to send editing messages before the start of a Song.
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11•4 Reference Guide
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©
Note: To transmit and receive system
exclusive messages, connect both MIDI IN and
MIDI OUT of SK760/880 to the MIDI OUT and MIDI
IN respectively of the external sequencer
(commonly known as the «Closed MIDI Loop»
connection).
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MIDI IN Transpose
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System Exclusive
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Options: On, Off.
Options: On, Off.
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System Exclusive Channel
Sets the MIDI In and Out port and MIDI channel
for system exclusive transmissions. The default
setting is MIDI ports A and channel 1.
SMF Save format
Set the function to format 0 or format 1 when you
save SK760/880 Songs as MIDI files.
Options: 0, 1.
General MIDI
BankSelect
Represents the General MIDI compatibility switch
which requires setting when loading or saving
MIDI files.
Enables the reception and transmission of the
BankSelect MSB (CC00) and BankSelect LSB
(CC32) message.
Set this parameter to ON in the following situations:
Options: On, Off.
•
before loading a GM compatible MIDI file
which does not contain the GENERAL MIDI
ON flag.
•
before saving a perfectly GM compatible MIDI
file (the General MIDI On flag is inserted in
the file and the Program Changes of the
drumkits are converted to Program Changes
compatible with General MIDI).
The table shown below lists the drumkit Program
Changes according to the status of the parameter.
Options: On, Off.
MIDI channel 10, General MIDI On - conversion table (automatic)
PC-GM
PC-BS SK760/880
Drumkit GM
Drumkit SK760/880
1…8
113-2
Standard
DK-STAND1
9 … 16
114-2
Room
DK-ROOM
17 … 24
115-2
Power
DK-POWER
25
116-2
Electronic
DK-ELECT
26 … 32
117-2
TR-808
DK-HOUSE
33 … 40
118-2
Jazz
DK-JAZZ1
41 … 48
119-2
Brush
DK-BRUSH
49 … 128
120-2
Orchestra
DK-ORCH
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Edit MIDI 11•5
COMMON CHANNEL/ARRANGEMENT (F5)
Chord to Arr.1 / Chord to Arr.2
This page presents parameters common to all
Performances.
Enables the parameters dedicated to the control
with a MIDI accordion. They are divided into two
parts:
The Common Channel is a MIDI channel dedicated to special operations:
•
simulation of the keyboard and on-board controllers (pedals).
•
transmission of Effects, Performance, Style
and Song selected messages to SK760/880.
•
transmission to SK760/880 of chord data for
the automatic accompaniment.
As an alternative to the Common Channel, chord
messages for the accompaniment can be received on the MIDI channels specified by Chord
to Arr.1 and Chord to Arr.2, conceived principally
for the connection of a MIDI accordion.
Ch - MIDI channel.
In - MIDI IN port (A or B).
Chord to Arr.1 is dedicated to the chords, Chord
to Arr.2 is dedicated to the Bass. The accordionist can send notes for the automatic accompaniment from the chord section, from the bass
section, or from both sections.
The Common Channel unites to these two channels and their notes contribute to the formation
of the chord for the automatic accompaniment.
Options: Off, 1 ... 16.
Common Channel
Enables the Common Channel. This parameter
is divided into three parts:
Ch - MIDI channel assigned to the Common
Channel (IN and OUT).
In - MIDI IN port (A or B).
Out - MIDI OUT port (A or B).
The channel assigned to the Common Channel
is no longer available for the tracks of the external sequencer. The Common Channel is reserved to special tracks dedicated to the control
of effects and other parameters.
ProgramChange and ControlChange data received on the Common Channel select Style,
Song, Performance, Effects and other parameters
listed in the Appendix.
Options: Off, 1 ... 16.
Edit MIDI - Common/Arrangement
(Common Channel and arrangement control)
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11•6 Reference Guide
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MIDI DUMP... (F6)
Opens the «MIDI Dump» file selection window,
which allows you to select the data to send to
another SK760/880, to a MIDI Data Filer, to a
sequencer or an editor for computers.
Use the directional Up/Down buttons to select the
desired file type and press ENTER to enter the
second level file selector. Use the direction arrows to select the desired file and press ENTER
again to send the Dump.
The options are:
Setup - the current general settings of the
instrument.
Sound - opens a selection window where you
can select either “All files” (including RAMWaves, RAM-Sounds and RAM -Sounds)
or a single file from the SK760/880 Sound
Library.
MIDI Dump: file type selection window.
Real Performance - opens a selection window where you can select either “All files” or
a single Performance.
Style Performance - opens a selection window where you can select either “All files” or
a single user-programmed file.
User Style - opens a selection window where
you can select either “All files” or a single
user-programmed file.
Song - opens a selection window where you
can select either “All files” or a single Song
(including relative Song-Performance).
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©
Note: SK760/880 receives and transmits the
Dump on the same MIDI ports (A or B) as the
Common Channel.
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MIDI Dump: second level file selection window.
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Note: The System Exclusive parameter in the
General Set option of «Edit MIDI” must be set to
ON (ON by default).
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©
Note: The MIDI DUMP operation must be
carried out while SK760/880 is in Style/RealTime
mode - Style not playing.
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Edit MIDI 11•7
Transmission of data to another SK760/880
Reception of data from a sequencer
1. Connect the MIDI OUT of the transmitting
instrument to the MIDI IN of the receiving instrument. Use the MIDI port (A or B) assigned
the Common Channel.
1. Connect the SK760/880 MIDI In to the
sequencer MIDI OUT. Use the MIDI port (A
or B) assigned the Common Channel.
2. In the transmitting instrument, select the data
to transmit from the «MIDI Dump» selection
window.
3. Press ENTER to start transmitting. A bar
graph shows the progression of the transmission. Wait until the data transfer operation is
complete.
If the «MIDI Dump aborted! - Check connections» message appears, the transfer was unsuccessful. Check the cable connection and
try again.
Transmission of data to a sequencer
Check that the external sequencer is able to
record System Exclusive data.
1. Connect the SK760/880 MIDI OUT to the
sequencer MIDI IN. Use the MIDI port (A or
B) assigned the Common Channel.
2. In the SK760/880, select the data to transmit
from the «MIDI Dump» selection window.
3. In the sequencer, dedicate a track to the system exclusive data with a generic MIDI channel (Any, All, or similar).
4. Activate the recording in the sequencer.
5. Press ENTER to start transmitting. A bar
graph shows the progression of the transmission. Wait until the data transfer operation is
complete.
If the «MIDI Dump aborted! - Check connections» message appears, the transfer was unsuccessful. Check the cable connection and
try again.
6. Stop the sequencer and check that the data
has been received.
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11•8 Reference Guide
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2. Set the sequencer to playback mode.
3. Wait until the data transfer operation is complete and stop the sequencer.
4. Check that SK760/880 has received the system exclusive data correctly.
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©
WARNING - Sending system exclusive data to
SK760/880 cancels all data of the same type
currently residing in memory. Save the data you
wish to conserve before receiving the system
exclusive data from the sequencer.
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LOCAL ON, LOCAL OFF (F7)
MIDI LOCK (F8)
The Local On setting (the default status of the
instrument) corresponds to the situation when the
keyboard is connected to the internal sound engine.
When this function is selected (shown in negative highlight), the current MIDI channel configuration and filters of the tracks is locked for all
Performances. The individual situations of Performances are overridden.
Press F7 to set the instrument for Local Off operation (shown in negative highlight). Local Off
operation disconnects the SK760/880 keyboard
from the internal sound generator. The keyboard
sends data from the Group A MIDI OUT on channel 1. In Local Off mode, the internal sound engine responds only to data received at MIDI IN.
The keyboard cannot play the internal SK760/
880 sounds directly.
When the option is not selected, the tracks are
reset to the settings of the current Performance.
The MIDI Lock setting is conserved in memory
after power down. It is saved to the Setup.
Activate Local Off to program Songs on an external sequencer. SK760/880 transmits data to
the external sequencer, and the sequencer returns the data to the SK760/880 internal sound
engine.
MIDI OUT
MIDI IN
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Edit MIDI 11•9
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11•10 Reference Guide
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• 12 Edit Mixer
«Edit Mixer» allows you to control volume, pan,
effect send and output assignment for each track.
Also included is an equalizer that is applied to all
tracks.
MIXER
3
Press the MIXER button in the EDIT section to
gain access to the «EDIT MIXER» environment.
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©
Note: Save the changes with STORE
PERFORMANCE. The Performances memorize
the pages whose icon shows the symbol
.
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VOLUME (F1)
PAN (F2)
You can regulate the track volume with the DIAL
or the sliders A…H.
Track position in the stereo panorama. Moving
the Pan all to the left or all to the right, you can
direct the sound to one output instead of both
outputs.
In edit, each slider corresponds to a track (the
LED near the A ... H letters is on).
Value range: 0 ... 127.
Value range: -31 (all to the left) ... 0 (center) ...+31
(all to the right).
Performance
Track in edit
Edit Mixer - Volume
(track volume)
Edit Mixer - Pan
(track position in the stereo panoramic)
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Edit Mixer 12•1
RANDOM PAN (F3)
AUDIO OUT (F4)
Random changes of the sound position in the
stereo panorama. This change renders the sound
more realistic.
Routing of the tracks to the audio outputs. The
parameter is important only when the tracks are
connected to the internal sound generation.
Value range: 0 (no effects) ... 7 (maximum randomness).
Normally the SK760/880 sends sounds to both
LEFT and RIGHT outputs, but it is possible to
send some tracks to the auxiliary 1 and 2 outputs, for an external mixing operation and a wider
sound ‘opening’.
The outputs selection also affects the internal
amplification.
Options: Left+Right, Out1+Out2, Out1, Out2.
Edit Mixer - Random Pan
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Edit Mixer - Audio Outputs
(track audio outputs)
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12•2 Reference Guide
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3D EFFECT (F5)
The 3D effect is a spacializer which adds dimension to the SK760/880 Sounds.
Bass
A Bass equalizer which adds or removes the bass
frequencies.
Value range: –12dB … +12dB
3D
Spatializer which affects the stereo outputs of the
instrument. The effect is not heard if the instrument is connected to an amplification system in
mono.
Value range: –3dB ... –12dB.
Edit Mixer - 3D
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Edit Mixer 12•3
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12•4 Reference Guide
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• 13 Edit Controllers/Pads
In «Edit Controllers/Pads» you can program how
the individual tracks of a Performance react to
the Trackball, the programmable Pedals and programmable Pads.
CNT / PADS
4
Press the CNT./PADS button in the EDIT section
to gain access to the «Edit Controller/Pads” environment.
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©
Note: Save the changes with STORE
PERFORMANCE. The Performances memorize
the pages whose icon shows the symbol
.
Modulation
2
WHEELS (F1)
Modulation is applied by vertical movements of
Wheel 2 (the right wheel). The Modulation Wheel
is centre-dented for easy positioning at the central position. The parameter can be set to either
On of Off.
Activates the action of the Wheels for single
tracks.
The same control can be assigned to a switch
action pedal. See “Pedals Programming (F2)”.
Each track can be independently programmed
for the action of the Pitchbend Wheel (1) and/or
the Modulation Wheel (2).
Options: Pitch Bend: Off, 1...12.
Modulation: Off, On.
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PitchBend
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1
Pitch Bend is applied by vertical movements of
Wheel 1 (the left wheel). The PitchBend wheel
is spring loaded to return the control to the central position (corresponding to standard pitch).
The parameter offers a maximum pitch excursion
of 12 semitones and Off.
Performance
Track in edit
The same control can be assigned to a continuous control pedal. See “Pedals Programming
(F2)”.
Edit Controllers/Pads - Wheels
Pitch/Mod assignment for each track
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Edit Controllers/Pads 13•1
PEDALS PROGRAMMING (F2)
•
Here you can assign a function to the pedals 1, 2
and 3. All three Pedals can be set to operate as
either Switch or Continuous controls.
«CONTINUOUS»: Off, PitchBend, Pitch+,
Pitch–, Filter Cutoff Frequency (CC74), Resonance (CC71), Modulation (CC01), Breath
controller (CC02), Volume (CC07), Pan
(CC10), Expression (CC11).
Switch action pedals control on/off functions such
as Soft, Sostenuto, Damper, Start/Stop, Fill, Rotary Slow/Fast, etc.
Refer to the Pedal function tables at the end of
this chapter for brief explanations of each function.
Continuous control pedals control functions such
as Volume, Expression, Pitch and Modulation.
Type of pedal
The first column on the left of the display selects
the type of pedal (Switch or Continuous).
PEDALS ASSIGNMENT (F3)
This parameter enables or disables the tracks for
the action of pedals 1, 2 and 3.
Options: On, Off.
Options: Switch, or Continuous.
Parameters assignable to the pedals
The control functions assignable to the pedals
depend on the type of pedal.
•
«SWITCH»: Off, Damper, Sostenuto, Soft,
Start/Stop, Key Start, Intro, Fill <, Fill =, Fill
>, Ending, Var 1, Var 2, Var 3, Var 4, Var >,
Var <, Perf >, Perf <, Harmony, Bass to Low.,
Arrange On/Off, Fade In/Out, Tempo >, Tempo <, Punch, Rotary Slow/Fast, Minor, 7th,
Dim, Min 7th, Maj 7th, Freeze Chord.
Edit Controllers/Pads - Pedals programming
(Function assignments for the Pedals)
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13•2 Reference Guide
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Edit Controllers/Pads - Pedals assignment
(pedal enable/disable)
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PADS (F4)
Dynamic 0…127
The four PAD buttons are independently programmable. Each button can be configured to react
according to the settings of various parameters.
Rotary slow/fast - Switches the Rotary
velocity from slow to fast or vice versa.
Hardcopy - Captures a bitmap image of
the current display (.BMP) into RAM.
The images can be saved to an MSDOS disk and elaborated by a graphic
program running on a personal
computer.
Pad #
Determines the Function to assign to the pad.
Functions assignable: Off, KeyAssign, Rotary
slow/fast, Hardcopy.
Off - pad deactivated.
KeyAssign - The pad plays the assigned
note. The Volume, Pan, Transposition
and MIDI OUT channel settings correspond to those of track 6. The Note and
ProgramChange are defined by the following parameters which appear only
when this option is selected
Confirm (F1) - confirms the captured display.
Save (F2) - saves the captured image to an MS-DOS disk.
Reset (F3) - cancels all captured images and liberates the
RAM. Each image uses approx. 6 KBytes of RAM.
Ignore (F5) - closes the dialog window without capturing
the image.
PC - Program Change. Range 1…128.
C#0 - CC00: Control Change 00 (Bank
Select MSB). Range 1…128.
C#32 - CC32: Control Change 32 (Bank
Select LSB). This parameter does not require a setting to play an internal SK760/
880 sound. Range 1…128.
Note - Determines the note played.
Range: C-1 to G9
Note velocity. Range
PED./PAD
(PEDALS/PADS LOCK) (F8)
When selected, the Pedals/Pads Lock conserves
the current pedal and pad programmed status
for all Performance and Style selections.
To enable the recall of the Pedal/Pads parameters, make sure the Padlock is open (unlocked).
The Pedals/Pads Lock remains in memory after
power down. It is saved to the Setup.
Edit Controllers/Pads - Pads
(pad programming tasks)
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Edit Controllers/Pads 13•3
THE SWITCH PEDAL FUNCTIONS
(affect enabled tracks of the current Performance)
Off
No effect
Damper
Applies the sustain effect to released
notes.
Sostenuto
Sustains only the notes played at the
time of pressing the pedal; notes
played after pressing the pedal are
not affected.
Soft
Simulates the Start/Stop button.
Key Start
Activates/deactivates the Key Start
function.
Intro
Activates the Intro.
Fill <
Activates the Fill< function.
Fill =
Actvates the Fill function.
Fill >
Activates the Fill> function.
Ending
Activates the Ending function.
Variation 1
Switches to Variation 1.
Variation 2
Switches to Variation 2.
Variation 3
Switches to Variation 3.
Variation 4
Switches to Variation 4.
Var. >
Switches to the next Variation.
Var. <
Switches to the previous Variation.
Perf. >
Advances to the next Performance.
N.B. To select several Performances in increasing order, all the
Performances you intend to recall
must be programmed for the action
of the Perf > function.
Perf. <
Returns to the previous Performance.
N.B. To select several Performances in decreasing order, all the
Performances you intend to recall
must be programmed for the action
of the Perf < function.
Harmony
Activates/deactivates the Harmony
button.
Bass to Low.
Activates/deactivate the Bass to
Lowest function.
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Fade In/Out
Activates/deactivates the Fade In/
Out function.
Tempo >
Increases the Tempo setting by one
unit at a time.
Tempo <
Decreases the Tempo setting by one
unit at a time.
Punch
Activates/deactivates the Punch recording function during recording
operations.
Rotary s/f
Changes the speed of the Rotary
effect from Slow to Fast or vice versa.
Minor
Converts the currently held chord to
the minor chord.
Dim
Converts the currently held chord to
the diminished chord.
Min 7th
Converts the currently held chord to
the minor 7th chord.
Maj 7th
Converts the currently held chord to
the Major 7th chord.
Freeze Chord
‘Locks’ the current chord (pedal
held), allowing you to play freely with
both hands across the entire keyboard without triggering changes in
the Style auto-accompaniment. The
function deactivates at pedal release.
Attenuates the sound.
Start/Stop
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Arrange On/Off Activates/deactivates the Arrange
On/Off button.
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13•4 Reference Guide
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THE CONTINUOUS PEDAL FUNCTIONS
(affect enabled tracks of the current Performance)
Off
No effect
Pitch Bend
Applies Pitch Bend to the notes. The
Pitch Bend sweeps from the maximum negative to maximum positive
value of the Pitch setting in the
Wheels Pit/Mod function. The central position of the continuous pedal
corresponds to 0 pitch.
Pitch +
Increases the Pitch up the value set
in the Pit/Mod parameter.
Pitch –
Decreases the Pitch down the value
set in the Pit/Mod parameter.
Filter
Opens/closes the Filter Cutoff parameter in Edit Perf Sound.
Resonance
Affects the Resonance parameter
Modulation
Applies Modulation (CC01) to tracks
activated for the effect (in Pit/Mod).
Breath Cnt.
Generates Breath controller (CC02)
data (useful for external MIDI devices
capable of recognizing the controller).
Volume
Controls the general volume (CC07).
Pan
Controls the Pan (CC10) from left to
right.
Expression
Controls the volume from 0 level to
the maximum setting of the mixer
levels.
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Edit Controllers/Pads 13•5
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13•6 Reference Guide
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• 14 Edit Tracks
In «Edit Tracks» you can program parameters
that are exclusive to the tracks and set the Harmony function which is exploited by the Styles.
TRACKS
5
Press the TRACKS button in the EDIT section to
gain access to the «Edit Tracks».
This section consists of two menus. Pass from
one to the other with the scroll menu buttons
).
(
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©
Note: Save the changes with STORE
PERFORMANCE. The Performances memorize
the pages whose icon shows the symbol
.
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TRANSPOSE (F1)
A track transposer which transposes in steps of
one semitone. The maximum transposition obtainable is ±5 octaves.
Assignable values: –60…0…+60.
Edit Tracks - Transpose (track transposition)
MASTER TRANSPOSE ENABLE/DISABLE
(F2)
Master Transpose (general transpose) enable/
disable for the track. Tracks set to Enable are
tuned to the scale selected in «Edit General».
Tracks set to Disable play with the Equal temperament.
The Master Transpose parameter is disabled for
the drum track to avoid drum remappings due to
transpositions.
Edit Tracks - Master Transpose enable/disable
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Edit Tracks 14•1
DETUNE (F3)
MODE/PRIORITY (F5)
A fine tune function for single tracks. Each step
is equivalent to 1/64th semitone.
(1) Selects the polyphonic/monophonic mode for
the tracks. (2) Activates/deactivates the Priority
option (guaranteed minimum polyphony for the
track).
Assignable values: - 63…0…+63.
Mode
This parameter sets a track to play
monophonically (one note at a time) or
polyphonically (two or more simultaneous notes).
Mono R gives priority to the right note, Mono L to
the left note, Mono T to the last note played.
Options: Poly, Mono L, Mono R, Mono T.
Priority
Priority guarantees a minimum polyphony to a
track with respect to others and avoids “notestealing”. In complex arrangements, a track set
with Priority=Off can remain without notes, while
those with Priority=On will not be subjected to
“note-stealing”.
Edit Tracks - Detune
(Track fine tuning operations)
RANDOM PITCH (F4)
Options: On, Off.
Creates slight pitch variations freely and is useful to simulate the pitch instability typical of acoustic instruments. It is advisable to assign a value
of 1 or 2 to wind instruments.
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Edit Tracks - Mode/Priority
(polyphonic/monophonic Mode and Priority)
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14•2 Reference Guide
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Note: Avoid assigning Priority=On to too many
tracks, as this will cancel the function due to
conflicts between the assigned tracks.
Assignable values: 0 (no effect) ... 7 (maximum
randomness).
Edit Tracks - Random pitch
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©
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VELOCITY CURVE (F6)
VELOCITY RANGE (F7)
Provides a selection of Velocity response curves.
As well as modifying the velocity data, velocity
curves allow the creation of crossfade effects
between two tracks.
Sets velocity limits for each track above and below which the sound will not play. These limits
allow the creation of cross-switching effects by
assigning tracks different velocity ranges.
For example, it is possible to assign two tracks
with opposing dynamic curves (for example, two
opposing linear curves [ex. 1 & 4], or two opposing exponential curves [ex. 2 & 5]. The resulting
effect is one of hearing the sound of the second
track fade in by gradually increasing the keystrike
velocity while the sound of the first track fades
out. Playing softly triggers one sound and playing hard triggers the second. Playing with “in between” values creates a blend of both sounds.
For example, to one track, assign a piano sound
softened by a closed filter, while to another track,
assign the same piano sound with an open filter
to enhance the higher frequencies. Program the
first track to respond across a low velocity range
and the second track across a higher range. The
result obtained is a piano which changes timbre
depending on the velocity applied.
EFF
Assignable values: Low range 0…127 - High
range: 127…0.
VEL
0
1
2
3
4
5
6
7
Edit Tracks - Dynamic Curve
Press the right
button to pass to the second page of options.
Edit Tracks - Velocity Range
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Edit Tracks 14•3
HARMONY (F1)
Allows you to choose from a selection of harmony
types. The Harmony function is enabled and disabled by pressing the HARMONY button on the
control panel. Harmony is a function that affects
the instrument set to Styles/Performance mode
when the keyboard is split (Upper/Lower and Multi
modes). Songs are not affected.
Harmony type
Provides a selection of harmony types (defined
by the structure chart shown below).
Close:
the notes of a chord played below the Split Point harmonize the melody of
the right hand. The harmonizing chord is a
closed (or tight) position and the notes of the
left hand are copied to the right hand (see
table).
Open 1: an open chord (see table).
Open 2: similar to Open 1 (see table).
Smart: similar to Close, but based on the
harmonizing tables.
Duet: similar to Smart, but limited to two
notes.
Block: based on the harmonizing tables.
Octave 1: doubles the note of the right hand
by playing an octave higher. No left hand
chord required.
Octave 2: doubles the note of the right
hand, one octave above as well as one octave below. No left hand chord required.
Peterson: doubles the note of the right hand
with a note two octaves below. No left hand
chord required.
Jazz: adds two notes above the note played
by the right hand, at intervals of a fourth and
a minor seventh. No left hand chord required.
Rock: adds three notes of the perfect chord
below the note played with the right hand.
No left hand chord required.
Track
Selects the track to which the harmony type is
assigned.
Options: tracks 3…8
Edit Tracks - Harmony
HARMONY TYPE STRUCTURES
Close
Open 1
Duet
Block
Open 2
Jazz
Smart
Rock
Harmony example. The left hand plays a chord in C Major. The black notes represent the
melody, the white note the harmony added by the Harmony option.
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14•4 Reference Guide
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DELAY (F2)
Programmes a delayed entry for a sound after
striking a key and is valid for tracks set for keyplay. After striking the keys, the sound is reproduced after the time indicated by this parameter.
The value is expressed in 1/192nds of a quarter
note (crotchet) and the [+] sign appears when
the value exceeds that of the indicated musical
note.
Delay is synchronized with the Clock and affects
the internal generation as well as MIDI OUT.
Assignable values: 0 (off)…192 (1q) … 384 (2q)
… 576 (3q) … 768 (4q).
Edit Tracks - Delay
KEY RANGE (F3)
This parameter is valid only when the instrument
is set to Song Mode.
Assigns a keyboard extension (highest and lowest notes) to a track.
Assignable values: A0) … C8.
Edit Tracks - Key Range
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Edit Tracks 14•5
CREATE TRACK (F5)
This parameter is valid only when the instrument
is set to Song Mode.
Creates a track with default values. Use this function to create Song Performances with more than
16 tracks. Pressing the Soft button F6 opens the
«Create Track» dialog window:
Procedure:
1. Select the track to copy.
2. Press F6 (Copy track).
3. Specify the number of the track to copy with
the DIAL or numeric keypad.
4. Press ENTER to confirm the copy or ESCAPE to cancel the operation. The settings
of the source track are copied to the destination track.
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©
Procedure:
1. Press F5 (Create track).
2. Specify the number of the track to create with
the DIAL or numeric keypad. If the track that
you specify already exists, the relative parameters are assigned default values.
3. Press ENTER to confirm or ESCAPE to cancel.
Note: This operation does not copy the notes
captured by the sequencer but only the settings
such as sound, transposition, pan. To copy the
notes, use the «Copy events» function (in «Edit
Style» or «Edit Song»).
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ERASE TRACK (F7)
This parameter is valid only when the instrument
is set to Song Mode.
Cancels the selected track.
COPY TRACK (F6)
Copies one track to another. The destination track
assumes all the programmed settings of the
source track.
Procedure:
1. Select the track to cancel. A track engaged
by the sequencer cannot be erased.
2. Press F7 to cancel the track.
You are prompted to confirm the operation:
Press the corresponding Soft button to open the
«Copy track» dialog window.
3. Press ENTER to confirm or ESCAPE to cancel.
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©
Note: This command is valid for Song mode.
In Style/RealTime mode, it is not possible to cancel
tracks.
© Note: It is not possible to cancel track that
contains note information. If a track shows the
seq-play or mute icon with notes, it cannot be
cancelled.
© Hint: Cancel Song tracks that are not used.
The resulting Song file will occupy less memory on
disk.
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14•6 Reference Guide
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• 15 Edit Perf Sound/Sound Patch
«Edit Perf Sound» and «Edit Sound Patch» are
both edit facilities which permit the rapid modification of a Sound or a Sound Patch by means of
‘macro’ edit parameters.
The modifications are associated to the tracks
and not to the Sound or Sound Patch, therefore,
any SK760/880 Sound that you assign to the
edited track will inherit the same modifications.
If the same Sound/Sound Patch is recalled by a
different track or Performance, it will not play with
the same modifications. Modified Sounds are
identified by the symbol
.
In Performances and Style-Performances, the
Drumkit/Sound Patch is conserved in the accompaniment tracks. When you change Style or
Performance and cause a change in the accompaniment tracks, the Drumkit/Sound Patch also
changes. Performances which contain a modified Drumkit/Sound Patch are identified by the
symbol
THE GENERAL EDIT PROCEDURE:
1. Select or create a Performance containing
the Sound or Drumkit/Sound Patch that requires editing.
2. Select the track to which the Sound/S.Patch
to be edited is assigned.
3. Press SOUND in the EDIT section to enter
the «Edit Perf Sound» or «Edit Sound Patch»
editor.
4. Modify the parameters according to your requirements.
5. Press SOUND or ESCAPE to exit the editor.
6. Save the modifications to the current Performance by pressing STORE PERFORMANCE
then ENTE R.
During the editing tasks, you can periodically
store to the current Performance by pressing
STORE PERFORMANCE + ENTER.
.
Advanced Edit Sound
7. Save the Performance to disk for future use.
The advanced Edit Sound environment,
accessed via the Synth button (in the Edit/Numbers section), allows you to intervene directly on
the sound parameters, not on track parameters
as in «Edit Perf Sound». Refer to the «Edit
Sound» chapter in the Reference Guide.
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©
Note: If you fail to store your modifications,
they will be irremediably lost when you select
another Performance, or reselect the same one.
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Sound and Sound Patch
The term “Sound” refers to all the SK760/880
Sounds that are not Drumkits, nor contain a dynamic switch. “Sound Patch” is a generic term
used to describe a Drumkit or a Sound containing a dynamic switch.
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Edit Perf Sound 15•1
Edit Perf Sound
In «Edit Perf Sound», you can program the parameters that are exclusive to the tracks. Any
Sound, therefore, that you assign to the track will
inherit the modifications applied.
Select a track containing the Sound that you wish
to modify and press the SOUND button in the
EDIT section to gain access to the «Edit Perf
Sound» environment.
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©
Note: Save the changes with STORE
PERFORMANCE. The Performances memorize
the page whose icon shows the symbol
.
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SOUND
6
OSCILLATORS AND LAYERS
The SK760/880 Sounds can comprise 1, 2 or 3
layers. The layers are sound generating units
consisting of 1 or 2 oscillators and each oscillator elaborates a Wave sample. Consequently,
each polyphonic voice can be generated by 6 simultaneous oscillators.
Given that the higher number of oscillators per
voice the lower the overall polyphony of the instrument, most of the SK760/880 Sounds comprise one or two oscillators.
The structure of the Sounds is represented in the
diagram below. The «Edit Perf Sound» tasks
modify all layers and all oscillators simultaneously.
This allows all the parameters of a Sound to be
edited by means of a few, simple operations.
SOUND
Performance
Track in edit
Layer 3
Layer 2
Layer 1
Oscillator 2
Oscillator 1
Wave
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Envelope
Sound structure. The number of layers and oscillators can
change from a Sound to another.
Edit Perf Sound: the edit parameters
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Filter
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15•2 Reference Guide
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THE PERF SOUND PARAMETERS
Low-pass - Cuts into the higher frequencies. As a result, if you use Sounds with a
low harmonic content, the notes at the higher
end will be cut. This parameter regulates the
“brilliance” of the Sound. Lowering the cutoff
frequency produces a mellow sound while an
increase produces a bright sound.
Attack
Represents the attack phase of the sound. This
parameter modifies the time taken (rate) for the
sound to pass from the silent state to maximum
volume when a note is pressed. The modifications are expressed as relative values, subtracting or adding them to the normal attack of the
Sound.
High-pass - Cuts into the lower frequencies,
making the sound brighter. The higher the
value, the “lighter” the sound.
Band-pass - Allows the entire band to pass.
Modifies the phase of the Sound and is useful when two oscillators that read the same
Wave are used.
Assignable values: -63 (maximum rate) ... 0 (unchanged) ... +63 (minimum rate).
Decay
Parametric boost - Enhances the frequencies around the cutoff frequency, rendering a
sound brighter and stronger at the higher end.
Represents the decay phase of the Sound. This
parameter modifies the time taken (rate) for the
sound to pass from its maximum volume level to
silence after the attack phase. The modifications
are expressed as relative values, subtracting or
adding them to the normal decay of the Sound.
Assignable values: -63 (maximum rate) ... 0 (unchanged) ... +63 (minimum rate).
Parametric cut - Attenuates the frequencies
around the cutoff frequency. Higher values
renders the sound weaker at the high end.
Assignable values: -63 (maximum decrease of
the cutoff frequency) ... 0 (unchanged) ... +63
(maximum increase of the cutoff frequency).
Release
Represents the release phase of the Sound. This
parameter modifies the time taken (rate) for the
sound to pass to total silence after note release.
The modifications are expressed as relative values, subtracting or adding them to the normal
release of the Sound.
Assignable values: -63 (maximum rate) ... 0 (unchanged) ... +63 (minimum rate).
Resonance
Resonance creates a peak of emphasis at the
cutoff frequency to the point of sending it in “autooscillation”. The higher values of resonance produce effects that were common in the analog
synths.
Assignable values: -63 (least intensity) ... 0 (unchanged) ... +63 (highest intensity).
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©
Filter Cutoff
Note: The higher values of resonance causes
the filter to enter into “auto-oscillation”. If used
wisely, the auto-oscillation can create very
suggestive synthetic sounds, but can also increase
the output level excessively causing disturbing
distortion.
Modifies the cutoff frequency. Changes the frequency at which the filter intervenes on the sound.
The action of the filter varies according to the filter:
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Edit Perf Sound 15•3
LFO Rate
THE PERF SOUND OPTIONS
The Low Frequency Oscillator is normally used to
produce vibrato. In the SK760/880, the LFO can
also create a cyclic variation of the parameters of
the filter.
Copy to... (F6)
Copies the modifications applied to the Sound of
a track to a different Track of the same Performance. The parameter values are copied, NOT
the Sound, therefore, if a Piano sound is at the
source and a Bass is at the destination, the Bass
sound will inherit the parameter modifications.
The «LFO Rate» parameter determines the velocity of the oscillation.
Assignable values: -63 (minimum rate) ... 0 (unchanged) ... +63 (maximum rate).
LFO Depth
«LFO Depth» determines the depth of the action
of the LFO, and, therefore, its audibility.
Assignable values: -63 (minimum rate) ... 0 (unchanged) ... +63 (maximum rate).
LFO Delay
Determines the delay of the entry of the LFO. In
acoustic instruments, vibrato generally enters after the attack phase, and mainly forms part of
the sustain phase of the sound.
Track - Select the track with the DIAL.
In Style/RealTime mode, the maximum
number of tracks is 16, in Song mode, 32.
Restore track (F7)
Cancels the modifications of the selected track.
1. Press F7 to cancel. You are prompted to
reconfirm the operation.
Assignable values: -63 (minimum rate) ... 0 (unchanged) ... +63 (maximum rate)..
2. Press ENTER again to confirm, or ESCAPE
to cancel.
Restore all tracks (F8)
Cancels the modifications applied to all the tracks
of the Performance.
1. Press F8 to cancel. You are prompted to
reconfirm the operation.
2. Press ENTER again to confirm, or ESCAPE
to cancel.
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15•4 Reference Guide
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Edit Sound Patch
SOUND
In «Edit Sound Patch», you can program the parameters that are exclusive to the tracks. Any
Drumkit or Sound Patch, therefore, that you assign to the track will inherit the modifications applied.
Select a track containing the Drumkit or Sound
Patch that you wish to modify and press SOUND
in the EDIT section to gain access to the «Edit
Sound Patch» environment.
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©
Note: Save the changes with STORE
PERFORMANCE. The Performances memorize
the page whose icon shows the symbol
.
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The parameters in «Edit Sound Patch» differ to
those of «Edit Perf Sound».
Although structurally identical, Drumkits and
Sound Patches differ as described:
• In a Drumkit, a percussive instrument is assigned to each note of the keyboard. This allows
a Drumkit to be controlled across a single MIDI
channel.
Track in edit
Performance
6
• In a Sound Patch, two different sounds are
separated by a dynamic threshold in order that
playing harder recalls the sound at the higher dynamic level. Try playing, for example, the sound
ORCHESTRA 48-3; play softly first, then harder
and listen to the change in timbre.
Sound Patches, therefore, allow you to vary the
timbre of a Sound by varying the keystrike velocity.
SELECTING/MUTING THE DYNAMIC
LAYER
Drumkits and Sound Patches have two dynamic
Layers. Normally, Sound Patches exploit both
Layers (1 & 2) while Drumkits limit themselves to
Layer 1. The soft buttons A and B select and
mute the Layers. In Switch sounds, this allows
you to work on a Layer without hearing the sound
on the other layer. Once you enter into «Edit
Sound Patch» to select the Layers, it is not possible to select the tracks of the current Performance.
A
B
Edit Sound Patch: the parameters.
Dynamic Layer options to select and mute the layers. Press
the same soft button repeatedly to toggle between L and M.
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Edit SoundPatch 15•5
THE EDIT SOUND PATCH PARAMETERS
Tuning
Edit note
Fine tune control, in steps of 1/64 of a semitone.
Assignable values: -64 ... +63.
Determines the note to edit.
Assignable values: A0 ... C8 (respectively the lowest and highest note in an 88 note master keyboard).
Filter
Regulates the cutoff frequency of the filter.
Assignable values: -64 (maximum decrease) ...
0 (unchanged) ... +63 (maximum increase).
Sound
Determines the Sound assigned to the note. It is
possible to select any sound from the ROMSounds, RAM-Sounds or RAM -Sounds.
Volume
Determines the volume of the note in edit. This
parameter can be useful to balance Sounds which
differ greatly in volume.
Assignable values: 0 ... 127.
Exclude
A linking number between two notes that exclude
each other. Playing a note will interrupt another
note with the same exclude number. For example, if a Closed Hi-Hat and an Open Hi-Hat have
the same exclude number, they interrupt each
other, exactly as occurs in reality.
You can create as many linked percussive instrument groups as there are Exclude numbers assignable.
Pan
Assignable values: Off, 1, 2, 3.
Determines the position of the note in the stereo
panorama. In Drumkits, it is important to pan single percussive instrument correctly. For example, the toms are normally positioned in order that
a snare drifts from one stereo channel to the other.
Eff. 1 (Reverb)
Assignable values: -32 (all left) ... 0 (balanced)
... +32 (all right).
Assignable values: 0 ... 127.
Effects send for the reverbs. The maximum value
corresponds to a perfect balance between the
original sound and the processed one.
Eff 2 (Delay/Chorus/Flanger/Modulation)
Transpose
Transposes the Sound assigned to the note. At
the zero value, a percussive instrument can be
distant from the sampled note, which is normally
around note C4. If the note in edit is below C4,
the Sound will require transposing upwards (positive), while if above will require transposing down
(negative).
Assignable values -64 ... +63.
Effect sends for the modulation effects. The maximum value corresponds to a perfect balance between the original sound and the processed one.
Assignable values: 0 ... 127.
Audio Out
Allows you to direct the sound assigned to the
note in edit to a preferred output.
Assignable values: Main, Left+Right, Out1+Out2,
Out1, Out2.
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15•6 Reference Guide
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Dynamic switch
Threshold level that divides Layer 1 from Layer
2. When you play with a low velocity, the Sound
assigned to Layer 1 is triggered. By playing
harder, the Sound assigned to Layer 2 is triggered. The value “0” causes the Sound assigned
to Layer 2 while the value “127” causes the Sound
assigned to Layer 1.
THE SOUND PATCH OPTIONS
Catch note... (F1)
Selects the note to place in edit by playing it on
the keyboard.
1. Press F1 («Catch note...»).
The following message appears.
Assignable values: 0 ... 127.
2. Play the note to place in edit.
The dialog window closes and the «Edit note»
parameter is modified.
Copy to Layer... (F2)
Copies an entire Layer to the other.
1. Select the Layer to copy with the soft buttons A
and B.
2. Press F2 («Copy to Layer...»). You are prompted
to reconfirm the operation.
3. Press ENTER to confirm or ESCAPE to cancel.
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©
WARNING - The copy will cancel the
programmed data in the destination Layer.
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Edit SoundPatch 15•7
Expand... (F3)
Compare... (F4)
Extends the programmed parameters of the note
in edit to a specified keyboard zone.
ON/OFF switch. When active, the original parameter values of the Drumkit/Sound Patch in edit
are temporarily recalled in order to compare them
with the current edited ones.
1. Select the note whose parameters require copying.
Restore (F6)
2. Press F3 («Expand...»).
This option restores the original Sound Patch or
cancels the last modifications applied after saving to the Performance.
The «Expand» dialog window opens:
1. Press F6 to open the following dialog window:
3. With the «From» parameter selected, rotate the
DIAL, or play a note to specify the lowest note of
the required keyboard zone.
4. Pass to the «To» parameter with the cursor button . Rotate the DIAL, or play a note to specify
the highest note of the required keyboard zone.
2. Select the function required with the directional
arrows and press ENTER to confirm or ESCAPE to
cancel to abort.
S.P. Performance - Restores the Drumkit/
Sound Patch in edit to its original status (cancels all editing operations applied to all notes).
Current edit - Cancels the current modifications and recalls the last saved parameter
settings of the Drumkit memorized in the
Performance.
5. Press ENTER to confirm the Expand command,
or ESCAPE to cancel.
Confirming extends the programmed parameters of the original note to the specified keyboard zone.
Store... (F8)
This option allows you to save the modifications
to a Performance or creates a new Drumkit/
Sound Patch file that can be used by any Performance.
To conserve the modifications, save them before
selecting a Performance. Selecting a Performance before saving cancels all modifications applied.
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15•8 Reference Guide
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Save the modifications as a new Drumkit/Sound
Patch file
6. Press ENTER to save the new file to the selected
location.
The new Drumkit/SoundPatch is now available as a RAM-Sound.
As any new RAM-Sound, the new Drumkit/
SoundPatch will remain in memory after
power down. To conserve it and safeguard it
against future cancellation, save it to disk
using the Save Single Sound, Save All Sound
or Save All procedures.
1. Press F8 («Store...»).
The «Store» dialog window opens:
2. The “File” option is shown selected. Press ENTER to confirm.
An insertion zone appears:
Save the modifications to a Performance
1. Press F8 («Store...»). The «Store» dialog window appears:
The insertion zone shows the ProgramChange and BankSelect MSB (CC00) to
which the new Drumkit/SoundPatch will be
saved.
2. Select the Performance option with the cursor
button and press ENTER to confirm.
The «Drumkit store» dialog window opens:
3. Press ENTER to confirm the current location, or
use the DIAL or numeric keypad if you wish to
select a different location.
4. If you want to change the name of the file, press
the soft button F7 or F8.
3. Select the Performance or Style-Performance
option with the / cursor arrows.
4. Rotate the DIAL to select the Performance or Style
Performance Group to store to.
5. Insert a name using the method described in the
Data Entry paragraph of Chapter 1 (page 1.4).
Press ENTER to confirm the name and return to
the Store window.
5. Move down to the Perf option with the cursor
button and select the Performance to save to with
the DIAL.
6. Press ENTER to confirm or ESCAPE to cancel.
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Edit SoundPatch 15•9
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15•10 Reference Guide
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• 16 Edit Sound
GENERAL INFORMATION
THE FIRST FEW PAGES OF THIS CHAPTER DISCUSS THE
EDIT SOUND ENVIRONMENT FROM A GENERAL POINT OF
VIEW. IF YOU WANT TO SKIP THE PRELIMINARIES AND GO
STRAIGHT INTO SOUND EDITING, GO TO PAGE 9.
Given that the SK760/880 Sounds can comprise
up to 3 layers, the left column of all the Edit Sound
displays is dedicated to their selection by means
of the corresponding soft button (A1, A2, A3). The
layers can also be muted to isolate the layer currently in edit, allowing you to listen to the modified sound on its own.
Difference between Edit Perf Sound and Edit Sound
Unlike the «Edit Perf Sound» environment, where
any the Sound assigned to a Track of a Performance inherits the modifications applied to the
tracks, the «Edit Sound” environment allows you
to modify the Sound parameters. The result is a
RAM-Sound that you can store to the SK760/880
sound library, assign to any track of any Performance and save to Disk.
Press the corresponding soft button repeatedly to toggle
between the “L” ad “M” status.
The oscillators and layers
For each layer, it is possible to program the key
range and set the maximum key velocity.
SK760/880 Sounds can comprise 1, 2 or 3 layers. Each layer is elaborated by an associated
“Algorithm” of synthesis (explained afterwards).
The layers can be simultaneously edited and the
results can be instantly heard.
Layer 1
Algorithm X
Layer 2
Algorithm X
Layer 3
Algorithm X
Each layer can comprise 1 or 2 oscillators, depending on the algorithm selected for the layer.
Each oscillator has an Amplitude envelope, a
Pitch envelope, a Pan envelope, a Low Frequency Oscillator (LFO) and a Filter with relative
envelope. Depending on the algorithm selected,
the amplitude envelope can be shared by both
oscillators with a balance control, and the filters
can be connected in series or in parallel.
The Algorithms
An Algorithm is the “signal path” of a sample to
the audio outputs, through a series of processing functions that you select during the course of
the editing tasks.
The processing functions which you assign during the various editing stages are the synthesis
tools (oscillators, filters, amplitude envelopes,
etc.).
While you cannot change the path of an Algorithm, you can choose from a selection of 5 different Algorithms, each representing a fixed signal path, and assign a wide variety of processing
functions to the individual stages of the algorithm’s path. The following graphical representations illustrate the signal path of the Algorithms.
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Edit Sound 16•1
Single Algorithm - one oscillator only
Dual 3 Algorithm - two oscillators. An Amplitude
envelope for the two oscillators with a Balance
control and the Filters connected in parallel
Editors available for the oscillator: Waveform, Volume,
Amplitude envelope, Filter, Filter envelope, Pitch envelope,
LFO, Pan envelope.
Dual 1 Algorithm - two oscillators in parallel
Editors available for each oscillator: Waveform, Filter, Filter
envelope, Pitch envelope, LFO.
Editors available for each layer: Volume/Volume balance,
Amplitude envelope/Balance envelope.
Dual 4 Algorithm - two oscillators. An Amplitude
envelope for the two oscillators with a Balance
control and the Filters connected in series
Editors available for each oscillator: Waveform, Volume,
Amplitude envelope , Filter, Filter envelope, Pitch envelope,
LFO, Pan envelope.
Dual 2 Algorithm - two oscillators with independent Amplitude envelopes for each oscillator and
with the Filters connected in series
Editors available for each oscillator: Waveform, Filter, Filter
envelope, Pitch envelope, LFO.
Editors available for each layer: Volume/Volume balance,
Amplitude envelope/Balance envelope.
Editors available for each oscillator: Waveform, Volume,
Amplitude envelope , Pitch Envelope.
Editors available for each layer: Filter 1 & 2 (separate); Filter
envelope 1 & 2 (separate), LFO, Pan envelope.
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16•2 Reference Guide
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THE EDIT SOUND MAIN MENU EDITORS
THE MAIN MENU OPTIONS
The configuration of the Editors changes according to the Algorithm selected, but the basic functions remain the same.
These are listed in the right column of the main
menu and selected with the corresponding Soft
button (F1…F8). See also page 16.36 for detailed explanations.
The principal editors of the edit sound menu
Waveform
Selects the Wave sample (the fundamental waveform).
Volume
Volume of the Sound. Some situations also include a Balance editor.
Amplitude
envelope
Varies the sound’s volume over time.
Can be defined by Key On and Key
Off Envelopes, a Tracking curve and
some situations include an Env. Balance editor.
Filter
Modifies the Sound’s timbre, attenuating or enhancing certain frequencies, such as in an equalizer. Can
be defined by Key On and Key Off
Filter Envelopes, Filter CutOff tracking and Filter Envelope tracking
curves.
Pitch envelope Variation of the Sound’s Pitch over
time. Can be defined by Key On and
Key Off Pitch envelopes and a Tracking curve.
LFO
Pan
Low Frequency Oscillator to provide
Modulation. Generates cyclic variations in the amplitude or in the cutoff
frequency of the filters.
Sample
Translator
Activates the program which is able
to read samples from previous
Generalmusic Series instruments (S,
WX, SX) and disk-based samples of
various formats. Sample Translator
also permits the reception and transmission of samples via Midi and the
creation of new Waveforms. Sample Translator is discussed separately on page 40.
Algorithm
Allows you to choose one of the 5
Algorithms available.
Layer Utility
Allows you to Create, Import or Delete layers as required.
Layer Range
Allows you to assign a keyboard
range and a dynamic range to the
currently selected Layer.
Abort
Escapes definitely from the Edit of
the Sound.
Save
Allows you to save your modified
Sound to the SK760/880 Sound Library (RAM) and escapes from Edit
Sound definitely.
Compare
This option, which appears in all Edit
pages, temporarily assigns the original parameter status of the current
edit page to the Sound in edit to compare the Sound before and after the
modifications. Pressing Compare
activates two new commands:
Copy (F7) Copies the recalled parameter status to the Sound in edit,
cancelling all modifications applied
in the current edit page and escapes
from “Compare” mode.
Compare exit (F8) Escapes from
“Compare” and retains all modifications applied to the sound in the current edit page.
Position of the Sound within the
Stereophonic panorama. It is possible to program the Key On and Key
Off Pan envelope and the Tracking
curve.
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Edit Sound 16•3
ENTERING «EDIT SOUND»
You can choose to enter «Edit Sound» either with
a “solo’d” Sound (SOLO button LED on), or with
two or more tracks of the current Performance
active.
This second option allows you to listen to the
Sound currently in edit together with other active
tracks of the Performance to give you an idea of
what your edited Sound is like when combined
with other Sounds.
Once you enter «Edit Sound», you cannot activate or deactivate the SOLO button; you must
set the SOLO button according to your requirements before entering Edit Sound.
1/2
A
You can enter Edit Sound while the instrument is
in any playing mode.
B
C
D
E
1. Select the Sound (track) you wish to edit from
the main display.
F
G
H
SOLO
2. Press the SOLO button if you want to isolate the
Sound from the rest.
3. Press SYNTH in the EDIT section.
You are prompted to confirm the request to
enter «Edit Sound».
4. Press ENTER to enter Edit Sound
3/4
SYNTH
Press ESCAPE to cancel the request.
With ENTER, the main EDIT SOUND menu
is displayed.
When you enter «Edit Sound» with a new
Sound, the configuration of the Editors depends on the Sound in edit.
8
ENTER
ESCAPE
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16•4 Reference Guide
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T
ESCAPE FROM EDIT SOUND
Temporary escape
Temporary escape
Thanks to multitasking, you can temporarily escape «Edit Sound» by pressing the SYNTH button or ESCAPE, or by entering the edit of another section by pressing the corresponding button of the EDIT section.
TEMPO / DATA
ENTER
SYNTH
OR
8
The Sound remains in edit and the selected track
plays the Sound in its modified status.
ESCAPE
To return to the sound in edit press SYNTH. If
you escape Edit Sound temporarily, you will not
be permitted to change Sound, or select a Song
or Style.
Permanent escape without saving
Permanent escape
To escape «Edit Sound» permanently, use the
“Abort” option in the main menu (F6).
An “Are you sure” dialog appears requesting confirmation of the escape command. Confirming
the Escape command with Enter escapes «Edit
Sound” and cancels all modifications made to the
Sound in edit.
F1
F2
F3
F4
F5
F6
To escape permanently without losing the modifications, use the “Save” command explained on
the next page.
F7
F8
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Edit Sound 16•5
SAVING AND NAMING THE MODIFIED
SOUND
Once you have completed your editing tasks, you
can save the modified Sound to RAM (the SK760/
880 Sound Library).
1
1. Press the soft button F8 to select “Save” from
the main Edit Sound menu.
F1
F2
F3
The «Bank Prog. Change» window opens
where you can select the destination of the
new Sound in the SK760/880 Sound library.
The SK760/880 Sounds are stored in the order of Bank Select and Program Change
numbers. You can choose to store the modified sound with its original name, or with a
new name.
RAM-Sounds based on ROM-Wavesamples
are saved with an asterisk (*) attached after
the name to identify the Sound from the original.
New sounds based on new
Wavesamples loaded from disk or created
with the Sample Translator are called
RAM Sounds, identified by the small
graphical representation of a wave ( ).
F4
F5
F6
F7
F8
2
2. Use the directional / arrows to select the
“Bank” and “Prog. Change” entry zones and
rotate the Dial to select the numbers corresponding to an empty location (shown as “No Sound”).
You can also specify an absolute number on
the numeric keypad (KEYPAD LED on).
3/4
F6
F7
3. To change the Sound’s name, press the Soft button F7/F8 .
Use the standard name entry procedure (see
“Data Entry” on page 1.4 of Chapter 1). Press
ENTER to confirm the new name.
F8
ENTER
4. Press ENTER again to memorize the Sound to
the selected location.
ESCAPE
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16•6 Reference Guide
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TEMPO / DATA
NAVIGATION AND DATA ENTRY IN THE
EDIT SOUND ENVIRONMENT
The navigational tools are the page scroll buttons (
) and the directional arrows ( / &
/ ).
F1
F2
F3
Select the Editors with the directional arrows and
press ENTER to gain access to the selected function.
F4
F5
F6
F7
F8
Alternatively, enter the editors directly using the
page scroll buttons (
). These buttons allow you to scroll through the editors in increasing
or decreasing numerical order without having to
return to the main menu.
Editors
Main Menu options
Navigation and
Data Entry tools
Another direct entry method from the main menu
is to specify the editor number on the numeric
keypad (with the KEYPAD LED on) and press
ENTER to gain access.
Select the options in the right options column with
the corresponding soft buttons (F1…F8).
Select the parameters of an editor with the directional arrow buttons.
KEY PAD
DATA ENTRY
To enter a value for the selected parameter, use
either the DIAL for continuous data change, or
the numerical keypad to insert an absolute value
(with the KEY PAD LED on).
EDIT / NUMBER
EFFECTS
MIDI
MIXER
1
2
3
TRACKS
SOUND
4
5
6
ST. / SONG
SYNTH
GENERAL
7
8
9
DEMO
PRELOAD
DISK
_
0
+
TEMPO / DATA
ENTER
CNT / PADS
To confirm a new entry, use the ENTER button.
Use the ESCAPE button to exit from a selected
parameter without confirming a new entry.
ESCAPE
Once you enter an Editor, press ESCAPE to exit
the editor and return to the main menu.
H. D.
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Edit Sound 16•7
STATUS OF THE INSTRUMENT IN EDIT
SOUND MODE
The settings of the Trackball, Pedals, Aftertouch,
Transpose and the other parameters are those
of the currently selected Performance.
If you attempt to select a Song, Style, Performance or Sound while you have temporarily escaped Edit Sound, the display will show the following message:
Press ENTER or ESCAPE to close the window
and press SYNTH to return to «Edit Sound» and
escape permanently, either with “Abort” or “Save”.
IMPORTANT REMINDERS
1. You cannot overwrite a Rom-Sound.
A modified ROM-Sound generates a RAMSound which can be stored to either an empty
location, or to an existing RAM-Sound. If
you attempt to store a RAM-Sound to a ROMSound destination, the display will show the
following message:
Repeat the operation and select an empty
location.
2. If you save the new RAM-Sound to an existing
RAM-Sound, the existing file will be irremediably lost without warning.
Be absolutely sure, therefore, that you have
stored the existing RAM-Sound to disk or
Hard disk before confirming the save procedure.
3. If you Abort «Edit Sound» without storing the
modified sound, you will loose all edited Sound
data.
When you select the Abort option, you are
prompted to reconfirm the operation. If you
do not want to save the modifications, proceed as required.
If you escape «Edit Sound» temporarily, the
modified status of the Sound will be retained
but you will not be permitted to select a Song,
Style, Performance or Sound.
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Waveform
Valid for all Algorithms. Single activates a single
Waveform editor while all Dual Algorithms activate Waveform 1 and Waveform 2.
The Waveform editor provides access to the principal control parameters of the basic wave sample of the Sound.
Wave Vector
Allows you to choose from a selection of 4 wave vectors:
Forward reads the wave from the
start point to the end;
Reverse reads the wave from end
to start point;
Alternate 1 reads the wave from
start point to the end and loops back
to the beginning and repeats continually;
Alternate 2, similar to Alternate 1.
Tuning mode
Assigns the Waveform to a specific
note of the keyboard.
Assignable values: Normal, A0…C8.
Normal transposes the wave according to the note played. Assigning a note fixes the Wave to the same
note across the entire keyboard.
Transpose
Transposes the Waveform in semitones.
Assignable values: –64 ... +64.
Ø corresponds to standard pitch.
Fine pitch
Fine tunes the Wave’s pitch in steps
of 1/64th of a semitone.
Assignable values: –64 ... +64.
Ø corresponds to standard pitch.
The Waveform parameters
Waveform
Selects the basic waveform of the
Sound. Here you can select one of
the Rom Waveforms, or a Waveform
loaded to memory with a disk-based
Ram -Sound, or one created with
the Sample Translator.
You can select the waveforms by
scrolling one by one with the DIAL,
or by specifying their number on the
numeric keypad, making reference
to the ROM Wave table in the Appendix.
You can also use the Search, Search
Previous and Search Next functions
to pass directly to a specified name.
Edit Sound - main menu - Waveform editor selected
Edit Sound: Waveform editor programming
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Edit Sound 16•9
Pitch touch
sensitivity
Links Pitch to Aftertouch variations.
The Pitch of the Sound can be varied by applying pressure on the notes
of the keyboard after key on.
Positive values increase the Pitch
while negative ones have the inverse
effect.
Assignable values: –7 (lowest sensitivity = –2 semitones) ... +7 (highest sensitivity = +2 semitones).
Wavestart
Represents the actual (default) starting point of the wave sample in the
SK760/880 memory.
Use this parameter to determine the
point at which the sample will start
its playback.
Depending on the waveform, values
above the default starting point may
cause the sample to start at a later
point, removing some or all of its attack.
Values below the default value may
cause the sample to start before its
normal start point, adding part or all
of the samples stored at lower
memory addresses.
Wv. Start Dyn
mode
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Selects the mode in which the
Wavestart parameter is linked to key
velocity.
Disable: not linked to key velocity.
Switch: either the entire Wave, or the
part of the Wave following the programmed Wave Start is read above
or below a certain key velocity setting.
Floating: fluctuates the Wave Start
according to the key velocity.
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16•10 Reference Guide
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Wv. Start Dyn
sns.
With the “Switch” mode setting, the
value (0…127) represents the dynamic switch. Above the dynamic
switch setting, the entire Wave is
read while below, only the part of the
Wave that follows immediately after
the programmed Wave Start is considered.
Switch assignable values: 0…127
If the mode is “Floating”, the value
determines the distance from the
point at which the Wave is read at
the programmed Wave Start, or towards the end of the Wave. (The
Wave is always read from the Wave
start setting, not before). With positive values, the higher the key velocity, the nearer the Wave is read at
the Wave start setting.
Floating assignable values: –7…+7.
Scale Mode
Selects a scale (temperament).
Value 0 corresponds to Equal temperament;
Value 1 corresponds to 1/4 tone difference between each note;
Value 2 corresponds to a 1/16 tone
difference between each note.
Assignable values: 0, 1, 2.
Volume & Balance
Valid for all Algorithms. Dual 1 and Dual 2 activate Volume 1 and Volume 2, Dual 3 and Dual 4
share a single Volume editor with a Balance control.
The Volume editor controls the volume of a single oscillator, or the volume of two oscillators in
situations where the algorithm provides a Balance
control (Dual 3 & 4). This function corresponds
to the maximum volume level available of the
Sound in any situation.
Volume touch Links Volume response to Aftertouch.
sensitivity
Positive values increase the Volume
with increased aftertouch pressure,
while negative values create the inverse effect with increased
aftertouch.
Assignable values: –7 ... +7.
0 = no response.
The Volume parameters
Volume
Sets the Volume of oscillator 1 or 2,
or the general volume of the layer if
the Algorithm comprises the Balance
editor.
Assignable values: 0 … 127.
Dynamic
sensitivity
Links the Volume response to
velocity variations.
Positive values increase the Volume
with increased key velocity, while
negative values create the inverse
effect.
Assignable values: –7 ... +7.
0 = no response.
Edit Sound - main menu Volume editor selected
Edit Sound - Volume page
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Edit Sound 16•11
VOLUME TRACKING
Valid for all Algorithms. Tracking allows you to
determine how the volume varies across the keyboard. Here you can enhance the presence of a
sound more or less across the keyboard in order
to simulate to a greater degree that which occurs
in reality. For example, an acoustic piano can
reach a higher sound level in the bass region,
while the higher notes are less intensive.
3 display parameters, selected with the Up/Down
cursor buttons and modified with the Dial, define
the tracking:
Point
Corresponds to one of the extreme
ends of a segment. Point 1 represents the lowest note of the keyboard. The highest note of the keyboard is represented by the last Point
(depending on the number of segments inserted).
Segment (F6)
Key
Using the SEGMENT option, you can divide the
Tracking curve into several different segments,
in order to obtain a more refined Tracking across
the keyboard.
Defines the note at the selected
Point. The extreme points (A#0, C8)
cannot be modified.
Level
The value of this parameter is a
relative value which represents the
change in volume with respect to
the actual setting of the Volume
function.
A level of 0 corresponds to the
maximum setting of the Volume
function and all other values are
negative.
A value of –127 corresponds to 0
volume at the note defined by the
selected Point.
A straight line running from point 1
to point 2 corresponds to the lowest
possible resolution.
Assignable values: 0 … –127
1 segm
The Tracking curve is essential, representing a constant Volume offset
across the keyboard. The parameter
“Key” cannot be modified.
3 segm
The Tracking curve consists of 3 segments which allow the construction
of a situation offering different variations across the keyboard.
6 segm
The Tracking curve is divided into
many parts (maximum resolution); allowing a more complex programming
of the Volume offsets across the keyboard.
Edit Sound - Volume Tracking curve
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Edit Sound - Volume Tracking curve showing 3 segments
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16•12 Reference Guide
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EXAMPLE OF HOW TO PROGRAM A
TRACKING ENVELOPE
1. Press F6 to open the SEGMENT selection window,
select 3 or 6 segments with the down ( ) cursor
arrow and press ENTER to confirm.
3. Select the KEY parameter with the down ( ) cursor arrow and rotate the DIAL to set the required
value.
2. Rotate the DIAL to select the Point that you wish
to modify.
4. Select the LEVEL parameter with the down ( )
cursor arrow and rotate the DIAL to set the required value.
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3
ENTER
TE
ESCAPE
Edit Sound - Volume Tracking: add 3 segments
Edit Sound - Volume Tracking: program the Key parameter
2
Edit Sound - Volume Tracking: program the Point parameter
4
Edit Sound - Volume Tracking: program the Level parameter
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Edit Sound 16•13
BALANCE (F1)
Valid for Dual 3 and Dual 4 Algorithms only.
The Balance parameters
Balance
Balances the Volume of the two oscillators of the current layer.
Positive values render the first Waveform louder, negative values enhance the second Waveform.
Assignable values: –127 ... +127.
Balance dyn.
sensitivity
Links the Balance response to key
velocity variations.
Positive values enhance the presence of the first Waveform with increased key velocity while negative
values enhance the presence of the
second Waveform with increased
key velocity.
Value range: –7 ... +7.
0 = no response.
Balance touch Links the Balance response to
sensitivity
aftertouch variations.
Positive values enhance the presence of the first Waveform with increased Aftertouch pressure while
negative values enhance the presence of the second Waveform with
increased Aftertouch pressure.
Value range: –7 ... +7.
0 = no response.
Edit Sound - Dual 3 configuration showing Balance Editor
Edit Sound - Balance parameters
BALANCE TRACKING (F2)
Balance Tracking allows you to program a Balance offset, or the variation of the Balance (programmed in the Balance page) across the keyboard.
For information regarding how to program the
SEGMENT option (1, 3, 6 Segments) and the
tracking parameters (Point, Key, Level), refer to
the Volume Tracking example on the previous
page.
Edit Sound - Balance tracking curve (1 segment)
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16•14 Reference Guide
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Amplitude Envelope & Balance Envelope
Valid for all Algorithms. Dual 1 and Dual 2 activate the Amp. Envel. 1 and Amp. Envel. 2 editors; Dual 3 and Dual 4 share an Amp. Envelope
with a Balance control.
The Amplitude Envelope represents the volume
displacement of the Sound over time. This editor allows you to program the Key On Envelope,
the Key Off Envelope and the Envelope Tracking. In practice, the Key On and Key Off Envelopes correspond to the traditional ADSR parameters (Attack, Decay, Sustain, Release).
Amplitude Envelope Control
Envelope finish Determines the note from which the
Key Off envelope cannot interrupt the
Amp. envelope on its natural course
to completion, indispensable to simulate, for example, the acoustic piano
where no dampers are applied from
the note A6 onwards; the sound continues indefinitely after release.
When this parameter is not set to
“Off”, the last segment of the Key On
Envelope sets to 0 automatically and
cannot be modified; this is to prevent
the sound from playing continually
after release due to the deactivated
Key Off Envelope.
Assignable values: Off, A0 … C8.
Edit Sound - Amplitude Envelope Editor
Segment 1 rate Segment 1 corresponds to the Attack
dynamic sens. phase. This parameter ties the Attack
rate of the Sound to key velocity.
Positive values increase the Attack
rate with increased key velocity while
negative values produce the inverse
effect with increased key velocity.
Assignable values: –7 ... +7.
0 = no response.
Key Off rate
Links the response of the Key Off
dynamic sens. Envelope rate to the release velocity. The Key Off Envelope corresponds to the Release phase.
Positive values increase the completion speed of the Key Off Envelope
with increased key release velocity,
while negative values slow down the
completion speed with increased key
release velocity.
Assignable values: –7 ... +7.
0 = no response.
Sustain (F5)
This parameter fixes a sustain level
independent of the release envelope.
Activation of this parameter depends
on the status of the Sustain function.
Press soft button F5 to activate Sustain (shown in negative highlight).
Press again to deactivate Sustain.
Assignable values: 0 … 127.
Edit Sound - Amplitude Envelope control with Sustain active
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Edit Sound 16•15
AMPLITUDE ENVELOPE KEY ON
The Key On Envelope is a 10 segment curve
(maximum) that represents the variation of the
sound’s volume for the entire duration that the
notes are held pressed.
Some examples of typical Amplitude Envelopes
appear opposite, shown in various Zoom situations.
ZOOM (F7)
Using the ZOOM option, you can enlarge the field
of vision of the envelope up to 4 times at a selected Point.
Pressing the soft button repeatedly selects the
Zoom options in cyclic order (1, 2, 3, 4, 0). Zoom
0 corresponds to “actual size”.
Edit Sound - KeyOn Ampl. Envelope in Zoom 3 status showing
segment 1 (Attack phase) with a time value of 0
USING THE SEGMENT OPTION
Add segment
insert a new segment immediately after the currently selected segment.
A maximum of up to 10 segments is
permitted.
Del segm
cancels the current segment.
N.B.: The Key On Envelope must
have at least one segment (the Attack phase), which cannot be cancelled.
Loop segm
loops the current segment (envelope
repetition), provided that the Envelope Finish parameter in the Envelope control page is set to “OFF”.
When it reaches the terminal point,
it loops back to the beginning. The
cycle repeats continually until key release. The initial Loop point is represented by an arrow.
To eliminate the loop, select the segment and select “del segm.”.
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Edit Sound - KeyOn Ampl. Envelope in Zoom 1 status showing
segment 1 (Attack phase) programmed with a Time value of
104
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16•16 Reference Guide
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Edit Sound - Ampl. Envelope showing segment 4 set to Loop.
In practice, the Sound’s volume starts at 0, proceeds to the
first peak of segment 1 (attack phase), drops to the lowest
point of segment 2, rises to the second peak of segment 3,
drops again to the lowest point of segment 4 then loops back
to the highest peak of segment 3 and repeats continually until
the key is released.
3 display parameters, selected with the cursor
buttons, define the Key On Amp. Envelope.
Segment
Allows you to selects the segments
with the Dial. The one selected corresponds to the flashing terminal
point.
Time
Determines the duration of the Segment. The maximum segment time
is approximately 21 seconds.
Assignable values: 0 ... 127.
Level
Sets the Sound level of the segment
at its terminal point. The maximum
level corresponds to the volume programmed in the Volume editor
N.B.: the initial level of the first segment at the starting point is always
zero (it cannot be modified).
Assignable values: 0 ... 127.
Edit Sound - KeyOn Ampl. Envelope in Zoom 0 status showing
segment 1 (Attack phase) with a time value of 0
Edit Sound - Ampl. Envelope showing a 5 segment curve with
segment 4 selected
AMPLITUDE KEY OFF
Valid for all Algorithms.
The Amplitude Key Off Envelope is a 10 segment
curve (maximum) that represents the variation of
the sound after the notes have been released.
This envelope phase is often called Release. For
details regarding the display parameters (Segment, Time, Level) and soft options (Segment,
Zoom), refer to the section on the Key On Amp.
Envelope of the previous pages.
N.B.: the level at the terminal point of the Key Off
Envelope is always zero.
An example of how to program a Key On & Key
Off Envelopes appears on the next page.
Edit Sound - Amp. Key Off Envelope
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Edit Sound 16•17
EXAMPLE OF HOW TO PROGRAM A KEY
ON OR KEY OFF ENVELOPE
1. To insert a segment, press F6 to open the SEGMENT selection window and press ENTER to confirm the ‘Add Segm’ option (shown selected).
3. Select the KEY parameter with the down ( ) cursor arrow and rotate the DIAL to set the required
value.
2. Rotate the DIAL to select the envelope segment
that you wish to modify. If necessary, use the
ZOOM option to zoom in on the selected segment.
4. Select the LEVEL parameter with the down ( )
cursor arrow and rotate the DIAL to set the required value.
1
3
ENTER
TE
ESCAPE
Edit Sound - Key On Envelope: add a segment
Edit Sound - Key On Envelope: program the Time parameter
2
4
Edit Sound - Key On Envelope: select a Segment
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16•18 Reference Guide
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Edit Sound - Key On Envelope: program the Level parameter
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AMPLITUDE ENVELOPE TRACKING
Valid for all Algorithms
The tracking “curve” represents the change in the
completion velocity of the Amplitude Envelope
across the keyboard.
SEGMENT (F6)
Using the SEGMENT option, you can divide the
Tracking curve into several different segments,
in order to obtain a more refined Tracking across
the keyboard.
1 segm
The Tracking curve is essential, representing a constant variation of the
envelope completion velocity across
the keyboard. The parameter “Key”
cannot be modified.
3 segm
The Tracking curve consists of 3 segments which allow the construction
of a situation offering different variations across the keyboard.
6 segm
The Tracking curve is divided into
many parts (maximum resolution);
allowing a more complex programming of the envelope completion velocity across the keyboard.
3 display parameters, selected with the Up/Down
cursor buttons, define the tracking:
Point
One of the extreme ends of a segment.
Rotation of the Dial selects one of
the points of the Tracking curve (1,
2, or 1, 2, 3, 4, or 1, 2, 3, 4, 5, 6, 7).
Key
Determines the keyboard position for
the point in edit. The extreme points
(A#0, C8) cannot be modified.
Level
The envelope completion velocity
offset (Key On and Key Off). Positive values increase the completion
velocity, negative values slow it
down. 0 corresponds to the “standard” duration of the segments programmed in the previous pages.
Assignable values: -63 … 0…+63.
The Envelope completion velocity (Key On and
Key Off) can be faster or slower across the note
range of acoustic instruments. For example, the
bass notes of a piano or an acoustic guitar sound
for a longer period than the high notes.
For details of how to program the Amplitude Envelope Tracking, refer to the Volume Tracking
example on page 16. 13.
Edit Sound - Amplitude Envelope Tracking
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Edit Sound 16•19
BALANCE ENVELOPE
Valid for Dual 3 and Dual 4 Algorithms only.
The Balance Envelope corresponds to a mixer
for the two oscillators which share a single Amplitude Envelope. The Key On and Key Off envelopes allow you to enhance the presence of
one Waveform with respect to the other in the
key on and release situations.
The Balance Tracking allows you to vary the Balance setting across the keyboard.
Balance parameters
Balance
envelope
Activates (On) or deactivates (Off)
the Balance envelope.
Assignable values: On, Off.
Balance env. Links the Balance envelope
dyn. sensitivity response to key velocity variations.
Positive values increase the response of the Balance envelope
with increased key velocity while
negative values have the inverse
effect.
Assignable values: –7 ... +7.
0 = no effect.
Key off balance Links the response of the key off
env. rate dyn. Balance envelope completion
sens.
velocity to key velocity variations.
Positive values increase the completion velocity of the Key Off Balance envelope with increased key
velocity while negative values have
the inverse effect.
Assignable values: –7 ... +7.
0 = no effect.
Balance env. Depth of the action of the Amplitude
am. sensitivity envelope on Balance.
The envelope is activated by the
Balance Envelope parameter above.
Positive values increase the depth of
the action of the envelope on Balance while negative values have the
inverse effect.
Assignable values: –7 ... +7.
0 = no effect.
Edit Sound - Balance Envelope editor
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Edit Sound - Balance parameters
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16•20 Reference Guide
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BALANCE ENVELOPE KEY ON & KEY OFF
Time
Determines the duration of the Segment. The maximum segment time
is approximately 21 seconds.
Assignable values: 0 ... 127.
Level
Sets the Balance level of the segment at its terminal point. The values are relative and represent the
enhancement of one oscillator with
respect to the other.
Assignable values: -50 … 0… +50.
The Balance Key On and Key Off Envelopes are
10 segment curves (maximum).
The Key On envelope represents the variation of
the Balance for the entire duration that the notes
are held pressed while the Key Off Envelope, the
variation of the Balance after the notes have been
released.
ZOOM (F7)
Using the ZOOM option, you can enlarge the field
of vision of the envelope up to 4 times at a selected Point.
Pressing the soft button repeatedly selects the
Zoom options in cyclic order (1, 2, 3, 4, 0). Zoom
0 corresponds to “actual size”.
For details of how to program the Balance Key
On & Key Off Envelopes, refer to the Amplitude
Envelope example on page 16. 18.
USING THE SEGMENT OPTION
Add segment
insert a new segment immediately after the currently selected segment.
A maximum of up to 10 segments is
permitted.
Del segm
cancels the current segment.
Loop segm
loops the current segment (envelope
repetition). When it reaches the terminal point, it loops back to the beginning. The cycle repeats continually until key release. The initial Loop
point is represented by an arrow.
To eliminate the loop, select the segment and select “del segm.”.
Edit Sound - Balance Key On envelope, Zoom 3
3 display parameters, selected with the cursor
buttons, define the Key On Amp. Envelope.
Segment
Allows you to select the segments
with the Dial. The one selected corresponds to the flashing terminal
point.
Edit Sound - programmed Balance Key Off envelope, Zoom 2
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Edit Sound 16•21
BALANCE TRACKING
Balance Tracking allows you to determine how
the Balance varies across the keyboard.
SEGMENT (F6)
3 display parameters, selected with the Up/Down
cursor buttons and modified with the Dial, define
the tracking:
Point
Corresponds to one of the extreme
ends of a segment. Point 1 represents the lowest note of the keyboard. The highest note of the keyboard is represented by the last Point
(depending on the number of segments inserted).
Key
Defines the note at the selected
Point. The extreme points (A#0, C8)
cannot be modified.
Level
The value of this parameter is a relative value which represents the
change in Balance across the keyboard.
A level of 0 corresponds to an equal
Balance setting for both oscillators
of the layer. Positive values enhance the presence of one oscillator
with respect to the other while negative values give the inverse effect.
Assignable values: –63… 0 … +63.
Using the SEGMENT option, you can divide the
Balance Tracking curve into several different segments, in order to obtain a more refined Tracking
across the keyboard.
1 segm
The Tracking curve is essential, representing a constant Balance offset
across the keyboard. The parameter
“Key” cannot be modified.
3 segm
The Tracking curve consists of 3 segments which allow the construction
of a situation offering different variations across the keyboard.
6 segm
The Tracking curve is divided into
many parts (maximum resolution); allowing a more complex programming
of the Balance offsets across the keyboard.
For details of how to program the Balance Tracking, refer to the Volume Tracking example on
page 16. 13.
Edit Sound - Balance Tracking
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16•22 Reference Guide
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Filter
Valid for all Algorithms. For the Dual 1 and Dual
3 algorithms, two Filters are connected in parallel [Filter os. 1, Filter os. 2]. For the Dual 2 and
Dual 4 Algorithms, the Filters are connected in
series [Filter 1, Filter 2].
Filters enhance or attenuate certain frequencies
of the Waveforms. The sound changes according to the type of filter selected. The SK760/880
filters are 2 pole filters with roll off curves at 12
dB per octave.
In the Dual 1 and Dual 3 Algorithms, the Filters
are connected in parallel, so that Filter 1 operates on oscillator 1 and Filter 2 on oscillator 2.
Filter Control parameters
Type
Selects the Filter type.
“Off” deactivates the filter.
Assignable values: Off, Low Pass,
High Pass, Band Pass, Parametric
boost, Parametric cut.
Cutoff
Frequency
Sets a value for the Cutoff
Frequency, or the frequency at which
the filter intervenes. The Cutoff Frequency is the same for all the notes
of a Sound, unless you programme
Filter Tracking.
Assignable values: 0 ... 191.
Resonance
Applies resonance to the Cutoff frequency, creating a peak of emphasis at the Cutoff frequency. A high
value of resonance can place the filter on “auto-oscillation”, producing a
whistling sound rich in harmonics.
Assignable Values: 0 ... 127.
In the Dual 2 and Dual 4 Algorithms, the Filters
are connected in series, so that Filter 2 operates
on the sound already processed by Filter 1. If
both filters are programmed with identical parameter values, they become a single 4 pole filter
with a roll off curve of 24 dB per octave, perfect
for those classic analog synth sounds.
Some additional information on “Filters” appears
on page 39 of this chapter.
Edit Sound - Main menu - Filter Editor selected
Edit Sound - Filter Control parameters
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Edit Sound 16•23
Cutoff dynamic Links the Cutoff Frequency to Key
sensitivity
On Velocity.
Positive values increase the Cutoff
Frequency by playing harder (the filter opens resulting in a brighter
sound), negative values produce
the inverse effect (the filter closes
and the sound becomes “dull”).
Assignable values: –7 ... 0 … +7.
0 = no effect.
Filt. env
amount
dyn. sens.
Filt. env amnt. Links the depth of action of the
touch. sens.
Filter envelope to changes in
Aftertouch pressure.
Positive values enhance the depth
of action of the Filter envelope with
increased Aftertouch pressure, negative values produce the inverse effect.
Assignable values: –7 … 0 … +7.
0 = no effect.
Resonance
Links Resonance to Key On
dynamic sens. Velocity.
Positive values enhance the Resonance with increased key velocity
while negative values give the inverse effect.
Assignable values: –7 ... 0 … +7.
0 = no effect.
Cutoff touch
sensitivity
Links the Cutoff Frequency to
Aftertouch.
Positive values increasingly open
the filters with increased Aftertouch
pressure, negative values have the
inverse effect.
Assignable values: –7 ... 0 … +7.
0 = no effect.
Resonance
touch
sensitivity
Links the Resonance to Aftertouch.
Positive values increases the
amount of Resonance applied with
increased Aftertouch pressure,
negative values have the inverse
effect.
Assignable values: –7 ... 0 … +7.
0 = no effect.
Filter envelope Activates the envelope for the
amount
Filter in edit and sets the depth of
action of the Filter envelope.
The envelope consists of two parts:
“Filter Key On Envelope” and the
“Filter Key Off Envelope”.
Negative values invert the Filter Envelope.
Assignable values: –10 ... +10.
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16•24 Reference Guide
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Links the depth of action of the
Filter envelope to changes in key
velocity.
Positive values enhance the depth
of action of the Filter envelope with
increased key velocity, negative values produce the inverse effect.
Assignable values: –7 … 0 … +7.
0 = no effect.
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FILTER CUTOFF TRACKING
Valid for All Algorithms.
The Filter Cutoff Tracking curve allows you to vary
the Cutoff Frequency across the keyboard, in
order that it does not remain fixed for all the notes
of a Sound, but moves according to the note
played.
3 display parameters, selected with the Up/Down
cursor buttons, define the tracking.
Point
Defines one of the extreme ends of
a segment.
Rotation of the Dial selects one of
the points of the Tracking curve (1,
2, or 1, 2, 3, 4, or 1, 2, 3, 4, 5, 6, 7).
Key
Determines the keyboard position for
the point in edit. The extreme points
(A#0, C8) cannot be modified.
Level
Determines the Cutoff Frequency
offset with respect to the value programmed on the controls page.
Normal use of this parameter requires that the Tracking curve be an
ascending whole or broken line.
Assignable values: –63 … 0…+63
Segment (F6)
Using the SEGMENT option, you can divide the
Tracking curve into several different segments,
in order to obtain a more refined Tracking across
the keyboard.
1 segm
The Tracking is essential and provides a constant variation of the Cutoff frequency across the keyboard.
The “Key” parameter cannot be
modified.
3 segm
The Tracking consists of 3 segments
which can create a curve with different variations across the keyboard.
6 segm
The Tracking curve provides the
highest possible resolution, allowing
a complex programming of the Cutoff Frequency across the keyboard.
For details of how to program the Filter Cut Off
Tracking, refer to the Volume Tracking example
on page 16.13.
Edit Sound - Filter Cut Off Tracking - 1 segment
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Edit Sound 16•25
FILTER ENVELOPE KEY ON & KEY OFF
Loop segm
Valid for all Algorithms.
The Key On and Key Off Filter Envelopes are 10
segment curves (maximum). The Key On envelope represents the variation of the Filter cutoff
frequency for the entire duration that the notes
are held pressed, while the Key Off envelope controls Filter variations after releasing the notes.
loops the current segment (envelope
repetition). When it reaches the terminal point, it loops back to the beginning. The cycle repeats continually until key release. The initial Loop
point is represented by an arrow.
To eliminate the loop, select the segment and select “del segm.”.
Zoom (F7)
3 parameters, selected with the cursor buttons,
define the Filter Key On & Key Off Envelopes.
Using the ZOOM option, you can enlarge the field
of vision of the envelope up to 4 times at a selected Point.
Segment
Pressing the soft button repeatedly selects the
Zoom options in cyclic order (1, 2, 3, 4, 0). Zoom
0 corresponds to “actual size”.
Allows you to select the segments
with the Dial. The one selected corresponds to the flashing terminal
point.
Time
Determines the duration of the Segment. The maximum segment time
is approximately 21 seconds.
Assignable values: 0 ... 127.
Level
The Cutoff Frequency offset which
the end point of the selected segment must reach. 0 corresponds to
the Cutoff Frequency programmed in
the Filter Controls page, including the
Filter Cutoff Tracking.
Assignable values: –50 ... +50
N.B.: the initial level of the first segment at the starting point is always
zero (it cannot be modified)
USING THE SEGMENT OPTION (F6)
Using the SEGMENT option, you can divide the
Filter Key On & Key Off Envelope curves into
several different segments, in order to obtain a
more refined envelope across the keyboard.
Add segment
insert a new segment immediately after the currently selected segment.
A maximum of up to 10 segments is
permitted.
Del segm
cancels the current segment.
For details of how to program the Filter Key On &
Key Off Envelopes, refer to the Amplitude Envelope example on page 16.18.
Edit Sound - Filter Key Off, Zoom 3
Edit Sound - Filter Key On, Zoom 3
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16•26 Reference Guide
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FILTER ENVELOPE TRACKING
Valid for all Algorithms.
The Filter Envelope Tracking “curve”, valid both
for the Key On and Key Off Filter Envelopes,
increases or reduces the speed of action of the
Filter envelope across the keyboard.
Segment (F6)
Using the SEGMENT option, you can divide the
Tracking curve into several different segments,
in order to obtain a more refined Tracking across
the keyboard.
1 segm
The Tracking curve is essential, representing a constant variation of the
speed of action of the Filter envelope across the keyboard. The parameter “Key” cannot be modified.
3 segm
The Tracking curve consists of 3
segments which allow the construction of a situation offering different
variations across the keyboard.
6 segm
The Tracking curve is divided into
many parts (maximum resolution);
allowing a more complex programming of the envelope completion velocity across the keyboard.
3 display parameters, selected with the Up/Down
cursor buttons, define the tracking:
Point
One of the extreme ends of a segment.
Rotation of the Dial selects one of
the points of the Tracking curve (1,
2, or 1, 2, 3, 4, or 1, 2, 3, 4, 5, 6, 7).
Key
Determines the keyboard position for
the point in edit. The extreme points
(A#0, C8) cannot be modified.
Level
The envelope velocity offset (Key On
and Key Off).
Positive values increase the speed
of action of the Filter envelope, negative values slow it down. 0 corresponds to the “standard” duration of
the segments programmed in the
previous pages.
Assignable values: -63 … 0…+63.
For details of how to program the Filter Envelope
Tracking, refer to the Volume Tracking example
on page 16.13.
Edit Sound - Filter Envelope Tracking
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Edit Sound 16•27
Pitch Envelope
Valid for all Algorithms. The Dual options activate separate Pitch Envelopes for the two oscillators of each layer (Pitch Envelope Os. 1 and
Pitch Envelope Os. 2).
Dynamic rate
Sensitivity of the Pitch Envelope to
key velocity variations.
With positive values, increasing the
key velocity (playing harder) speeds
up the Envelope development (the
completion velocity). Negative values
act inversely with increased key velocity.
Value range: -–7 ... +7.
“0” excludes the action.
Env. amount
touch sens.
Links the depth of action of the Pitch
Envelope (defined in the Env.
Amount setting) to variations of
Aftertouch pressure.
Positive settings increase the velocity of the action with increased
aftertouch pressure. Negative settings create the inverse effect.
Assignable values: –7 ... +7.
“0” excludes the action of aftertouch.
Env. amount
dyn. sens.
Links the depth of action of the Pitch
Envelope (defined in the Env.
Amount setting) to variations of key
velocity.
Positive settings increase the velocity of action with increased key velocity. Negative settings create the
inverse effect.
Assignable values: –7 ... +7.
“0” excludes the action.
The tuning (pitch) of the Oscillators can vary over
time, thanks to Pitch Envelope which is divided
into two parts: the “Pitch Key On Envelope” and
the “Pitch Key Off Envelope”.
The Pitch Envelope can have different completion velocities across the keyboard extension,
thanks to the “Pitch Envelope Tracking”.
Pitch Envelope Control
Envelope
Amount
Activates the Pitch envelope and
sets the depth of the Pitch to apply
to the oscillator. The maximum value
corresponds to a Pitch excursion of
2 semitones.
Negative values invert the Pitch Envelope.
Assignable values: –7 ... +7.
“0” excludes the action of the envelope.
Edit Sound - main menu - Pitch Envelope selected
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16•28 Reference Guide
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Edit Sound - Pitch Envelope control page
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PITCH ENVELOPE KEY ON & KEY OFF
Loop segm
loops the current segment (envelope
repetition). When ir reaches the terminal point, it loops back to the beginning. The cycle repeats continually until key release. The initial Loop
pont is represented by an arrow.
The Pitch Key On and Key Off Envelopes are 10
segment maximum) curves. The Key On envelope regulates the Pitch for the entire duration
that the notes are held pressed, while the Key
Off envelope controls Pitch variations after releasing the notes.
To eliminate the loop, select the segment and select “del segm.”.
Zoom (F7)
Using the ZOOM option, you can enlarge the field
of vision of the envelope up to 4 times at a selected Point.
Pressing the soft button repeatedly selects the
Zoom options in cyclic order (1, 2, 3, 4, 0). Zoom
0 corresponds to “actual size”.
3 display parameters, selected with the cursor
buttons, define the Pitch Key On & Key Off. Envelopes.
Segment
Allows you to select the segments
with the Dial. The one selected corresponds to the flashing terminal
point.
USING THE SEGMENT OPTION (F6)
Time
Using the SEGMENT option, you can divide the
Pitch Key On & Key Off Envelope curves into
several different segments, in order to obtain a
more refined envelope across the keyboard.
Determines the duration of the Segment. The maximum segment time
is approximately 21 seconds.
Assignable values: 0 ... 127.
Level
Sets the Pitch offset (the difference
with respect to the standard value)
at a given point. 0 represents the
standard pitch.
Assignable values: –50 ... +50
N.B: the initial level of the first segment at the starting point is always
zero (it cannot be modified).
Add segment
insert a new segment immediately after the currently selected segment.
A maximum of up to 10 segments is
permitted.
Del segm
cancels the current segment.
For details of how to program the Pitch Key On &
Key Off Envelopes, refer to the Amplitude Envelope example on page 16.18.
Edit Sound - programmed Pitch Key On Envelope, Zoom 3
Edit Sound - programmed Pitch Key Off Envelope, Zoom 3
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Edit Sound 16•29
PITCH ENVELOPE TRACKING
The Pitch Envelope Tracking “curve”, valid both
for the Key On and Key Off envelopes, increases
or reduces the speed of action of the Pitch envelope across the keyboard.
3 display parameters, selected with the Up/Down
cursor buttons, define the tracking:
Point
One of the extreme ends of a segment.
Rotation of the Dial selects one of
the points of the Tracking curve (1,
2, or 1, 2, 3, 4, or 1, 2, 3, 4, 5, 6, 7).
Key
Determines the keyboard position for
the point in edit. The extreme points
(A#0, C8) cannot be modified.
Level
The Pitch envelope velocity offset
(Key On and Key Off).
Positive values increase the speed
of action of the pitch envelope, negative values slow it down. 0 corresponds to the “standard” duration of
the segments programmed in the
previous pages.
Assignable values: -63 … 0…+63.
Segment (F6)
Using the SEGMENT option, you can divide the
Tracking curve into several different segments,
in order to obtain a more refined Tracking across
the keyboard.
1 segm
The Tracking curve is essential, representing a constant variation of the
speed of action of the Filter envelope
across the keyboard. The parameter
“Key” cannot be modified.
3 segm
The Tracking curve consists of 3 segments which allow the construction
of a situation offering different variations across the keyboard.
6 segm
The Tracking curve is divided into
many parts (maximum resolution);
allowing a more complex programming of the envelope completion velocity across the keyboard.
Edit Sound - Pitch Envelope Tracking showing no pitch change
across the keyboard
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16•30 Reference Guide
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For details of how to program the Pitch Envelope
Tracking, refer to the Volume Tracking example
on page 16.13.
LFO (Low Frequency Ocillator)
A single Low Frequency Oscillator generator for
all Algorithms.
Sine
The LFO’s depth of action on the Pitch, Amplitude and Filter is independently programmable
for each oscillator.
LFO is a periodic (repeating) control source. It
produces a low speed waveform (low frequency)
that can be applied to various aspects of the
sound to cause patterns of cyclic change. Because of its periodic nature, the LFO can be used
to create effects like Tremolo (cyclic amplitude
modulation), Vibrato (cyclic pitch modulation) or,
for example, “Wah-wah” (applied to the filter cutoff-frequency).
Triangle Saw-tooth
Square
Random Sample&Hold
Rate
Determines the velocity of the LFO.
Assignable values: 1 ... 200.
Delay
Determines the delay before the entry of the LFO.
Entry of the LFO is gradual.
Value range: 0 ... 64.
Sync
When set to ON, the LFO is Synchronized for all the notes played.
When set to MIDI, the LFO is tied to
the MIDI Clock.
Assignable values: Off, On, MIDI.
Pitch s.o.1
Pitch s.o.2
Applies LFO to the Pitch to produce
a Vibrato effect on the selected oscillator. This parameter determines
the modulation depth of LFO on
Pitch.
Positive and negative values indicate
an opposed sense of vibration at the
starting phase (upwards or downwards respectively).
Assignable values: –7 ... +7.
0 = no effect.
Touch pitch
s.o.1
Touch pitch
s.o.2
Links the depth of the Pitch
modulation to Aftertouch pressure.
By applying aftertouch pressure to
the keys, the “Delay” parameter is ignored and the oscillation starts immediately.
Positive and negative values indicate
an opposed sense of vibration at the
starting phase (upwards or downwards respectively).
Assignable values: –7 ... +7.
0 = no effect.
LFO parameters
Wave
Selects the waveform of the low frequency oscillation. Given the low frequency of the oscillation, the waveform is clearly perceptible.
You can choose from the following
waves: Sinus, Triangle; Saw, Square,
Random, Sample/Hold.
Edit Sound - main menu, LFO editor selected
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Edit Sound 16•31
Amplitude s.o.1 Applies Lfo to the Amplitude to
Amplitude s.o.2 produce Tremolo effects. This parameter determines the modulation
depth of the LFO on the Amplitude
(the output level).
The positive and negative values indicate an opposed sense of increase/
decrease of the Tremolo output level
(the choice between positive or
negative values give perfectly
equivalent results).
Higher positive or negative values
increase the modulation depth.
Assignable values: –7 ... +7
0 = no effect.
Touch ampl.
s.o.1
Touch ampl.
s.o.2
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Links the depth of the Amplitude
modulation to Aftertouch pressure,
permitting you to control of the
amount of Tremolo by varying the
aftertouch pressure applied to the
keys.
The “Delay” parameter is ignored
when pressure is applied to the keys
and the oscillation starts immediately.
The positive and negative values indicate an opposed sense of increase/
decrease of the Tremolo output level
(the choice between positive or
negative values give perfectly
equivalent results).
Higher positive or negative values
increase the modulation depth.
Assignable values: –7 ... +7.
0 = no effect.
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16•32 Reference Guide
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Filter s.o.1
Filter s.o.2
Applies Lfo to the Cutoff Frequency
of the Filter (1 or 2) to produce a
“Wha-Wha” effect, caused by the
“opening” and “closing” of the Filter.
This parameter determines the
modulation depth of the Lfo on the
Cutoff Frequency.
The positive and negative values indicate an opposed sense of “opening” and “closing”, otherwise, the
choice between a positive or negative value give perfectly equivalent
results. Higher positive or negative
values increase the Filter modulation
depth.
Assignable values: –7 ... +7.
0 = no effect.
Touch filt s.o.1 Links the depth of the Filter
Touch filt s.o.2 modulation to Aftertouch pressure.
By applying aftertouch pressure to
the keys, the “Delay” parameter is
ignored and the oscillation starts immediately (toggles between open
and closed filter).
The positive and negative values indicate an opposed sense of “opening” and “closing”, otherwise, the
choice between a positive or negative value give perfectly equivalent
results. Higher positive or negative
values increase the Filter modulation
depth.
Assignable values: –7 ... +7.
0 = no effect.
Pan
Valid for all Algorithms. In Dual situations, regardless of whether the Filters are connected in
series or in parallel, there is only one pan envelope for both oscillators.
The position of the sound in the “stereo panorama” can be controlled dynamically by means
of the Pan envelope divided in two parts: the “Pan
Key On Envelope” and the “Pan Key Off Envelope.
Env. amount
touch sens.
Links the envelope amount to
variations in the Aftertouch pressure.
Positive values increase the envelope amount by increasing the
Aftertouch pressure, while negative
values act inversely with increased
Aftertouch.
Assignable values: –7 ... +7.
0 = no response.
Pan dynamic
sensitivity
Links the sensitivity of the Pan
envelope to key velocity variations.
Positive values move the sound further right by increasing the key velocity while negative values act inversely with increased key velocity.
Assignable values: –7 ... +7.
0 = no response.
Pan touch
sensitivity
Links the sensitivity of the Pan
envelope to variations in the
Aftertouch pressure.
Positive values move the sound further right by increasing the Aftertouch
pressure, while negative values act
inversely with increased Aftertouch.
Assignable values: –7 ... +7.
0 = no response.
Pan Envelope Control
Envelope
amount
Activates the Pan Envelope and
determines its depth of action.
Assignable values: 0 … 7.
0 = no envelope.
Env amount
Links the envelope amount to key
dyn sensitivity velocity variations.
Positive values increase the envelope amount by increasing the key
velocity while negative values act
inversely with increased key velocity.
Assignable values: –7 ... +7.
0 = no response.
Edit Sound - main menu, Pan editor selected
Edit Sound - Pan Envelope Control parameters
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Edit Sound 16•33
PAN ENVELOPE KEY ON & KEY OFF
Loop segm
The Pan Key On and Key Off Envelopes are 10
segment maximum) curves. The Key On envelope regulates the Pan for the entire duration that
the notes are held pressed, while the Key Off
envelope controls Pan variations after releasing
the notes.
loops the current segment (envelope
repetition). When it reaches the terminal point, it loops back to the beginning. The cycle repeats continually until key release. The initial Loop
point is represented by an arrow.
To eliminate the loop, select the segment and select “del segm.”.
Zoom (F7)
Using the ZOOM option, you can enlarge the field
of vision of the envelope up to 4 times at a selected Point.
Pressing the soft button repeatedly selects the
Zoom options in cyclic order (1, 2, 3, 4, 0). Zoom
0 corresponds to “actual size”.
USING THE SEGMENT OPTION (F6)
Using the SEGMENT option, you can divide the
Pan Key On & Key Off Envelope curves into several different segments, in order to obtain a more
refined envelope across the keyboard.
Add segment
insert a new segment immediately after the currently selected segment.
A maximum of up to 10 segments is
permitted.
Del segm
cancels the current segment.
3 display parameters, selected with the cursor
buttons, define the Key On & Key Off. Envelopes.
Segment
Allows you to select the segments
with the Dial. The one selected corresponds to the flashing terminal
point.
Time
Determines the duration of the Segment. The maximum segment time
is approximately 21 seconds.
Assignable values: 0 ... 127.
Level
Sets the Pan offset (the difference
with respect to the central position)
at a given point. 0 represents the
centre of the stereo panorama.
Assignable values: –50 ... +50
N.B.: the initial level of the first segment at the starting point is always
zero (it cannot be modified).
For details of how to program the Pan Key On &
Key Off Envelopes, refer to the Amplitude Envelope example on page 16.18.
Edit Sound - programmed Pan Key On Envelope, Zoom 3
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16•34 Reference Guide
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Edit Sound - programmed Pan Key Off Envelope, Zoom 3
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PAN ENVELOPE TRACKING
The Pan Envelope Tracking curve, valid both for
the Key On and Key Off envelopes, modifies the
relative position of the sound across the keyboard
extension with respect to the central point. For
example, the sound in the bass section may be
further to the left while in the treble section, it
may be further to the right.
Segment (F6)
Using the SEGMENT option, you can divide the
Tracking curve into several different segments,
in order to obtain a more refined Tracking across
the keyboard.
1 segm
The Tracking curve is essential, representing a constant variation of the
speed of action of the Filter envelope
across the keyboard. The parameter
“Key” cannot be modified.
3 segm
The Tracking curve consists of 3 segments which allow the construction
of a situation offering different variations across the keyboard.
6 segm
The Tracking curve is divided into
many parts (maximum resolution);
allowing a more complex programming of the envelope completion velocity across the keyboard.
3 display parameters, selected with the Up/Down
cursor buttons, define the Pan Envelope tracking:
Point
One of the extreme ends of a segment.
Rotation of the Dial selects one of
the points of the Tracking curve (1,
2, or 1, 2, 3, 4, or 1, 2, 3, 4, 5, 6, 7).
Key
Determines the keyboard position for
the point in edit. The extreme points
(A#0, C8) cannot be modified.
Level
Sets the Pan offset (the position with
respect to the centre) at a given
point. 0 represents the centre of the
Stereo panorama.
Assignable values: –63 … 0…+63.
For details of how to program the Pan Envelope
Tracking, refer to the Volume Tracking example
on page 16.13.
Edit Sound - Pan Envelope Tracking for the Piano1 sound
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Edit Sound 16•35
The Main Menu options
SAMPLE TRANSLATOR (F1)
The Create option adds a second or third layer
to the current sound in edit.
The Sample Translator is explained separately
in detail from page 16.40 onwards.
The Import option opens a second level dialog
window where you can select the source and
destination layer.
ALGORITHM (F2)
This option allows you to select the Algorithm.
Pressing F2 activates a dialog box showing the
current Algorithm.
The Delete option cancels the currently selected
Layer.
This option limits itself to cancelling one or two
layers. It is not possible to cancel all layers - at
least one must be present.
Rotate the Dial to select a different Algorithm
and confirm with ENTER or cancel the operation with ESCAPE.
Program the options as required and confirm with
ENTER or cancel the operation with ESCAPE.
Algorithms available: Single, Dual 1, Dual 2, Dual
3, Dual 4.
LAYER RNG (F5)
The Layer Range option allows you to assign a
Key range and a Dynamic range for the current
layer.
LAYER UT. (F4)
The Layer Utility option allows you to create a
new Layer for the current Sound in edit, to import a Layer from another Sound, or delete a
Layer.
Pressing F5 activates a dialog box where you
can select the option required with the Up/Down
cursor buttons.
Pressing F4 activates a dialog box where you
can select the option required with the Up/Down
cursor buttons.
The Key Range option assigns the lowest and
highest keyboard limits for the current Layer.
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16•36 Reference Guide
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The Dynamic Range option assigns the lowest
and highest key velocity limits for the current
Layer.
Program the options as required and confirm with
ENTER. Press ESCAPE to cancel the operation.
ABORT (F6)
Press this soft button to escape permanently from
the Edit Sound environment without saving eventual modifications.
See “Escape from Edit Sound” on page 16.5 of
this chapter.
SAVE (F8)
Press this soft button to save your programmed
sound to the SK760/880 Sound Library and escape from Edit Sound permanently.
See “Saving and Naming the modified Sound”
on page 16.6 of this chapter.
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Edit Sound 16•37
Notes and suggestions on Sound Editing
WAVEFORM
KEY OFF ENVELOPE
Not all Waveforms cover the entire extension of
the keyboard. This becomes particularly evident
when you use an 88 note keyboard.
Thanks to the articulated Key Off Envelopes (Release phase) of the SK760/880 Series, you can
create some very interesting effects. In practice,
you can render a Sound “live” after releasing the
keys.
The “problem” is caused by a lack of samples at
the extremes of the keyboard. During the creating phase of a Waveform, considerations are
made for the quality of the sound and the amount
of memory necessary to store all the samples
which constitute the Waveform; if some high or
low end samples are lacking in musical quality
(e.g., the lower notes of a violin Waveform, or
the higher notes of a double bass Waveform), it
is preferable to eliminate them to avoid using up
precious memory.
For example, try programming an Amplitude Key
Off Envelope of the following kind with a Sound
such as 12StrGtr (26-2):
VOLUME, VELOCITY & AFTERTOUCH
The Volume of a Sound can be controlled in live
situations by velocity and aftertouch variations
(the relative parameters are found in the Volume
editor).
If you set very sensitive values for both controls
(e.g. +7 assigned to both dynamics and
aftertouch), the Sound will be very difficult to control and easily susceptible to sudden volume variations.
When you release the key the sound begins to
fade and then reappears, it is held for an instant
and then fades away gradually.
LOOP AND LFO
Lfo can be applied to several different sound parameters. The effect produced depends on the
parameter affected:
By programming a loop on two segments of a
Key On Envelope which create an ascending and
descending ramp (/\) you can simulate a Tremolo
effect, without using the Lfo editor.
A loop of this kind on a Pitch Key On Envelope
will simulate a more realistic Vibrato effect than
the effect obtained with the LFO.
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16•38 Reference Guide
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LFO
Amplitude
–>
Vibrato
Pitch
–>
Tremolo
Cutoff Freq.
–>
‘Wha-wha’
FILTERS
RESONANCE
The action of the filters on the sound is represented by curves:
Resonance enhances the frequencies in close
proximity of the Cutoff Frequency, rendering the
filter curves more complex:
dB
Hz
dB
Low Pass (attenuates
the high end frequencies).
Hz
Hz
Band Pass (attenuates
the frequencies above
and below the C.F.).
Hz
Parametric Boost (enhances the frequencies
around the Cutoff Frequency).
Hz
Parametric Cut (attenuates the frequencies
around the Cutoff Frequency).
dB
dB
Resonance
Hz
High Pass (attenuates
the low end frequencies).
dB
dB
Resonance was a very typical feature of classic
analog synthesizers.
As an example, listen to the Sound “Resonance
(102-2)”.
The slope of these curves is determined by the
attraction capacity of the “poles”. The SK760/
880 Series can have two 2-pole filters connected
in parallel (Dual 1, Dual 3 Algorithms), or one 4pole filter, corresponding to two 2-pole filters connected in series (Dual 2, Dual 4 Algorithms). A
4-pole filter creates a clearer slope and consequently a fuller and more aggressive sound.
To obtain a 4-pole Filter:
Programme identical parameter values for the
“Filter 1” and “Filter 2” editors of the Dual 2 or
Dual 4 Algorithms.
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Edit Sound 16•39
Sample Translator
ABOUT SAMPLE TRANSLATOR
The Edit Sound menu includes the Sample Translator command, situated in the right options column, which permits the importation and exportation of RAM Samples of various formats, and the
edit of RAM Samples to create new RAM Waveforms to add to the SK760/880 Wave Library.
Using the new Waveforms, it is then possible to
create new RAM -Sounds, increasing SK’s
sonic potential.
Recognized formats
Sample Translator is able to recognize the following sample formats:
• Wave, Sample Vision, Sound Designer 1,
Akai, Aiff, Kurzweil.
Sample loading methods
Samples can be loaded from disk, via MIDI from
computers, samplers, etc., or dumped from external devices. The “Sample dump to and from
external devices” is a high speed transfer process which works on the handshake principal.
2. With a Rom-Sound (for example, select the
default Grand Piano Performance). This allows you to enter Sample Translator and load
disk-based samples, or receive them via a
Dump from an external device.
Don’t forget the Solo button!
In either case, if the current keyboard situation corresponds to two or more tracks set in
“key-play” status, you must remember to isolate the track with which you enter Edit Sound
by pressing the SOLO button. This is to avoid
hearing other Sounds when you are working
with the samples.
Temporary escape from Sample Translator
By pressing the ESCAPE button, you can escape
temporarily from Sample Translator, to access
other edit environments without losing current edit
data in Sample Translator, but you will not be
permitted to select a new Sound, Performance,
Style or Song.
Press the SYNTH button to return directly to the
Sample Translator.
Samples can also be loaded directly from
RAM -Sounds, provided that you enter Edit
Sound with the same sound (Sounds based on
Ram waveforms, identified by the
symbol).
Entering Sample Translator
Access to the Sample Translator is always via
the Edit Sound environment (press the SYNTH
button; see also page 16.4).
You can enter the Sample Translator in two ways:
1. With a RAM -Sound. This allows you select Sample Translator and load the Waveform associated to the selected RAM Sound, then proceed to edit the sample in
order to create a new RAM Waveform that
can be added to the Wave Library.
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16•40 Reference Guide
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Edit Sound - Sample Translator display, no samples loaded
THE MAIN SAMPLE TRANSLATOR DISPLAY
The main Sample Translator display consists of
16 slots, each able to house a sample that can
compose a Waveform. A Waveform may consist
of one or more samples covering different keyboard ranges.
The Sample Translator options
Load:
Loads a sample into the selected location, directly from the selected
Ram -Sound, from floppy disk or
via MIDI from an external source
(computer, sampler, etc.).
Save:
Saves a sample to the instrument’s
Wave Library. Only samples which
have been assigned a keyboard extension are saved. Saving also escapes the Sample Translator and
returns to Edit Sound where you can
create a new Sound with the new
Waveform.
Delete:
Cancels the selected Sample from
the main Sample Translator display.
Assign:
Assigns the selected sample to a
keyboard range. This “assigned”
sample plays together with the other
“assigned” samples that make up the
Waveform. Sample keyboard range
overlaps are not permitted.
Deassign:
Cancels the extension limits of the
selected sample.
Edit:
Opens a page showing information
regarding the Waveform (Sample
name and type, properties, size,
pitch, Sample rate, Loop Start, Loop
End points and the Loop status).
Several parameters can be edited in
this page and other options are activated (Tuning, Normalize, Gain, Cut,
Export).
The display example below shows the sample
configuration of a Waveform originating from a
previous series instrument.
Here, the original RAM -Sound contains a
Waveform consisting of 6 samples, each assigned to a specific range of the keyboard:
Locations without samples are numbered and
shown with three dashes (– – –).
Selecting Samples from the waveform display
Select the Samples with the Up/Down cursor
buttons.
Next to each sample, three notes are usually
Send Sample: Activates a sample Dump process to
transfer (via MIDI) the sample to an
external device (for example, another
SK760/880 keyboard).
Abort:
Escapes the Sample Translator,
erasing all the samples present, and
returns toEdit Sound.
shown, representing the lower limit of the keyboard range to which the sample has been assigned, the original sample pitch, and the upper
keyboard limit:
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Edit Sound-Sample Translator 16•41
4. Press ENTER to confirm the operation, or escape
to cancel.
Loading samples
LOAD (F1)
The Load option allows you to load Samples into
the Sample Translator directly from a RAM Sound, or from disk.
1. Loading a sample a RAM
Confirming with Enter starts the loading process. The time taken depends on the size of
the sample. A dialog window showing an
animated clock keeps you informed of the
samples being loaded:
-Sound
This operation should be carried out with RAM Sounds originating from previous Series instruments (S, SX, SK760/880 Series) or from
Ram -Sounds containing a Waveform created
by Sample Translator.
1. Assign a RAM -Sound to a track of a Performance.
Shortly after, the display shows a situation
similar to the example below, with one or more
samples which constitute the Waveform.
It is preferable to set the instrument in Style/
RealTime mode with the keyboard mode set
to Full Keyboard and a single track selected.
If two or more tracks are selected, you can
isolate the Sound with which you enter Edit
Sound using the SOLO button.
2. Enter Edit Sound (as already explained on page
16.4 of this chapter).
3. Press F1 to enter the Sample Translator.
A dialog window is displayed informing that a
Ram-Sound has been found the associated
Waveform is ready to be loaded.
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16•42 Reference Guide
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2. Loading disk-based samples
To load samples from disk, in practice you can
enter with any sound, including a RAM -Sound,
because once you enter the Sample Translator,
you can override the sound assigned to the track
and listen to a sample loaded from disk. If, instead, other tracks are active, you will hear these
as well. The most important point, therefore, is
to remember to isolate a track from other active
tracks with the SOLO button before starting.
1. Insert a disk containing samples.
ing loaded. A bar graph also appears at the
top of the display to monitor the loading
phase.
When the operation is complete, the display
will show a situation that depends on the sample loaded. An example of what may appear
is shown below:
2 Enter «Edit Sound» (as already explained on page
16.4 of this chapter).
3. Press F1 to enter the Sample Translator.
A. If you enter Edit Sound with a RAM Sound, you are prompted to load the associated Waveform. Press ESCAPE to
ignore the prompt and pass to the load
phase (point 4).
B. If you entered with a Rom-Sound, the
dialog window does not appear and you
pass directly to the load phase.
4. Press LOAD (F1) to load a sample from disk.
If a disk is not inserted in the drive, an appropriate “ Disk Error!” message is shown. Cancel the message with Escape and insert the
disk into the drive.
If a disk is inserted in the drive, pressing
LOAD opens a selection window showing all
data contained in the disk. An example of
what may appear is shown below:
The various sample formats are identified by
appropriate extensions.
This example shows a single unassigned
Flute Wave sample.
Loading other Samples
You can load other samples to the Sample Translator, provided that you select an empty location
to load to.
If you load to an existing sample location, a dialog
window is displayed requesting the cancellation
of the selected sample before proceeding.
5. Use the Up/Down cursor arrows to select the
sample to load and press ENTER to confirm.
Some sample formats allow you to load individual samples or Programs. (See “Sample
and Programs” afterwards).
Confirming with Enter starts the loading process. A dialog window showing an animated
clock keeps you informed of the samples be-
Use this method only if you want to cancel an
existing Sample in order to replace it with another.
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Edit Sound-Sample Translator 16•43
Loading Samples and Programs
Some sample formats, such as Akai and Kurzweil,
allow you to load individual Samples (equivalent
to the SK760/880 Series samples) and Programs
(similar to the SK760/880 Series Waveforms).
In such cases, when you select a file type from
the “File Open” window, a second selection window appears:
Use the Up/Down cursor arrows to select an individual sample, or select “All samples” and press
ENTER to confirm.
A Program organizes the Samples by defining
the keyboard ranges to which they are assigned.
Unlike the Waveform of the SK760/880 Series, a
Program can distribute the Samples over several different “Levels” (dynamic levels).
Sample Translator can load single Samples, or it
can convert, in a single operation, an entire “level”
of the Program into a SK760/880 Series Waveform. If a Program contains more than one “level”,
it can be converted entirely in successive phases,
using (a) a Sound Patch, (b) a multi track configuration, c) a Sound containing a key-dynamic
assignment (executed in Edit Sound).
Conversion limitations
A SK760/880 Waveform can contain only 16 samples. For example, an Akai S1000™ level can
contain up to 99 Samples, therefore, when a conversion is carried out, only the 16 Samples from
the lowest register are loaded.
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16•44 Reference Guide
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These kind of Samples can overlap even inside
a dynamic Level. Sample Translator eliminates
this overlap, using the lowest limit-note of the
highest pitched sample as the limit between samples.
Receiving Samples via a Dump
You can also Dump samples into Sample Translator via the Sample Request option (F7). This is
discussed in detail on page 16.53.
Saving your Samples
SAVE (F2)
The SAVE operation is used to save assigned
Samples to the SK760/880 Wave Library. A
Waveform can contain one or more assigned
samples, provided that each is assigned to a specific keyboard range.
Once your samples have been assigned, press
the soft button F2 to Save the Waveform to the
SK760/880 Wave Library.
The display shows the Save Sample dialog window:
Press Enter or Escape to cancel the message
and return to the Save Sample window and write
a different name for the Wave.
Confirm with ENTER to save the Waveform to
the SK760/880 Wave Library. The new Ram Sound is simultaneously saved to the SK760/880
Sound Library at the selected location. Pressing
Enter also escapes the Sample Translator and
returns to Edit Sound where you can start to edit
the new Ram -Sound using all the methods
already described.
You’ll find the new Ram -Sound assigned to
the currently selected track, and the new Waveform selected in the Waveform editor.
Un-assigned Samples
If, among the assigned samples of the Sample
Translator, one or more unassigned samples are
present, pressing SAVE prompts a message requesting the cancellation of unassigned samples
before proceeding with the Save operation.
Here you can write a name for the waveform
(Wave name) and a name for the new RAM Sound (Sound name) based on the Waveform.
The name given to the Waveform is automatically assigned to the sound once you select the
Sound Name entry zone. You are free, however,
to write a different name for the Sound.
Also shown is the first available empty location
in RAM for the new RAM -Sound, defined by
the Bank and Program numbers.
Whatever Bank and Program number you select
with the Dial, it will always correspond to an empty
location in RAM. SK760/880 does not allow you
to overwrite existing Ram-Sound or RAM Sounds.
Press ENTER to confirm and proceed with the
saving of the Waveform as described above.
If, instead, you want to assign the un-assigned
samples, press Escape to cancel the message,
assign the samples (explained afterwards), then
press Save again to proceed with the save operation.
If you attempt to save the Waveform with a name
that already exists, an message appears saying
that the Wave Name already exists.
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Edit Sound-Sample Translator 16•45
Cancelling samples
Assigning samples
DELETE (F3)
ASSIGN (F4)
The Delete option allows you to cancel the selected Sample from the Sample Translator.
The Assign option lets you select a sample, then
specify the key range to which the sample is to
be assigned. Only assigned samples become a
part of a Waveform which you can then save to
the SK760/880 Wave Library.
After listening to your Samples and assigning the
relative key ranges, you may want to eliminate
those not required.
Simply select the sample you wish to cancel and
press the soft button F2.
You are prompted with a message to reconfirm
the operation with ENTER or cancel with Escape.
When you load a new Waveform into Sample
Translator, the samples that constitute the Waveform are shown assigned to specific key ranges.
In such cases, three values are shown, the lowest key limit, the sample pitch and the highest
key limit:
Highest Key limit
Lowest Key limit
Sample Pitch
Press ENTER to delete the Sample.
If you load new Samples from disk or receive them
via MIDI, they will normally be shown with no key
range assignment, but only with the sample pitch.
In such cases, although shown with no specific
key range, Sample Translator allows you to listen to the sample across the entire keyboard, to
help you decide in what keyboard area you can
obtain the best results.
Once you have decided in which keyboard area
the sample sounds best, press the ASSIGN option using the soft button F4.
At this point, the display shows a graphical representation of a keyboard and the Sample (or
Samples) currently in edit.
The display example shown on the next page is
a typical situation which may be encountered.
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16•46 Reference Guide
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Overlapping samples
If you overlap the key range of two samples,
pressing ENTER will prompt a message indicating the presence of an overlap.
The selected Sample is shown with a temporary
key range, represented by the black line. The
“notch” shown in the line represents the Sample
Pitch. If the selected Sample is not shown with a
black line, simply strike the left cursor button ( ).
1. Rotate the Dial to assign the lowest key limit:
Press Escape to cancel the message and assign
the correct key range before confirming with
ENTER.
A typical assignment consisting of several samples that constitute a SK760/880 Waveform may
look like this:
2. Strike the right cursor button ( ) and assign the
upper key limit with the Dial.
3. Press ENTER to confirm.
4. Select the next Sample to assign with the up/
down cursor buttons ( / ) then strike the left
cursor button ( ) to activate the lowest key limit
of the selected sample (A0).
Repeat the assignment procedure for all the
samples that are to be part of the new Waveform, and avoid overlapping.
Each sample covers a specified key range and
the “notch” at the beginning of each range corresponds to the Root Key Number, also called the
Sample Pitch.
Once you have completed the sample key range
assignments, press ESCAPE to close the ASSIGN display and return to the Sample Translator.
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Edit Sound-Sample Translator 16•47
Cancelling assignments
Sample Editing
DEASSIGN (F5)
EDIT (F6)
The Deassign command cancels the assigned
key range of the selected sample.
The Edit option opens a display showing nonprogrammable information relating to the original sample, and gives access to some programmable parameters which allow you to change
some characteristics of each individual sample.
1. Select the Sample to deassign.
2. Press the soft button F5 to deassign the sample.
After deassigning, the sample will play across
the entire keyboard range only if it is selected.
If you wish to save the deassigned sample
as part of the final Waveform, you must reassign a key range before proceeding.
The first four items of the display correspond to
the sample information:
Sample name
Shows the original name of the wave sample.
Sample Type
Identifies the sample format.
Properties
Shows the technical characteristics of the sample.
Sample size
Shows the size of the sample expressed as the
total number of samples.
The remaining items of the display correspond
to settings for the sample assigned to the currently selected key range. All these parameters
are programmable.
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16•48 Reference Guide
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Sample Pitch
Indicates the pitch at which the sample was originally recorded. This parameter also defines the
Root Key number, or the key where the sample
root for the current key range is assigned.
If the SK760/880 does not recognize the Sample
Pitch of a sample you’ve loaded from disk, you
can use this parameter to specify the key which
will play the sample at its normal pitch (the pitch
at which it was sampled). To help you with this
operation, use the Tuning function, activated with
the F1 soft button, which plays the original sample pitch with a sinusoidal that is superimposed
on the sample.
You can also use this parameter to make the sample play its normal pitch on a different key from
the one to which it was assign when it was recorded. This, however, will pitch shift the sample
and change its playback rate, which can affect
the timbre of the sample.
Changing the Loop Start (and Loop End) points
can have a small or great effect on the sample
timbre, depending on the nature of the sound at
the Loop Start point. You may hear a click as the
sample loops back from the Loop End to Sample
Start. In such cases, vary the Loop Start value
until you reduce the click to an acceptable value.
Loop End
This parameter represents the end of the current
sample and the point where the sample, once
played, loops back to the Loop Start point. If the
Loop Switch is set to Off, the Loop End parameter changes to “Sample End”.
Loop Switch
This parameter toggles between the On and Off
status of the Loop. If set to ON, the sample loops
continually from Loop Start to Loop End until the
keys are released. If OFF, the sample plays from
Loop Start to Sample End and stops.
Sample Rate
This parameter defines the frequency with which
the Sample is read. If the Sampling Rate is modified, the sample pitch is also proportionally modified. For example, if the Sample Rate is raised
in value, the sample pitch will also become higher.
Basically, this function provides a fine tuning for
the sample, avoiding dissonance between the
samples that make up the Waveform.
GENERAL NOTES ON SAMPLE EDITING
When you trim samples by changing the values
of Loop Start and Loop End, you’ll hear the effect
with the next note you play. However, the Sample is not actually changed in the SK760/880
memory until you save it.
Loop Start
This parameter causes samples to replay indefinitely until you release the note, or they decay to
silence. Each sample, when triggered, begins at
the Loop Start point and plays through to the Loop
End, then loops to the Loop start point and plays
again. This cycle will continue until the note is
released. If the Loop Switch is set to Off (see
below), when the sample plays to the Loop End
on its first cycle, it stops when it reaches the Loop
End.
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Edit Sound-Sample Translator 16•49
THE SAMPLE EDI T OPTIONS
Entering the Sample Edit page activates several
options.
2. Press ENTER to set the sample Gain to its maximum setting (100%).
After a short period, the sample Gain setting
sets to 100%.
TUNING (F1)
The Tuning option provides a reference for the
sample pitch, producing the exact note with a sinusoidal, superimposed on the sample. This is
useful in situations where the original sample pitch
is required when assigning a sample to a key
range.
Press the soft button F1 to activate the Tuning
function (shown in negative highlight) and play a
note on the keyboard.
Press F1 to deactivate Tuning.
NORMALIZE (2)
If the volume of the selected sample seems to
be too low, it is quite probable that the original
sample Gain (Volume) has a setting that needs
to be adjusted. Normalize takes the sample gain
to its maximum setting in a single step.
1. Press F2 to select NORMALIZE.
The display shows the current status of the
sample Gain.
In this display situation, the Gain setting is
not programmable.
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16•50 Reference Guide
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GAIN (F3)
This option allows you to modify the volume of
the sample with respect to the other samples of
the Waveform. One of the primary uses of Gain
is to equalize the volume levels between different key ranges.
1. Press F3 to select Gain.
The display shows the status of the Sample
Gain setting.
2. Rotate the Dial, or use the numeric keypad (with
the KEYPAD LED on) to set the Gain to a suitable
level, playing the sample as you regulate the
setting.
EXPORT (F7)
Use the Export option to save the Sample currently in edit to disk.
You can chose to save in two of the most commonly recognized formats: Sound Designer 1 or
Windows RIFF Wave.
1. Press EXPORT to open a dialog where you can
specify a name and select the format.
3. Press ENTER to confirm the setting.
After a short period, the sample Gain setting
is memorized.
CUT (F5)
2. Select the File Type parameter and rotate the
Dial to select the other format.
This option allows you to trim the Sample at a
specified Loop End in order to “cut off” the last
portion of the Sample.
If you vary the current setting of the Loop End
and wish to eliminate the portion of the sample
that follows, press F5 to trigger the CUT option.
After using CUT, you’ll find that the Loop End point
cannot be taken to a higher value.
3. Insert a floppy disk into the disk drive and press
ENTER to start the export procedure.
Shortly after, the Sample is saved to disk.
Press ESCAPE to exit the Sample Edit display.
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Edit Sound-Sample Translator 16•51
3. Press SAMPLE REQ (F7).
Sample MIDI Dump
SEND SAMPLE / SAMPLE REQUEST (F7)
Samples can be transferred between SK760/880
and most other samplers and computer sampling
programs using the Send Sample/Sample Request option which operates according to the MIDI
Sample Dump Standard. This feature works on
the handshake principal and requires only that
the transmitter and receiver conform to the standard. Both units must be connected via a closed
MIDI loop The operation proceeds smoothly and
at high speed without freezing either the external
device or the SK760/880. It is not necessary to
set MIDI channels. If the external device does
not conform to the Sample MIDI Dump Standard, this operation cannot be performed.
The Send Sample option is shown when a Sample is selected in the main Sample Translator display.
The option changes from Send Sample to Sample Request when an empty location is selected.
A selection window opens where you can
select the sample number.
If you are requesting a sample from another
SK760/880, you can specify the numbers
from 0 to 15 which correspond to the 16 locations of the Sample Translator.
If you are requesting a sample from an external computer or sampler, you can specify
a number from 0 to 255, depending on the
sample numbers stored in the external unit.
Press ENTER and shortly after, the sample
transfer process begins. During the transfer,
the process is monitored on the bar graph of
the main Sample Translator display.
While the transfer is taking place, the Sample Req option changes to “Dump Stop”. Use
Dump Stop to stop the sample transfer from
the external device.
To save a Sample (Send Sample)
• To transfer a selected sample from SK760/880
to an external device, press SEND SAMPLE (F7).
To load a Sample (Sample Request - F7)
1. To load a sample into SK’s Sample Translator from
an external source (such as another SK760/
880, or a computer or sampler), first connect
the external device’s MIDI OUT port to the
SK760/880 MIDI IN and the MIDI IN port to
the SK760/880 MIDI OUT (MIDI Loop).
2. Select an empty location in the Sample Translator’s main display.
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16•52 Reference Guide
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Shortly after, the sample transfer process
begins. During the transfer, the process is
monitored on the bar graph of the main Sample Translator display.
While the transfer is taking place, the Send
Sample option changes to “Dump Stop”. Use
Dump Stop to stop the sample transfer to the
external device.
Abort (F8)
Use the Abort option to escape from Sample
Translator without saving your samples.
Pressing Abort activates a prompt to confirm the
abort process with ENTER and cancel all samples.
Pressing ENTER cancels all samples and returns
to the Sound Edit environment.
Press ESCAPE to cancel the display and retain
the samples. Save the samples with SAVE to
escape the Sample Translator (see page 45).
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Edit Sound-Sample Translator 16•53
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16•54 Reference Guide
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• 17 Edit General
«Edit General» is where you can modify global
parameters that affect the instrument as a whole
and which are not memorized to a Performance.
A part of the general parameter settings are conserved in RAM and saved to disk as a Setup.
GENERAL
9
Press the GENERAL button in the EDIT section
to gain access to the «Edit General» environment.
«Edit General» is a complex structure environment. When you press GENERAL for the first
time, the main menu page appears where you
can access one of the 6 editors using one of the
following methods:
a) rotate the DIAL to select the editor and
press ENTER;
DESCRIPTION OF THE MAIN MENU PAGE
The menu page shows 6 editors at the centre:
General Controls, Tuning/Scale, Pedalboard/
Computer, Date & Time, Display Controls and
Mic/Line In.
c) use the page scroll buttons
to pass
directly from one editor to another;
On the right hand side are 8 options which can
be selected with the corresponding Soft buttons
F1…F8: Battery & Release, Auto Help, System
Info, Restore All, Restore Styles, Restore Performances, Restore Songs, Restore Style Performances.
d) specify the editor number on the keypad
(with the KEY PAD LED on) and press ENTER.
After entering the editors, the options shown in
the options column change according to the editor.
b) use the directional arrows to select the
editor and press ENTER;
The description of the main menu options is at
the end of this chapter.
Edit General - Main menu
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Edit General 17•1
General Controls
Tuning/Scale
KEYBOARD SENSITIVITY
MASTER PITCH
Determines the response of the keyboard to velocity changes.
Fine tunes the instrument as a whole in fractions
of 1/64 of a semitone.
Assignable values: Soft, Medium soft, Medium,
Medium hard, Hard.
Assignable values: -63...+63.
KEYBOARD SCALE
FOOTSWITCH POLARITY
Provides a selection of Temperaments (Scales).
Footswitch 1, 2, 3
Sets the polarity of the programmable pedals 1,
2, 3. Generalmusic pedals are of the NC type.
Options: NC (Normally Closed), NO (Normally
Open).
Options: Equal, Inverse, Meantone, Werkmeister
III, Arabian 1, Arabian 2, User1 ... User8.
USER PROGRAMMABLE SCALES
You can program your own scale using the keyboard map shown at the bottom of the display.
This graphical representation shows the current
pitch of the notes of an octave. The octave currently in edit is shown in the title bar directly above
the keyboard (e.g. Octave C-1/B-1). Each note
shows the coarse tune and fine tune status. The
programming tasks allow you to alter the pitch of
one or more notes by modifying the coarse and
fine tuning parameters of the current scale.
Actual note
Coarse tuning
Octave (select F5 for «Octave Up»
or F6 for «Octave Down»).
Fine tuning in 64ths of a semitone
Edit General: General controls
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Edit General: Master pitch & Keyboard Scale
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17•2 Reference Guide
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The final configuration can then be copied to selected octaves of the keyboard, or to all octaves.
Coarse - Copies only the coarse tuned notes.
Example - to program a scale by fine tuning one
or more notes:
To octave - Selects the octave to copy to. Select the ALL option to copy a programmed octave to the entire keyboard.
1. With the “Octave Up” function (F5), select the
octave to program.
2. Use the directional arrows to select the fine
tune parameter (in this case “0”) and rotate
the Dial to fine tune the note according to your
requirements. While tuning, play the note repeatedly.
3. Repeat the microtuning operation for other
notes.
4. Select the “Copy to oct.” function (F3), select
“Fine Tune” in the “Copy” parameter and
“ALL” in the “to octave” parameter, then press
ENTER to confirm.
Finetune - Copies only the fine tuning.
Octave Up (F5)
Selects the next highest octave to edit.
Octave Down (F6)
Sets the next lowest octave to edit.
Catch Note... (F7)
Selects the note to edit. Press F7. The following
message appears:
5. When the scale has been programmed, save
it to the Setup by pressing F7 («Save»). You
will be prompted to select a User location.
THE TUNING/SCALE OPTIONS
Play the note to edit.
Save... (F8)
Copy to octave... (F3)
Copies the current setting to another octave. The
«Copy to octave» dialog window is opened where
you can specify the elements to copy and the
octave to copy the user programmed data to.
Saves the User programmed scale to the Setup.
The «Save» dialog window is opened where you
can choose from 8 User scale destinations.
Select the User scale with the DIAL. Press ENTER to confirm or
ESCAPE to cancel.
Coarse&Fine - Copies both the coarse tuned
notes as well as the fine..
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Edit General 17•3
Note
Function
Note
Function
C2
Start/Stop
C#2
Tempo –
The PEDALBOARD and COMPUTER connectors cannot operate at the same time. Selecting
one renders the other inoperative.
D2
Intro
D#2
Tempo +
E2
Ending
F2
Var 1
F#2
Fill <
G2
Var 2
To activate one of the two connectors, select the
corresponding option («Pedalboard» or «Computer») with the cursor buttons.
G#2
Fill =
A2
Var 3
A#2
Fill >
B2
Var 4
C3
Key Start
Pedalboard / Computer
PEDALBOARD
Bass Sustain (F1)
If you have purchased Generalmusic’s optional
13-note pedalboard, connect it to the Pedalboard
connector and program the unit for how it will be
used by pressing F8 («Mode»).
Mode (F8) for Pedalboard options
Sustain for the notes of the pedalboard.
COMPUTER
Instead of using the MIDI interface, you can connect via a single serial cable to a computer. Program the connector for the type of computer used
by pressing F8 («Mode»).
Options for the pedalboard.
Off - Pedalboard deactivated.
Pedalbass - The automatic bass of the auto-accompaniments is deactivated and the BASS track
is assigned to the Pedalboard, allowing you to
play the bass with the pedalboard.
Pedalchord - Chord recognition on the keyboard
is disabled and passed over to the pedalboard.
To play minor and sevenths, play two bass notes
at the same time. Alternatively, you can program
the Pedals 1, 2, or 3 to select minor and sevenths.
Multifunction - Each note of the pedalboard recalls a function associated to the Styles:
Edit General: PedalBoard/Computer
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17•4 Reference Guide
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Mode (F8) Computer options
Date & Time
Options to communicate with a computer
Sets the internal calendar and clock.
SET DATE (F1)
Off - Connection deactivated.
Macintosh - To connect to an Apple Macintosh™
computer. A standard Mac serial cable is required
to connect to the Modem port. In the computer
software, set a communication velocity of 1 MHz.
PC1 - Allows serial connection with an IBM™
computer or compatible, with a communication
velocity of 31250 baud. A standard PC serial
cable must be connected to the RS-232 port of
the computer.
PC2 - As above, but with a communication velocity of 38400 baud.
Sets the date in edit. Take the cursor to the day,
month and year and specify the value of each
parameter with the DIAL.
Confirm with ENTER or F1.
SET TIME (F2)
Sets the time in edit. Take the cursor to the hour,
minute and seconds with the cursor buttons and
specify the value of each parameter with the
DIAL.
Confirm with ENTER or F2.
Edit General; Date & Time
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Edit General 17•5
Display controls
Mic/Line Input
Viewing controls for the display. The settings are
conserved to memory after power down. They
cannot be saved to disk.
This page contains bar graphs to monitor the level
of signals fed into the Mic/Line inputs 1 and 2.
CHORD LANGUAGE
The contents of the display change according to
the absence or presence of the optional Audio
Video card.
Determines the viewing language (English/Italian/French/Germa) of the chord notation in the
Score.
AV CARD NOT INSTALLED
HELP LANGUAGE
Selects the language for the Help file.
Your model may not contain a file in a different
language.
DISPLAY MODE
Offers the choice of viewing black text on a white
background (Positive) or white texts on a black
background (Negative).
LAST SELECTION MEMORY
If enabled (ON), the last selected carried out in
either Style, Performance or Sound mode is
memorised. If disabled (off), the selection window of these modes to not show the last selection made.
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You can regulate the signal gain with the twin
GAIN knob located to the left of the Mic/Line jacks.
An optimum signal level can be obtained when
the input signal, at maximum volume, almost
reaches the extreme right of the VU bar graph
(the clipping zone).
Regulate the volume of the signal at the LEFT
and RIGHT outputs with the MIC/LINE front panel
slider. The M. VOL slider will have no effect on
the MIC/LINE signal.
Edit General - Mic/Line In (AV interface not installed)
Edit General - Display controls
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You can plug a microphone or musical instrument
(or other audio source) into the Mic/Line jacks
(IN1, IN2) to play through the instrument’s internal pre-amplifier. The input signals are directed
to the instrument’s internal speakers and to the
LEFT and RIGHT audio outputs, but are not processed by the on-board Digital Effects processor.
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17•6 Reference Guide
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A/V INTERFACE INSTALLED
Instruments fitted with the Audio/Video interface
show a completely different Mic/Line Input page
with several parameters to control the input signals.
The input signal is directed to the internal sound
generator and effects processor before being directed to the LEFT and RIGHT outputs and the
speaker system.
You can regulate the signal gain with the twin
GAIN knob located to the left of the Mic/Line jacks.
An optimum signal level can be obtained when
the input signal, at maximum volume, almost
touches the extreme right of the VU bar graph
(the clipping zone).
Regulate the maximum volume with the MIC/LINE
panel slider. The M. VOL slider regulates the sum
of the internal sound generator output level
(SK760/880 sounds and signal of the MIC/LINE
IN inputs).
PARAMETERS WITH OPTIONAL AV INTERFACE
Input VU
Monitors the level of the input signal. Controls
the signal gain of the two signals fed into the Mic/
Line IN1 and IN2 jacks with the twin knob 1 and
2 located to the left of the inputs.
Maximum volume levels can produce “clipping”,
a distortion which can be eliminated by controlling the gain.
clipping
The VU-meter indicates the level of the input signal. The dark
zone to the extreme right represents clipping (distortion).
Volume
Separate volume control for each input.
Assignable values: 0 ... 127.
Pan
Determines the position of the input signal within
the stereo panorama.
Assignable values: -32 (all to the left) ... 0 (centre) ... +31 (all to the right).
Eff Group
Selects the Group of effects A or B.
E1 Send
Determines the amount of Reverb effect to apply
to the signal.
Assignable values: 0 ... 127.
E2 Send
Determines the amount of modulation effect to
apply to the signal.
Edit General - Mic/Line In (AV interface installed)
Assignable values: 0 ... 127.
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Edit General 17•7
Filter
MIC/LINE ON/OFF (F1)
Selects a filter type.
Switch to activate/deactivate the Mic/Line IN1 and
IN2 jacks. When the inputs are active, the overall polyphony is reduced by two voices; if you do
not intend using the Mic/Line inputs, deactivate
them in order to direct the two voices to the internal SK760/880 sounds.
Assignable values: Off, LP (Low Pass), HP (High
Pass), BP (Band Pass), PB (Parametric Boost),
PC (Parametric Cut).
Cutoff
Sets the cutoff frequency.
VOCAL ON/OFF (F3/F4)
Assignable values: 0 ... 191.
Resonance
Sets the filter resonance. Assignable values: 0
... 127.
Switch for the activation/deactivation of the Vocal Processor. See also the Vocal Processor
section in the Edit Effects chapter.
Audio Out
EQUALIZER (F5/F6)
Directs the signal to the audio output or outputs.
Assignable values: L+R (Left+Right), L, R.
The Equalizer parameters affect the Mic/Line input signals only.
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17•8 Reference Guide
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The Edit General Main Menu Options
BATTERY & RE.... (F1)
SYSTEM INFO (F2)
This option shows the date and time of the latest
release of the operating system and the charge
level of the rechargeable backing battery.
This option displays information regarding the
presence or absence of the various accessories
that can be installed in SK760/880.
Press F1 once to show the release date and battery charge level:
Press F1 once again to show the date and time
of the release:
RESTORE
The «Edit General» environment offers several
dedicated RESTORE commands which are useful to restore part or all the instrument’s RAM to
the factory set status.
If the battery charge level is low, leave the instrument turned on for at least 15 hours to recharge
the battery completely.
User-programmed data (Performances, User
Styles, Songs, Performance-Sounds, Sounds)
can be cancelled, either as an individual block
(Performances, Style-Performances, User Styles,
Songs, Sounds) or entirely (All) by means of a
single command. Cancelling user programmed
data from memory restores the instrument’s original default parameter status.
For example, if you use the Restore Performance
command, you will cancel all user-programmed
Performances and restore the original factory
settings.
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©
WARNING: use the RESTORE commands with
caution because user-programmed data is
irremediably lost. Make sure that you have saved
any data you so not wish to cancel to disk or Hard
disk before proceeding with a restore operation.
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Edit General main menu options column
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Edit General 17•9
RESTORE ALL (F3)
parameters are restored to the factory-set values. ROM Styles associated to modified StylePerformances are identified by an asterisk (*) after
the Style name.
Pressing F7 prompts a request to confirm the
operation with ENTER or cancel with ESCAPE.
This operation cancels all user programmed data
currently in RAM (Performances, User Styles,
Style-Performances, Songs) and restores the instrument to its factory-set status (RAM empty).
Pressing F3 prompts a request to confirm the
operation with ENTER or cancel with ESCAPE.
RESTORE SOUNDS (F8)
RESTORE STYLES (F4)
This operation restores the Sound configuration
to the original factory-set situation, cancelling all
User edited Sounds previously stored to user locations. This operation is particularly useful to
restore the original SK760/880 sound set (over
1,000 sunds) after loading a sound configuration
from a previous WK4 disk (about 600 sounds)
using the Load All Sounds or Load Block procedures.
Pressing F8 prompts a request to confirm the
operation with ENTER or cancel with ESCAPE.
This operation cancels all User Styles in RAM
(including User Style-Performances) residing in
the User 1, 2, 3 and 4 buttons of the STYLE
GROUPS. The User slots are restored to the
factory-set conditions (empty: “User”).
Pressing F4 prompts a request to confirm the
operation with ENTER or cancel with ESCAPE.
RESTORE PERFORMANCE (F5)
This operation cancels all user-programmed Performances in RAM residing in the 8 buttons of
the PERFORMANCE GROUPS. The status of
the Performance parameters are restored to the
factory-set values.
Pressing F5 prompts a request to confirm the
operation with ENTER or cancel with ESCAPE.
RESTORE SONGS (F6)
This operation cancels all Song in RAM. The
Songs memory is restored to the factory-set status (empty: “User”).
Pressing F6 prompts a request to confirm the
operation with ENTER or cancel with ESCAPE.
RESTORE STYLE-PERFORMANCE (F7)
This operation cancels all user-programmed
Style-Performances associated to the ROM
STYLES. The status of the Style-Performance
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17•10 Reference Guide
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Appendix
• Sound tables
• Drum tables
• Style tables
• Performance tables
• Effects tables
• Wave tables
• MIDI Implementation
• MIDI Controllers
• System Exclusive implementation
• Index (alphabetical)
ROM-Sounds
Bank 1
PIANO group
1
Piano12
2
Piano22
3
Piano32
4
HonkyTonk2
5
E.Piano11
6
E.Piano22
7
Harpsichor1
8
Clavinet1
CHROM PERC. group
9
Celesta2
10
Glockenspl2
11
MusicBox2
12
Vibraphone1
13
Marimba1
14
Xylophone1
15
TubularBel2
16
Santur2
ORGAN group
17
Organ12
18
Organ21
19
Organ32
20
ChurchOrg12
21
ReedOrgan1
22
Musette1
23
Harmonica1
24
Bandoneon1
GUITAR group)
25
NylonGtr1
26
SteelGtr1
27
JazzGtr11
28
CleanGtr1
29
MutedGtr1
30
Overdrive1
31
DistGtr1
32
HarmonxGtr1
2
3
4
5
PianoMk12
PianoW22
E.G.Piano12
DetPiano2
ThinRhodx2
E.Piano32
Harpsich22
SynClav1
PickPiano2
Pianoctave3
E.G.Piano22
Western2
E.Piano42
E.Piano52
Harpsich31
WowClav2
PianoStage2
PianoTine3
AtkPiano12
AtkPiano22
RhodxFilt2
E.PianoSft2
LogPiano2
PercPiano2
InharPiano2
TonePiano2
ArcoPiano3
CelestaPlk2
GlockVibes2
WineGls12
Vibes21
Marimba22
Xylophone21
SoftBell2
BarChimes1
ToyPiano2
GlockChoir2
MusicBell2
SynVibes2
Mallet2
XyloTribal2
Oohlalaa2
Climbing2
Balarimba1
ToyOrgan2
GlockSeq1
Marimba31
SynthMarim1
VibeSeq1
Quasimodo
16'1'Draw1
16'8'5'Drw1
SwOrgan2
Church21
PipeOrgan2
Accord11
Blusette1
Cassotto1
Organ1WX2
JazzOrgan32
SynOrg12
Organ3WX2
Organ42
Accord22
WestHarmon1
OrganLfo2
OrgTheatre1
Organ3W1
OrganC32
Organ1W2
PipeChiff2
Accord31
Farfis1
Bandoneon22
SoloGtr1
12StrGtr2
OctJzGtr1
ElGuitar11
Muted22
WhaGtr12
FuzzGtr2
SlowHarmx2
VocalGtr2
SteelGtr11
Hawaiian2
ChorusGtr2
Dyn.Muted1
5thOverdr2
HeavyGt2
HarmGtr32
PedalSteel2
SteelGtr21
JazzGtr21
ElGuitar22
MutedWha1
CrunchStb2
LeadDist3
StratoGt1
3
2
6
7
E.PianoX2
DynE.P.1
FM Pro
MezzoPiano
16'1'Vib32
16'1
5'1/31
PipeOrg32
HamDrw1
Accord42
Hamperc1
Diatonic2
8'1
4'1
2'2/31
Hamclick2
EvocativOr2
Accord51
PercOrgan2
AccordEnv1
2'1
OctaDrawbr3
FiltDrawbr3
SixtDrawbr3
Bandoneon31
Trekzak
DirtyOrgan3
OctAccordn2
CrunchGt1
Mandolin1
MutedClean1
Dyn.Clean2
MutedFunk1
5thDistort3
LeadDist23
JazzPick2
NylonGtr23
Mandolin21
SteelGtr31
2
JazzStrato
ElGuitar32
ElGuitar42
MandolinSeq1
E.PianoMk2
DetuneE.P.2
ElPianoSeq1
1
8
RockOrgSeq1
TheatreSus
RotaryPress
Fuzztain
The Strat
LeadDist33
The suffix = 3 oscillators per voice. The suffix = 2 oscillators per voice. The suffix = 1 oscillator per voice. The prefix DK = DrumKit
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A•2 Appendix
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ROM-Sounds
Bank 9
PIANO group
1
2
3
4
5
6
7
8
CHROM PERC. group
9
10
11
12
13
14
15
16
ORGAN group
17
18
19
20
21
22
23
24
GUITAR group)
25
26
27
28
29
30
31
32
10
11
12
13
14
15
ST_Mandolin1 ST_Steel11
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16
ST_Nylon1
ST_Steel31
ST_12Strng1
ST_Steel41
ST_Steel21
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Tables A•3
ROM-Sounds
Bank 1
BASS group
33
AcoustcBs11
34
FingeredBs1
35
PickBass1
36
Fretless2
37
SlapBass11
38
SlapBass22
39
SynBass11
40
SynBass22
STRINGS group)
41
Violin1
42
Viola1
43
Cello1
44
Contrabass1
45
TremoloStr1
46
Pizzicato1
47
Harp1
48
Timpani1
ENSEMBLE group)
49
Strings1
50
SlwStrings1
51
SynStrg12
52
SynStrg22
53
Choir1
54
VoiceOohs2
55
SynVox2
56
OrchHits2
BRASS group
57
Trumpet1
58
Trombone1
59
Tuba2
60
MutedTrp11
61
FrenchHorn2
62
Brass2
63
SynBrass12
64
SynBrass22
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2
3
4
5
AcoustcBs21
Dyn.Fingrd2
Dyn.Bass21
AcidBass12
Dyn.Bass31
WXBass2
SynBass31
SynBass42
AcousticBs32
Dyn.Bass11
PckBass22
Flanged1
SlapSynBs2
StopBass2
TecknoBass2
RaveBass2
SlowViolin1
BowedViola2
SlowCello1
BowedBass2
OctTremolo2
OctPizz2
HarpDelay2
TimpaniEFX2
ViolinOrch2
ViolaPad2
CelloEns2
Quartet1
Staccato1
Plectra1
EchoPizz1
Spacehar2
Dyn.Orch I'I'I2
StereoStrg2
StrgOrch2
SynStrg32
SynStrg42
VoiceUuh2
VoiceAah2
SkatVoices1
Rave2
StrgGlock2
St.SlwStrg2
SynStrg52
Strings32
SlowUuh2
SlowAah2
Vocoder2
Dyn.St.Hit3
DualStrgs2
Strings21
OrchHits21
StrEthnic2
BackVocals1
SimStrings2
SympMemory2
HitsRev2
StereoOctv3
SlwString21
SawStrings2
NoiseUuh2
PannedVox4
WideEnsemb2
StereoSlow2
OctSlowStr2
FlugelAttk1
Trombone31
ShortTuba1
MutedTrp21
Dyn.FrHorn3
Brass22
SynBras22
SlowHorn2
FlugelHorn1
WowTromb21
WowTuba1
Dyn.MtTrp2
TotoHorns2
BrassRips1
SyntHorn2
AttkHorn2
DynSection2
TrombSwell1
ClassicBrs1
ModernBrs1
FrHrnSwell2
BrassFall2
SynBrass32
SynBrass42
NoiseTrp3
TrombSlop2
OctBrass13
OctBrass23
FrenchFlut3
BrassTrp2
PercSynBrs 3
SynBrass52
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A•4 Appendix
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Dyn.AcoBs1
Dyn.Baxx1
PkBsMute1
Fretless21
PckBass31
ThumBass1
AcoustcBs41
SynthBass2
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HarmAcBs1
HarmAcBs21
HarmElBs1
RezoBass1
ClickBass1
BleapBass1
SynSlapBs1
HitBass2
6
FingerdBs21
Fretless31
WedgeBass1
SynBass51
ToneBass1
BassMik1
SpaceBass12
SpaceBass22
TrombSwel2
ColorBrass2
StereoBrs2
7
DanceBass2
FingerdBs32
SubBass2
WowBass1
FingAndSlp2
DubbedRezo2
Popcorn2
NylonBass2
8
TheChopper2
LowPassed2
SerialBass2
ContraSynB2
DigiBass2
PriorBass2
SynBass62
RazorBass2
ROM-Sounds
Bank 9
BASS group
33
Vang.Bass
34
DanceFing2
35
SoftBass2
36
37
38
39
40
STRINGS group)
41
42
43
44
45
46
47
48
ENSEMBLE group
49
50
51
52
53
54
55
56
BRASS group
57
58
59
60
61
62
63
64
10
11
12
13
14
15
16
Vang.Bass2
ST_PickBs11
ST_SynBas42
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ST_AcousBs1
ST_FngrdBs1
ST_PickBs21
ST_Fretls11
ST_Fretls21
ST_FngrBs21
ST_Fretls31
ST_Fretls41
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Tables A•5
ROM-Sounds
Bank 1
REED group
65
Soprano1
66
SoftSax1
67
TenorSax1
68
BaritonSax1
69
Oboe1
70
EnglisHorn2
71
Bassoon1
72
Clarinet1
PIPE group
73
Piccolo1
74
Flute1
75
Recorder2
76
PanFlute1
77
BottleBlow2
78
Shakuhachi2
79
Whistle1
80
Ocarina2
SYNTH LEAD group
81
SquareWave2
82
SawWave2
83
SynCalliop2
84
ChiffLead3
85
Charang2
86
SoloVox2
87
5thSawWave4
88
BassLead3
SYNTH PAD group
89
Fantasia3
90
WarmPad2
91
Polysynth2
92
SpaceVoice2
93
BowedGlass2
94
MetalPad2
95
HaloPad3
95
SweepPad2
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2
3
Soprano22
SaxNoise2
OctaveSax2
BaritDet2
OboeChiff2
EngHorn22
Bassoon21
ClarSolo2
SoprFilter1
SoftFilt1
TenFilter1
BariFilter1
OboeFilter1
HornFilter2
BassoonFlt1
ClarFilter1
AltoSax1
LiscioSax1
TouchSax2
BaritnSax21
SaxQuartet1
TenSaxSolo1
BreathSopr2
LiscioClar1
HardFlute12
Dyn.Flute12
Recorder22
PanFlute22
BottleNois2
Shakupad2
Whistle1WX1
OcarinaPan2
HardFlute22
DynHiFlute2
Bubbler1
Dyn.Pan1
Tube1
ShakuVoice2
Whistle3WX2
OcarinaSyn2
PanFilter1
ColorWind2
Pulse12
ObxFilter2
Azimut2
Chopper2
Jump2
FiltRes12
Decay12
Obx22
Pulse22
Lyle2
SynLead12
Digital2
SoundTrk2
FiltRes22
Decay22
Obx32
ProphSaw1
TrianWave1
ClavWave1
PulseWave1
MiniSaw1
MiniPulse1
DigiWave11
DigiWave21
SnapSynth1
SeqTone1
SeqWoody1
SeqStick1
Inharm11
Inharm21
Inharm31
Inharm41
BirAttak1
Boink1
Gring1
Thin1
Buzz1
LfxSynth1
Sharp1
Shape1
RdPhas1
StrnNoise1
SevenSynth1
SynthLead1
MKSynth1
StlSynth1
FmIsh1
BtSynth1
Boss1
PannedSeq2
Joe4lead2
OlFaithful3
Saw-Me3
Saw-You3
PowerPop2
TooAnalog3
NewAge2
Obx12
Fantasy22
VocBells2
Prophet12
Bright22
Slave2
Machiner2
PPG2
AnlgPad2
Fantasy32
Angels2
Prophet22
Analogic2
Atmosphere2
Decay32
Fantasy13
Waveaura2
Awala1
OcBreath2
Panch1
Bright33
Ppg1
Waiting2
Form11
Form21
Form31
Form41
Form51
Form61
Form71
Budweis2
LogStr1
MarimVox2
Pad4U1
MyVox1
PadZone11
PadZone21
PluckPad1
Tibet2
PrettyPad12
PrettyPad23
Fantasy43
StereoFrm12
FizzyPad2
BandSweep2
EpicPan2
StereoFrm22
RichForm2
BellPad012
BellPad022
StereoFrm32
BellPad032
BellPad042
BellPad052
StereoFrm42
○
A•6 Appendix
○
○
○
○
○
○
○
4
○
○
5
6
7
8
Safe Sax
Panfluit
○
○
○
○
ROM-Sounds
Bank 9
REED group
65
66
67
68
69
70
71
72
PIPE group
73
74
75
76
77
78
79
80
SYNTH LEAD group
81
FatSynth2
82
WhaSynth2
83
Outburst2
84
Its19852
85
FMbefore2
86
CrossShape2
87
CrossSharp2
88
CrossWires2
SYNTH PAD group
89
IcePad12
90
IcePad22
91
BassPad2
92
93
94
95
96
10
MinBitSyn12
MinBitSyn22
DigGrunge12
DigGrunge22
ToneZone12
ToneZone22
ToneZone32
ToneZone42
11
12
13
14
FxShape2
SharpBuzz2
MinStack4
MajStack4
DimStack4
Maj5Stack4
Min7Stack4
Maj7Stack4
Eerie12
Eerie22
Eerie32
Eerie42
VocoWah2
ThinWha2
FatAttak12
FatAttak22
Vangelis1
Vangelis2
An A.Logic
Spiral
Phat Pulse
Soft Seq.
Soft Lead
Alf's Lead
15
16
Alf's Pad
Alf's Pad2
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
Tables A•7
ROM-Sounds
Bank 1
SYN SFX group
97
IceRain3
98
Soundtrack2
99
Crystal2
100
Atmosphere2
101
Brightness3
102
Goblin2
103
EchoDrops1
104
StarTheme2
ETHNIC group
105
Sitar1
106
Banjo2
107
Shamisen1
108
Koto1
109
Kalimba1
110
Bagpipe1
111
Fiddle1
112
Shanai1
PERCUSSIVE group
113
TinkleBell2
114
Agogo1
115
SteelDrums2
116
Woodblock1
117
Taiko2
118
Melo.Tom11
119
SynthDrum1
120
ReverseCym1
SFX group
121
GtFretNois1
122
BreathNois1
123
Seashore2
124
Bird2
125
Telephone11
126
Helicopter2
127
Applause2
128
GunShot1
○
○
○
○
○
○
○
○
2
3
4
Noiseres2
MoonWind2
Wind2
Arp260002
WithGas2
Resonance2
Synthex12
StarTheme22
BigRoom2
Slope2
SynLead22
GlockAthm2
PopUp2
NoGravity2
Synthex22
PowerBad2
Submarin2
Ekoendls2
Jets2
Smak2
OnOff2
Synthex32
Synthex42
StarTheme32
SitarDet2
BanjoOct2
ShamSitar2
Kanoun2
ShrtKalimb2
BagpipeEns2
Hukin2
BacktoWS2
SynSitar2
EthnicGtr2
SynSham2
TrpClarin1
SaxTrumpt1
BrassEns2
FiddleBell2
VoiceSpect2
Kalimba21
KalimShot1
DK_STAND.1
DK_ROOM
DK_POWER
DK_ELECT
DK_HOUSE
DK_JAZZ1
DK_BRUSH
DK_ORCH
DK_STAND.2
DK_WS
DK_STD.1WX
DK_DANCE
DK_TECHNO
DK_JAZZ2
DK_M1
DK_SY77
DK_STAND.3
DK_ROOM1WX
DK_POWER1WX
DK_ELECT1WX
DK_HOUSE1WX
DK_JAZZ_WX
DK_BRUSHWX
DK_ORCH_WX
Gtr.WhaWha|'|'|1
Zapp1
TickTack1
Scratch11
Telephone21
SynPerc32
HeartBeat2
Explosion2
GtrNoise1
KeyClick1
Drop1
Water1
Door1
Clackson2
PickScrape1
Bomb2
○
A•8 Appendix
○
○
○
○
○
○
○
○
○
5
6
Impact1
SynRain2
SeqSnap1
ColorBlast2
Spect11
Spect21
Synthex52
Spect31
Mech-Lp1
Mech-Wv1
SeqCook1
BounSync2
Atomic2
SawModula2
Synthex62
HiJoe2
7
8
Yowww3
Stars2
Babbling1
Synkro2
JimisDream2
TunedNoise1
BlasteRel2
StarTheme43
HitThePipe2
StabSynth2
MetalWork2
DigiDrops2
WoodCutter2
SnapOff2
SilicaPick2
Yourimba2
DK_HOUSE2
DK_HIPHOP
DK_DANCE2
DK_TEK'90A
DK_TEKBRSH
DK_ELECT.2
DK_DNC1999
DK_POLY
Vang. Kit
DK_ROCK
DK_STAND.9
DK_STAND10
DK_TEK'90B
DK_TUNED
DK_HYBRID2
BD_ONLY_KT
Kalimba31
○
○
○
○
DK_STD.2WX DK_STAND.5
DK_ROOM2WX DK_STD'70
DKPOWER2WX DK_HYBRID1
DKELECT2WX DK_FUSION
DKHOUSE2WX DK_STAND.6
DK_STAND.4 DK_STAND.7
DK_BRUSH2 DK_STAND.8
SD_ONLY_KT DK_JAZZ3
ROM-Sounds
Bank 9
10
SYN SFX group
97
BDHOUSE11 BDHOUSE21
98
BDTEKNO1
BDORCH1
1
99
RIMSHOT1
RIMSHOT21
100
SDELECT1
DYNSDJAZZ1
101
SDSTD21
SDSTD31
102
HOUSECLAP1 CLAP1
103
ROLLSNARE1 BRUSREV1
104
TOMELEC1
TOMHIGH1
ETHNIC group
105
HHCLO1L1
HHCLO1S1
1
106
HHOPEN2
HHCL_701
1
107
CRASHORCH CRASH1
108
TAMBOURINE1 TAMBSLP1
109
BONGOHISL1
CONGALSLAP1
110
TIMBALES1
TIMBLOW1
1
111
GUIROLONG GUIROSHORT1
112
SHAKER1
JINGLEBELL1
PERCUSSIVE group
113
FINGERSNAP1 DROP1
114
VOICES11
VOICES21
1
115
FINGBELL
ZAPP1
1
116
NOISEPERC RASPYRIDE1
117
SD_STD11
SD_STD21
118
SD_SH11
SD_SH21
3
119
REZO_IT
LNG_BD11
1
120
LONG_REVRS BD_Z1_LAYH2
SFX group
121
WhaWha11
WhaWha21
122
Glasses1
ReverseBd11
2
123
TekBrush
ReverseBd21
1
124
Highhh
ReverseBd31
125
PhoneWave1 SCRATCH31
126
RndEnArm2
SCRATCH41
127
OddSpace2
SCRATCH51
2
128
GlassalG
SCRATCH61
11
12
13
14
BDELECT11
BDPOWER1
HOUSERIM1
SDJAZZ21
SDSTD41
BD_AC_1DYN 1
BRUSRIG1
TOMJAZZ1
BDJAZZ1
ACOUST_KIK1
STICK1
SDJAZZ31
HOUSSD11
BD_AC_2DYN1
BRUSHSLP1
TOMROOM1
BDROOM11
BD_KIK1
RIM_701
SDORCH1
HOUSESD21
BD_AC_1A1
BRUSHTAP1
TIMP_JM1
HHOPEN11
HHFT_701
HOUSERIDE1
COWBELL1
BONGOLOW1
AGOGO1
CLAVES1
WINDCHIMES 1
HHPEDAL1
HHOP_701
RIDECUP1
VIBRASLAP1
CONGAHSLAP1
CABASA1
WOODBLOCK1
CASTANETS1
NOISE21
VOICES31
SCRATCH11
CRASH_181
SD_STD31
SD_SH31
BD_DMGD_LN1
9091_CHH1
WhaWha31
ReverSnar11
ReverSnar21
ReverSnar31
DYNA_PERC2
SD_ROCK2
BD_ROCK2
WEEP1
15
BDSTD21
BD_70_F1
RIM_21
SDROOM21
ROLL_F_LN2
BD_AC_2A1
TOM_13_DYN2
TIMPANI1
BDSTD31
CLAP_MIX1
EFF_RIM1
SDSTD11
ROLL_F1
BD_AC_2B1
TOM_10_DYN2
OPSURDO21
HHTGHT11
HHTGHT21
1
HH_CL1_DR HH_CL2_DR1
RIDECYM1
SPLASH1
HOUSECOWB1 COWBL21
CONGALSLAP1 CONGAHIGH1
CABASAL1
MARACAS1
1
QUICAHIGH QUICALOW1
MTSURDO1 OPSURDO11
HOUSEHH1
HH_PED_DR1
CHINA1
RIDE1
CONGALOW1
WHISTLE1
TRIANLONG1
DARBKHIGH1
HHCLO21
HH_OP_DR1
SMASH1
RIDECUP1
HOUSETCON1
MUTBELL2
TRIANSHORT1
DARBKLOW1
WATER1
VOXHHCL1
SCRATCH21
HARD_CLAP1
SD_STD41
SD_FSN1
BD_DNC2_LN1
9091_OCHH1
DOOR1
VOXTAP1
TOMBRUSH2
SD_BB1
SD_P701
EFF_SD21
BD_DNC31
9092_CHH1
KITCHEN1
VOXTIP1
HOU_TOM1
D_SD1
SD_F701
808_CL_HH1
BD_Z1_LAYL2
9092_OPHH1
LOGDRUM1
DOLLYVOX1
SQCLICK1
BEAT_SD1
SD_BR1
808_OC_HH1
DNC_BD11
HH_LOOP_CL1
CLAKSON1
BABYVOX1
DYTEK_TIMB2
SD_9091
SD_BR_DYN2
808_OPHHLP1
BD_Z21
HH_LOOP_OP1
WhaWha41
ReverShrt11
ReverShrt21
ReverShrt31
NOISE_C1HH1
NOISE_C2HH1
NOISE_OPHH1
NOISE_OPRV1
Noisnare12
Noisnare22
Noisnare32
Noisnare42
BrokeNoise2
HatOrSnare2
FallingBD2
WayaW2
SD_HEAVY12
SD_HEAVY22
SD_HEAVY32
SD_HEAVY42
BD_DN1_ZP2
BD_DN2_ZP2
BD_DN3_ZP2
BN_DN3_SD2
SD12
SD22
SD32
909_SD_LNG2
BD_Z1_HHC2
BD_DN3_HI2
BD_DN2_HI2
BD_DMG_SD2
BD_DEEP_DN2
TOMLOW22
TOMHIGH22
BD11
BORDER_12
BORDER_22
Sinus1
Empty1
○
○
○
○
○
BDSTD11
BD_70_P1
RIM_11
SDROOM11
ROLL_701
BD_AC_1B1
TOM_141
TOMLOW1
16
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
Tables A•9
Drumkits
C5 72
74
76
77
79
81
83
C6 84
86
88
89
91
93
95
C7 96
100
98
101
103
105
107
C8 108
73
75
78
80
82
85
87
90
92
94
99
97
102
104
106
WHISTLE 110-15
GUIROSHORT 111-10
GUIROLONG 111-9
CLAVES 111-11
WOODBLOCK 111-12
WOODBLOCK 111-12
QUICAHIGH 111-13
QUICALOW 111-14
TRIANSHORT 111-16
TRIANLONG 111-15
SHAKER 112-9
JINGLEBELL 112-10
WINDCHIMES 112-11
CASTANETS 112-12
MTSURDO 112-13
OPSURDO 112-14
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
“<“ = same as DK_STAND1 113-2-1
A•10 Appendix
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
Drumkits
26
28
29
31
33
35
C2 36
38
40
41
43
45
47
C3 48
50
52
53
55
57
59
C4 60
62
64
65
67
69
71
25
27
30
32
34
37
39
42
44
46
49
51
54
56
58
61
63
66
68
70
DK_STAND1 113-2-.1
ROLLSNARE 103-9
FINGERSNAP 113-9
ZAPP 115-10
GunShot 128-1
SCRATCH2 115-12
SCRATCH1 115-11
STICK 99-12
SQCLICK 115-15
HOUSERIM 99-11
MUTBELL 110-16
BDSTD2 97-15
BDSTD1 97-14
RIMSHOT1 99-9
SDSTD1 100-16
HOUSECLAP 102-9
SDSTD4 101-11
TOMLOW 104-14
HHCLO1S 105-10
TOMLOW 104-14
HHPEDAL 105-12
TOMLOW 104-14
HHOPEN2 106-9
TOMLOW 104-14
TOMHIGH 104-10
CRASH 107-10
TOMHIGH 104-10
RIDECYM 107-13
CHINA 107-15
RIDECUP 107-12
TAMBSLP 108-10
SPLASH 107-14
COWBELL 108-11
CRASH 107-10
VIBRASLAP 108-12
RIDECYM 107-13
CONGASLAP 109-10
BONGOLOW 109-11
CONGAHSLAP 109-12
CONGAHIGH 109-14
CONGALOW 109-15
TIMBALES 110-9
TIMBLOW 110-10
AGOGO 110-11
AGOGO 110-11
CABASA 110-12
MARACAS 110-14
WHISTLE 110-15
DK_ROOM 114-2-1
<
<
<
<
<
<
<
<
<
<
BDROOM1 97-13
BDROOM1 97-13
<
SDROOM1 100-14
<
SDROOM2 100-15
TOMROOM 104-12
HHTGHT1 105-13
TOMROOM 104-12
<
TOMROOM 104-12
<
TOMROOM 104-12
TOMROOM 104-12
<
TOMROOM 104-12
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
DK_POWER 115-2-1
<
<
<
<
<
<
<
<
<
<
BDELECT1 97-11
BDROOM1 97-13
<
SDROOM2 100-15
<
SDSTD3 101-10
<
HHTGHT1 105-13
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
DK_ELECT. 116-2-1
<
<
<
<
<
<
<
<
<
<
BDELECT1 97-11
BDELECT1 97-11
<
SDELECT 100-9
<
SDROOM1 100-14
TOMELEC 104-9
<
TOMELEC 104-9
<
TOMELEC 104-9
HHOPEN1 105-11
TOMELEC 104-9
TOMELEC 104-9
<
TOMELEC 104-9
<
ReverseCym 120-1
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
DK_HOUSE 117-2-1
<
<
<
<
<
<
<
<
<
<
BDHOUSE2 97-10
BDHOUSE
HOUSERIM 99-11
<
<
HOUSESD2 101-13
HOUSETCON 109-16
HOUSEHH 105-15
HOUSETCON 109-16
HOUSEHH 105-15
HOUSETCON 109-16
HOUSERIDE 107-11
HOUSETCON 109-16
HOUSETCON 109-16
HOUSERIDE 107-11
HOUSETCON 109-16
<
<
<
<
<
HOUSECOWB 108-13
<
<
<
<
<
HOUSETCON 109-16
HOUSETCON 109-16
HOUSETCON 109-16
<
<
<
<
<
VOXHHCL 114-12
<
DK_JAZZ 118-2-1
<
<
<
<
<
<
<
<
<
<
<
BDJAZZ 97-12
<
SDJAZZ3 100-12
<
SDSTD3 101-10
TOMJAZZ 104-11
HHTGHT1 105-13
TOMJAZZ 104-11
<
TOMJAZZ 104-11
HHOPEN1 105-11
TOMJAZZ 104-11
TOMJAZZ 104-11
<
TOMJAZZ 104-11
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
Tables A•11
Drumkits
C5 72
74
76
77
79
81
83
C6 84
86
88
89
91
93
95
C7 96
100
98
101
103
105
107
C8 108
73
75
78
80
82
85
87
90
92
94
99
97
102
104
106
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
Applause 127-1
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
BONGOLOW 109-11
BONGOLOW 109-11
CONGASLAP 109-12
CONGAHIGH 109-14
CONGALOW 109-15
GUIROLONG 111-9
QUICALOW 111-14
TIMBALES 110-9
TIMBALES 110-9
AGOGO 110-11
TRIANLONG 111-15
WHISTLE 110-15
BDHOUSE1 97-9
NOISEPERC 116-9
HOUSSD1 101-12
VOICES1 114-9
VOICES 3 114-11
VOICES2 114-10
VOXHHCL 114-12
VOICES2 114-10
VOXHHCL 114-12
VOXTIP 114-14
VOXTAP 114-13
CLAKSON 113-16
DOLLYVOX 114-15
TAMBSLP 108-10
ROLLSNARE 103-9
SDORCH 100-13
HHCLO1S 105-10
CLAVES 111-11
CONGALOW 109-15
QUICAHIGH 111-13
AGOGO 110-11
STICK 99-12
STICK 99-12
STICK 99-12
STICK 99-12
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
“<“ = same as DK_STAND1 113-2-1
A•12 Appendix
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
Drumkits
26
28
29
31
33
35
C2 36
38
40
41
43
45
47
C3 48
50
52
53
55
57
59
C4 60
62
64
65
67
69
71
25
27
30
32
34
37
39
42
44
46
49
51
54
56
58
61
63
66
68
70
DK_BRUSH 119-2-1
<
<
<
<
<
<
<
<
<
<
<
BDJAZZ 97-12
<
BRUSHTAP 103-13
BRUSHSLP 103-12
BRUSREV 103-10
TOMBRUSH 115-13
HHTGHT1 105-13
TOMBRUSH 115-13
<
TOMBRUSH 115-13
<
TOMBRUSH 115-13
TOMBRUSH 115-13
<
TOMBRUSH 115-13
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
DK_ORCH. 120-2-1
<
<
HHTGHT1 105-13
HHPEDAL 105-12
HHOPEN2 106-9
RIDECYM 107-13
<
<
<
<
BDSTD3 97-16
BDORCH 98-10
<
SDORCH 100-13
CASTANETS 112-12
SDORCH 100-13
TIMPANI 104-15
TIMPANI 104-15
TIMPANI 104-15
TIMPANI 104-15
TIMPANI 104-15
TIMPANI 104-15
TIMPANI 104-15
TIMPANI 104-15
TIMPANI 104-15
TIMPANI 104-15
TIMPANI 104-15
TIMPANI 104-15
TIMPANI 104-15
<
<
<
<
<
CRASHORCH 107-9
<
<
<
<
<
<
<
<
<
<
<
<
DK_STAND.2 113-3-1
<
<
<
<
<
<
<
<
<
<
BDSTD3 97-16
<
<
SDSTD4 101-11
<
SDSTD3 101-10
<
HHCLO2 105-16
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
DK_WS 114-3-1
BDPOWER 98-11
SDELECT 100-9
SDROOM2 100-15
SDSTD3 101-10
TOMHIGH 104-10
TOMHIGH 104-10
CABASA 110-12
<
TAMBSLP 108-10
<
COWBELL 108-11
RIMSHOT2 99-10
BDJAZZ 97-12
BRUSRIG 103-11
DYNSDJAZZ 100-10
BRUSHTAP 103-13
TOMJAZZ 104-11
TOMJAZZ 104-11
HHCLO1S 105-10
TOMJAZZ 104-11
HHPEDAL 105-12
WOODBLOCK 111-12
HHOPEN2 106-9
HOUSCLAP 102-9
BDSTD1 97-14
RIDECYM 107-13
SDSTD1 100-16
RIDECUP 107-12
TOMROOM 104-12
TOMROOM 104-12
SPLASH 107-14
TOMROOM 104-12
CRASH 107-10
VIBRASLAP 108-12
CHINA 107-15
FINGERSNAP 113-9
DK_STD.1WX 115-3-1
<
<
<
<
<
<
<
<
<
<
BDELECT1 97-11
BDROOM1 97-13
<
SDROOM2 100-15
<
SDSTD3 101-10
<
HHTGHT1 105-13
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
DK_DANCE 116-3-1
<
<
<
<
<
<
<
<
<
<
BDELECT1 97-11
BDELECT1 97-11
<
SDELECT 100-9
<
SDROOM1 100-14
TOMELEC 104-9
<
TOMELEC 104-9
<
TOMELEC 104-9
HHOPEN1 105-11
TOMELEC 104-9
TOMELEC 104-9
<
TOMELEC 104-9
<
ReverseCym 120-1
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
Tables A•13
Drumkits
C5 72
74
76
77
79
81
83
C6 84
86
88
89
91
93
95
C7 96
100
98
101
103
105
107
C8 108
73
75
78
80
82
85
87
90
92
94
99
97
102
104
106
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
CONGAHIGH 109-14
TIMBALES 110-9
TRIANSHORT 111-16
TIMBALES 110-9
TRIANLONG 111-15
NOISEPERC 116-9
NOISEPERC 116-9
DOOR 113-13
NOISEPERC 116-9
SDSTD2 101-9
ROLLSNARE 103-9
SDSTD3 101-10
BreathNois 122-1
VIBRASLAP 108-12
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
VOICES1 114-9
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
GUIRLONG 111-9
<
<
<
<
<
<
<
<
FINGERSNAP 113-9
CELESTA 9-1-9
BARCHIMES 16-2-1
<
DARBKHIGH 112-15
DARBKLOW 112-16
DROP 113-13
WATER 113-12
VOICES1 114-9
VOXTAP 114-13
VOXTIP 114-14
CLACKSON 113-16
DOOR 113-13
RASPY RIDE 116-10
BABYVOX 114-16
EMPTY
“<“ = same as DK_STAND1 113-2-1
A•14 Appendix
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
Drumkits
26
28
29
31
33
35
C2 36
38
40
41
43
45
47
C3 48
50
52
53
55
57
59
C4 60
62
64
65
67
69
71
25
27
30
32
34
37
39
42
44
46
49
51
54
56
58
61
63
66
68
70
DK_TECHNO 117-3-1
<
<
<
<
<
<
<
<
<
BDTEKNO 98-9
BDJAZZ 97-12
HOUSERIM 99-11
HOUSSD1 101-12
<
HOUSESD2 101-13
HOUSETCON 109-16
HHCLO2 105-16
HOUSETCON 109-16
HHTGHT1 105-13
HOUSETCON 109-16
HOUSERIDE 107-11
HOUSETCON 109-16
HOUSETCON 109-16
HHOPEN2 106-9
HOUSETCON 109-16
ReverseCym 120-1
<
<
<
<
HOUSECOWB 108-13
<
<
<
<
<
HOUSETCON 109-16
HOUSETCON 109-16
HOUSETCON 109-16
DYNSDJAZZ 100-10
SDJAZZ2 100-11
<
<
<
VOXHHCL 114-12
<
DK_JAZZ2 118-3-1
<
<
<
<
<
<
<
<
<
<
<
BDJAZZ 97-12
RIMSHOT2 99-10
SDJAZZ3 100-12
<
DYNSDJAZZ 100-10
TOMJAZZ 104-11
HHTGHT1 105-13
TOMJAZZ 104-11
<
TOMJAZZ 104-11
HHOPEN1 105-11
TOMJAZZ 104-11
TOMJAZZ 104-11
<
TOMJAZZ 104-11
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
DK_M1 119-3-1
<
BDROOM1 97-13
BDELECT1 97-11
BDHOUSE1 97-9
BDPOWER 98-11
SDSTD1 100-16
SDORCH 100-13
SDSTD3 101-10
HOUSSD1 101-12
SDROOM2 100-15
RIMSHOT1 99-9
SDROOM2 100-15
TOMLOW 104-14
TOMROOM 104-12
TOMLOW 104-14
TOMROOM 104-12
TOMHIGH 104-10
HHCLO1S 105-10
HOUSEHH 105-15
HHPEDAL 105-12
HOUSERIDE 107-11
HHOPEN2 106-9
TAMBOURINE 108-9
HOUSEHH 105-15
CRASH 107-10
CHINA 107-15
RIDECYM 107-13
RIDECUP 107-12
CABASA 110-12
VOXHHCL 114-12
HOUSCLAP 102-9
BONGOLOW 109-11
BONGOLOW 109-11
DARBKLOW 112-16
DARBKHIGH 112-15
CONGALOW 109-15
DK_SY77. 120-3-1
BDSTD2 97-15
BDROOM1 97-13
BDELECT1 97-11
BDPOWER 98-11
TOMLOW 104-14
TOMLOW 104-14
TOMHIGH 104-10
TOMHIGH 104-10
BDHOUSE1 97-9
BDSTD2 97-15
SDSTD1 100-16
TOMROOM 104-12
TOMROOM 104-12
SDSTD3 101-10
TOMROOM 104-12
RIMSHOT1 99-9
SDELECT 100-9
TOMROOM 104-12
HOUSECLAP 102-9
COWBELL 108-11
CABASA 110-12
HHCLO1S 105-10
TAMBOURINE 108-9
HHOPEN2 106-9
CRASH 107-10
ROLLSNARE 103-9
RIDECYM 107-13
RIDECUP 107-12
TubularBel 15-1
TubularBel 15-1
TubularBel 15-1
KITCHEN 113-14
KITCHEN 113-14
DARBKLOW 112-16
DARBKHIGH 112-15
BreathNois 122-1
DK_STAND.3 113-4-1
<
<
<
<
<
<
<
<
<
<
BDSTD1 97-14
BDSTD2 97-15
RIMSHOT1 99-9
SDORCH 100-13
<
SDJAZZ3 100-12
<
HHTGHT1 105-13
<
<
<
HHOPEN1 105-11
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
DK_ROOM1WX 114-4-1
ZAPP 115-10
ZAPP 115-10
<
KITCHEN 113-14
SCRATCH1 115-12
<
<
<
RIMSHOT1 99-9
BABYVOX 114-16
<
<
<
SDSTD2 101-9
<
SCSTS3 101-10
TOMROOM 104-12
<
TOMROOM 104-12
<
TOMROOM 104-12
<
TOMROOM 104-12
TOMROOM 104-12
<
TOMROOM 104-12
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
TIMBALES 110-9
<
<
<
VOXHHCL 114-12
<
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
Tables A•15
Drumkits
C5 72
74
76
77
79
81
83
C6 84
86
88
89
91
93
95
C7 96
100
98
101
103
105
107
C8 108
73
75
78
80
82
85
87
90
92
94
99
97
102
104
106
<
GUIROLONG 113-9
<
<
<
<
<
<
<
<
FINGERSNAP 113-9
CELESTA 9-1
BARCHIMES 16-2
<
DARBKHIGH 112-15
DARBKLOW 112-16
DROP 113-10
WATER 113-12
VOICES1 114-9
VOXTAP 114-13
VOXTIP 114-14
CLAKSON 113-16
DOOR 113-13
RASPYRIDE 116-10
BABYVOX 114-16
EMPTY 128-16
<
GUIROLONG 113-9
<
<
<
<
<
<
<
<
FINGERSNAP 113-9
CELESTA 9-1
BARCHIMES 16-2
<
DARBKHIGH 112-15
DARBKLOW 112-16
DROP 113-10
WATER 113-12
VOICES1 114-9
VOXTAP 114-13
VOXTIP 114-14
CLAKSON 113-16
DOOR 113-13
RASPYRIDE 116-10
BABYVOX 114-16
EMPTY 128-16
<
GUIROLONG 113-9
<
<
<
<
<
<
<
<
CABASAL 110-13
CELESTA 9-1
BARCHIMES 16-2
<
DARBKHIGH 112-15
DARBKLOW 112-16
DROP 113-10
WATER 113-12
VOICES1 114-9
VOXTAP 114-13
VOXTIP 114-14
CLAKSON 113-16
DOOR 113-13
RASPYRIDE 116-10
BABYVOX 114-16
EMPTY 128-16
<
GUIROLONG 113-9
<
<
<
<
<
<
<
<
FINGERSNAP 113-9
CELESTA 9-1
BARCHIMES 16-2
<
DARBKHIGH 112-15
DARBKLOW 112-16
DROP 113-10
WATER 113-12
VOICES1 114-9
VOXTAP 114-13
VOXTIP 114-14
CLAKSON 113-16
DOOR 113-13
RASPYRIDE 116-10
BABYVOX 114-16
EMPTY 128-16
<
GUIROLONG 113-9
<
<
<
<
<
<
<
<
FINGERSNAP 113-9
CELESTA 9-1
BARCHIMES 16-2
<
DARBKHIGH 112-15
DARBKLOW 112-16
DROP 113-10
WATER 113-12
VOICES1 114-9
VOXTAP 114-13
VOXTIP 114-14
CLAKSON 113-16
DOOR 113-13
RASPYRIDE 116-10
BABYVOX 114-16
EMPTY 128-16
<
GUIROLONG 113-9
<
<
<
<
<
<
<
<
FINGERSNAP 113-9
CELESTA 9-1
BARCHIMES 16-2
<
DARBKHIGH 112-15
DARBKLOW 112-16
DROP 113-10
WATER 113-12
VOICES1 114-9
VOXTAP 114-13
VOXTIP 114-14
CLAKSON 113-16
DOOR 113-13
RASPYRIDE 116-10
BABYVOX 114-16
EMPTY 128-16
“<“ = same as DK_STAND1 113-2-1
A•16 Appendix
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
Drumkits
26
28
29
31
33
35
C2 36
38
40
41
43
45
47
C3 48
50
52
53
55
57
59
C4 60
62
64
65
67
69
71
25
27
30
32
34
37
39
42
44
46
49
51
54
56
58
61
63
66
68
70
DK_POWER1WX 115-4-1
ZAPP 115-10
ZAPP 115-10
<
KITCHEN 113-14
SCRATCH1 115-12
<
<
<
RIMSHOT1 99-9
BABYVOX 114-16
BDSTD1 97-11
BDELECT1 97-11
<
SDROOM2 110-15
<
SDSTD3 101-10
TOMROOM 104-12
<
TOMROOM 104-12
<
TOMROOM 104-12
<
TOMROOM 104-12
TOMROOM 104-12
<
TOMROOM 104-12
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
TIMBALES 110-9
<
<
<
VOXHHCL 114-12
<
DK_ELECT1WX 116-4-1
ZAPP 115-10
ZAPP 115-10
<
KITCHEN 113-14
SCRATCH1 115-12
<
<
<
RIMSHOT1 99-9
BABYVOX 114-16
BDSTD1 97-11
BDELECT1 97-11
<
SDROOM2 110-15
<
SDROOM2 110-15
<
<
<
<
TOMHIGH 104-10
<
TOMHIGH 104-10
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
TIMBALES 110-9
<
<
<
VOXHHCL 114-12
<
DK_HOUSE1WX 117-4-1
ZAPP 115-10
ZAPP 115-10
<
KITCHEN 113-14
SCRATCH1 115-12
<
<
<
RIMSHOT1 99-9
BABYVOX 114-16
<
BDHOUSE 97-9
HOUSERIM 99-11
HOUSSD1 101-12
<
SDSTD2 101-9
HOUSETCON 109-16
HOUSEHH 105-15
HOUSETCON 109-16
HOUSEHH 105-15
HOUSETCON 109-16
HOUSERIDE 107-11
HOUSETCON 109-16
HOUSETCON 109-16
<
HOUSETCON 109-16
<
<
<
<
<
<
<
<
<
<
<
HOUSETCON 109-16
HOUSETCON 109-16
HOUSETCON 109-16
<
TIMBALES 110-9
COWBELL 108-11
<
<
VOXHHCL 114-12
<
DK_JAZZWX 118-4-1
ZAPP 115-10
ZAPP 115-10
<
KITCHEN 113-14
SCRATCH1 115-12
<
<
<
RIMSHOT1 99-9
BABYVOX 114-16
<
BDJAZZ 97-12
<
SDJAZZ2 100-11
<
SDJAZZ3 100-12
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
TIMBALES 110-9
<
<
<
VOXHHCL 114-12
<
DK_BRUSHWX 119-4-1
ZAPP 115-10
ZAPP 115-10
<
KITCHEN 113-14
SCRATCH1 115-12
<
<
<
RIMSHOT1 99-9
BABYVOX 114-16
<
BDSTD2 97-15
<
BRUSHTAP 103-13
BRUSHSLAP
BRUSHREV 103-10
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
TIMBALES 110-9
<
<
<
VOXHHCL 114-12
<
DK_ORCHWX 120-4-1
ZAPP 115-10
ZAPP 115-10
HHCLO1S 105-10
HHCLO1L 105-9
HHOPEN2 106-9
RIDECYMB 107-13
<
BDELECT1 97-11
RIMSHOT1 99-9
BABYVOX 114-16
<
TIMPANI 48-1
<
SDJAZZ3 100-12
FINGERSNAP 113-8
SDJAZZ3 100-12
TIMPANI 48-1
TIMPANI 48-1
TIMPANI 48-1
TIMPANI 48-1
TIMPANI 48-1
TIMPANI 48-1
TIMPANI 48-1
TIMPANI 48-1
TIMPANI 48-1
TIMPANI 48-1
TIMPANI 48-1
TIMPANI 48-1
TIMPANI 48-1
<
<
<
<
<
<
<
<
<
<
<
<
TIMBALES 110-9
<
<
<
VOXHHCL 114-12
<
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
Tables A•17
Drumkits
C5 72
74
76
77
79
81
83
C6 84
86
88
89
91
93
95
C7 96
100
98
101
103
105
107
C8 108
73
75
78
80
82
85
87
90
92
94
99
97
102
104
106
<
GUIROLONG 113-9
<
<
<
<
<
<
<
<
FINGERSNAP 113-9
CELESTA 9-1
BARCHIMES 16-2
<
DARBKHIGH 112-15
DARBKLOW 112-16
DROP 113-10
WATER 113-12
VOICES1 114-9
VOXTAP 114-13
VOXTIP 114-14
CLAKSON 113-16
DOOR 113-13
RASPYRIDE 116-10
BABYVOX 114-16
EMPTY 128-16
<
GUIROLONG 113-9
<
<
<
<
<
<
<
<
FINGERSNAP 113-9
CELESTA 9-1
BARCHIMES 16-2
<
DARBKHIGH 112-15
DARBKLOW 112-16
DROP 113-10
WATER 113-12
VOICES1 114-9
VOXTAP 114-13
VOXTIP 114-14
CLAKSON 113-16
DOOR 113-13
RASPYRIDE 116-10
BABYVOX 114-16
EMPTY 128-16
<
GUIROLONG 113-9
<
<
<
<
<
<
<
<
CABASAL 110-13
CELESTA 9-1
BARCHIMES 16-2
<
DARBKHIGH 112-15
DARBKLOW 112-16
DROP 113-10
WATER 113-12
VOICES1 114-9
VOXTAP 114-13
VOXTIP 114-14
CLAKSON 113-16
DOOR 113-13
RASPYRIDE 116-10
BABYVOX 114-16
EMPTY 128-16
<
GUIROLONG 113-9
<
<
<
<
<
<
<
<
FINGERSNAP 113-9
CELESTA 9-1
BARCHIMES 16-2
<
DARBKHIGH 112-15
DARBKLOW 112-16
DROP 113-10
WATER 113-12
VOICES1 114-9
VOXTAP 114-13
VOXTIP 114-14
CLAKSON 113-16
DOOR 113-13
RASPYRIDE 116-10
BABYVOX 114-16
EMPTY 128-16
<
GUIROLONG 113-9
<
<
<
<
<
<
<
<
FINGERSNAP 113-9
CELESTA 9-1
BARCHIMES 16-2
<
DARBKHIGH 112-15
DARBKLOW 112-16
DROP 113-10
WATER 113-12
VOICES1 114-9
VOXTAP 114-13
VOXTIP 114-14
CLAKSON 113-16
DOOR 113-13
RASPYRIDE 116-10
BABYVOX 114-16
EMPTY 128-16
<
<
<
<
“<“ = same as DK_STAND1 113-2-1
A•18 Appendix
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
Drumkits
26
28
29
31
33
35
C2 36
38
40
41
43
45
47
C3 48
50
52
53
55
57
59
C4 60
62
64
65
67
69
71
25
27
30
32
34
37
39
42
44
46
49
51
54
56
58
61
63
66
68
70
DK_STAND2WX 113-5-1
ZAPP 115-10
ZAPP 115-10
<
KITCHEN 113-14
SCRATCH1 115-12
<
<
<
RIMSHOT1 99-9
BABYVOX 114-16
<
<
<
SDSTD2 101-9
<
SDSTD3 101-10
TOMROOM 104-12
<
TOMROOM 104-12
<
TOMROOM 104-12
<
TOMROOM 104-12
TOMROOM 104-12
<
TOMROOM 104-12
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
TIMBALES 110-9
<
<
<
VOXHHCL 114-12
<
DK_ROOM2WX 114-5-1
ZAPP 115-10
ZAPP 115-10
<
KITCHEN 113-14
SCRATCH1 115-12
<
<
<
RIMSHOT1 99-9
BABYVOX 114-16
<
BDROOM1 97-13
<
SDSTD3 101-10
<
SDROOM2 110-15
<
<
<
<
TOMROOM 104-12
<
TOMROOM 104-12
<
<
TOMROOM 104-12
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
TIMBALES 110-9
<
<
<
VOXHHCL 114-12
<
DK_POWER2WX 115-5-1
ZAPP 115-10
ZAPP 115-10
<
KITCHEN 113-14
SCRATCH1 115-12
<
<
<
RIMSHOT1 99-9
BABYVOX 114-16
<
BDROOM1 97-13
<
SDROOM1 100-14
<
SDELECT 100-9
TOMROOM 104-12
<
TOMROOM 104-12
<
TOMROOM 104-12
<
TOMROOM 104-12
TOMROOM 104-12
<
TOMROOM 104-12
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
TIMBALES 110-9
<
<
<
VOXHHCL 114-12
<
DK_ELECT2WX 116-5-1
ZAPP 115-10
ZAPP 115-10
<
KITCHEN 113-14
SCRATCH1 115-12
<
<
<
RIMSHOT1 99-9
BABYVOX 114-16
<
BDELECT1 97-11
<
<
<
SDSTD3 101-10
TOMHIGH 104-10
HOUSEHH 105-15
TOMHIGH 104-10
HOUSEHH 105-15
TOMHIGH 104-10
<
TOMHIGH 104-10
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
TIMBALES 110-9
<
<
<
VOXHHCL 114-12
<
DK_HOUSE2WX 117-5-1
ZAPP 115-10
ZAPP 115-10
<
KITCHEN 113-14
SCRATCH1 115-12
<
<
<
RIMSHOT1 99-9
BABYVOX 114-16
<
BDHOUSE2 97-10
<
SDSTD2 101-9
<
SDJAZZ3 100-12
TOMHIGH 104-10
<
TOMHIGH 104-10
<
TOMHIGH 104-10
<
TOMHIGH 104-10
<
<
<
<
<
<
<
<
<
<
<
<
HOUSETCON 109-16
HOUSETCON 109-16
HOUSETCON 109-16
HOUSETCON 109-16
HOUSETCON 109-16
<
TIMBALES 110-9
<
<
<
VOXHHCL 114-12
<
DK_RIDE IT 118-5-1
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Tables A•19
ROM-Styles
CC00 PC Style
CC00 PC Style
CC00 PC Style
CC00 PC Style
8 BEAT
Bank 1
ROCK
Bank 2
DANCE2
Bank 1
U.S. TRAD Bank 2
32
00
8Beat 1
32
40
Rock 3
32
80
70' Disco
32
01
8Beat 2
41
Rock 4
81
Disco 01
121 Org.March
02
8Beat 3
42
Shuffle
82
Disco 02
122 Welkish
03
8Beat 4
43
SlowRock 3
83
Disco 03
123 Organsel
04
8Beat 5
44
SlowRock 4
84
Disco 04
124 Hawaiian
05
8Beat 6
45
Rock 5
85
Latin D.1
125 KidsMarch
06
8Beat 7
46
Blues
86
Latin D.2
126 Mod.Evngls
07
8Beat 8
47
SlowBlues
87
Rap
8 BEAT
Bank 2
FUNK
32
08
8Beat 9
32
09
DANCE2
Bank 2
TRAD 1
48
Funk 1
32
88
BakerPop
33
8Beat 10
49
Funk 2
89
10
8Beat 11
50
Funk 3
11
8Beat 12
51
Funk 4
12
8Beat 13
52
13
SlowBeat
14
15
Slow Waltz
Harpy
01
Waltz 1
90
PartyPop
02
Waltz 2
91
EuroPop
03
Romagna
Funk 5
92
SynthDance
04
Mazurka
53
Funk 6
93
SoulB.B.
05
RealVienna
SlowBallad
54
Funk 7
94
80' Disco
06
Orch.Waltz
6_8Ballad
55
Funk 8
95
Open Disco
07
ItalyMarch
FUNK
Bank 2
JAZZ
32
16
16Beat 1
32
56
Funk 9
32
17
16Beat 2
57
18
16Beat 3
19
16Beat 4
20
21
22
23
Bank 1
TRAD 1
96
Swing
33
Funk 10
97
58
Funk 11
59
Funk 12
16Beat 5
60
16Beat 6
61
16Beat 7
16Beat 8
Bank 2
08
Cnt.Gospel
Mid Swing
09
G.de.Oory
98
Slow Swing
10
CountryBop
99
Big Band 1
11
Cajun
Funk 13
100 Big Band 2
12
Cnt.Rock
Funk 14
101 Dixieland
13
SteamTrain
62
NewAge
102 Broadway
14
Cowboy
15
Cnt.Waltz
63
Fusion1
16 BEAT
Bank 2
DANCE1
Bank 1
JAZZ
32
24
16Beat 9
32
64
TMerengue
32
25
16Beat 10
65
PianoDance
26
16Beat 11
66
FunkDance
27
16Beat 12
67
28
16Beat 13
29
103 Foxtrot
TRAD 2
Bank 1
33
16
Twist 1
105 BourBonStr
17
HullyGully
106 EasySwing
18
Reggae 1
DiscoHit
107 LatinBand
19
Reggae 2
68
FastDance
108 QuickStep
20
PasoDoble
16Beat 14
69
Pulsing
109 BBandXmas
21
Polka
30
16Beat 15
70
SambaDance
110 Foxtrot 2
22
Tarantella
31
16BtBallad
71
House
111 Shuffle
23
Pop '60
ROCK
○
Bank 1
00
Bank 1
○
127 Praise
Bank 1
16 BEAT
32
120 TheatreOrg
Bank 2
104 SwingBand
Bank 1
DANCE1
Bank 2
U.S. TRAD Bank 1
TRAD 2
Bank 2
32
Rock 1
32
72
DigitHall
32
33
24
Bajon
33
Rock 2
73
Rap'nShift
113 Sacred
25
Mex. 3_4
34
R. and B.
74
DownBeat
114 Gospel 2
26
Charleston
35
SlowRock 1
75
DiscoFun
115 Western
27
Germ.Polka
36
SlowRock 2
76
HeavyDance
116 Bluegrass1
28
Boehmisch
37
Rock'nRoll
77
Techno
117 Bluegrass2
29
Twist
38
Boogie
78
DancePop
118 Country
30
Folk 2_4
39
LovelyRock
79
DiscoPop
119 March USA
31
Polka 6_8
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A•20 Appendix
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112 Gospel 1
Styles/Style Performances
User Styles/Songs
CC00 PC Style
CC00 PC Style-Perf. †
CC00 PC User Style
CC00 PC Song †
LATIN 1
Bank 1
36
00
USER 1
55
33
32
Bossa Nova
01
44
33
SoftBossa
34
ChaCha 1
35
00
00
01
02
01
02
03
02
03
ChaCha 2
04
03
04
36
Rhumba 1
05
04
05
37
Rhumba 2
06
05
06
38
Rhumba 3
07
06
07
39
Rhumba 4
07
08
LATIN 1
Bank 2
USER 2
09
33
40
Tango
44
08
10
41
Stand.Tango
09
11
42
Samba
10
12
43
Beguine
11
13
44
Salsa 1
12
14
45
Salsa 2
13
15
46
Cumbia 1
14
47
Cumbia 2
15
LATIN 2
Bank 1
USER 3
33
Merengue 1
44
48
CC00 PC Song-Perf. †
64
00
16
01
49
Merengue 2
17
02
50
Mambo 1
18
03
51
Mambo 2
19
04
52
DiscoSamba
20
05
53
Disco Cha
21
06
54
Meneito 1
22
07
55
Meneito 2
23
LATIN 2
Bank 2
USER 4
33
56
El Tic Tac
44
57
Makarena
25
58
Caliente 1
26
59
Caliente 2
27
60
Limbo
28
61
Gipsy
29
62
Guaracha
30
63
Calypso
24
31
CC00 PC User Style-Perf. †
40
00
01
02
03
04
05
06
07
† On MIDI Common channel only
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Tables A•21
Performances (RealTime)
Effects
CC00 PC Performances†
CC00 PC Performances†
CC16 DSP A/B select †
CC16 DSP A/B select †
Group 1
Group 5
64
65
48
33
ChrousGtr
0
1
EPSymphony
34
RockOrgan
CC48 Rev Eff type select †
CC48 Mod. Eff type select †
CoolPiano
35
JazzOrgan
48
48
1
GrandPiano
2
3
48
Mono Delay 1
1
Mono Delay 2
Heavenly
36
ClickOrgan
37
VintageOrg
2
Hall 3
8
Stereo Delay 1
Warm Hall
9
Stereo Delay 2
6
Warm Grand
38
Fisa
8
7
Grit Organ
39
Musette
9
Long Hall
16
Multitap Delay 1
8
St. Guitar
40
Harmonica
10
St. Concert
17
Multitap Delay 2
Group 6
16
Chamber
24
Ping Pong
48
SoftSax
32
Studio Room 1
25
Pan Mix
Studio Room 2
32
Chorus 1
CleanSweep
41
10
L.R.Ballad
42
Trumpet
40
11
TheBrass
43
Brass1
41
Studio Room 3
33
Chorus 2
12
Digilogue
44
Brass2
48
Club Room 1
40
Ensemble 1
13
PopSynth
45
Brass3
56
Club Room2
41
Ensemble 2
Brass4
57
Club Room3
48
Phaser 1
BrassSec
64
Vocal
49
Phaser 2
SaxSection
65
Metal Vocal
56
Flanger 1
72
Plate 1
57
Flanger 2
Matrix 98
46
Secrets
16
47
EvenDeeper
48
Group 3
Group 7
17
Piano
18
E.Piano1
19
48
E.Piano2
20
49
SynBrass
73
Plate 2
36
Chorus Delay 1
50
Strings1
80
Church
37
Chorus Delay 2
Strings2
88
Mountains
60
Flanger Delay 1
Strings3
89
Falling
61
Flanger Delay 2
28
Dubbing
51
E.Piano3
52
21
PianoStrgs
53
Choir
104 Early 1
22
E.PianoStrg
54
Vocal
105 Early 2
64
Distortion
23
Clavinet
55
SynthPad1
106 Early 3
65
Distortion Delay
24
Vibraphone
56
SynthPad2
112 Stereo
80
Pitch Shifter 1
Group 8
81
Pitch Shifter 2
48
Hamn'Bass
82
Shift Delay
Rotary 1
Rotary 2
Group 4
25
Marimba
57
26
ManualBas1
58
Swingin'
96
27
ManualBas2
59
SoftOrgan
97
28
SoloGuitar
60
PercusOrgan
104 EQ Jazz
29
JazzGtr1
61
PrettySplit
105 EQ Pops
30
OctJ.Gtr
62
BlueSplit
106 EQ Rock
31
LeadDist
63
JazzSplit
107 EQ Classic
32
FunkGuitar
64
HrmoncSplt
† On MIDI Common channel only
○
0
Hall 2
Cathedral
15
○
Hall 1
5
14
48
0
4
9
48
Eff2 (Mod. GrpA)
Eff2 (Mod. GrpB)
1
Group 2
48
Eff1 (Reverbs GrpA)
Eff1 (Reverbs GrpB)
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A•22 Appendix
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Wavetables
0.
PIANO
45.
HOU_COWB
90.
VIBRASLP
135. BARCHIME
180. ELBASS_H
225. PKBSMUTE
1.
MARTELLO
46.
HOU_TCON
91.
VOICES_1
136. BOTTLE
181. EL_BASS_L
226. 16_1DRAW
2.
AGOGO
47.
HOUS_RIM
92.
VOICES_2
137. BRS_RIP
182. THUMBASS
227. ORJAZZ_S
3.
BABYVOX
48.
HOUS_SD1
93.
VOICES_3
138. CASSOTTO
183. HARMELBS
228. BD_ORCH
4.
BD_ELECT1
49.
HOUS_SD2
94.
VOX_HHCL
139. CHOIR
184. BASSLAP_H
229. FINGBELL
5.
BD_HOUS1
50.
HOUSCLAP
95.
VOX_TAP
140. CLARINET
185. BASSLAP_L
230. CELLO
6.
BD_HOUS2
51.
HOUSEHH
96.
VOX_TIP
141. STEL_GTR
186. FRETLES
231. HH_CLO2
7.
BD_JAZZ
52.
HOUSRIDE
97.
WATER
142. CLAVINET
187. FLUTE
232. HH_OPEN2
8.
BD_ROOM1
53.
JNG_BELL
98.
WHISTLE
143. BIRDS
188. HARMGT_H
233. DOOR
9.
BD_STD_1
54.
MARACAS
99.
WIND_CHI
144. GUN_SHOT
189. HARMGT_L
234. KITCHEN
10.
BD_STD_2
55.
MT_SURDO
100. WOODBLCK
145. ELICOPT
190. DIST_GTR
235. LOGDRUM
11.
BD_STD_3
56.
OP_SURDO
101. DIGIT1WV
146. PHONE_1
191. JAZZ_GT2
236. CRAS_ORC
12.
BD_TECNO
57.
QUICA_HI
102. DIGIT2WV
147. PHONE_2
192. GTR_KURZ
237. KNELGT_L
13.
BONG_SLH
58.
QUICA_LO
103. 1685DRAW
148. SCRATCH1
193. ICE_RAIN
238. APPLAUSE
14.
BONGO_HI
59.
RIDE_CUP
104. EL_PIAN7
149. SCRATCH2
194. KOTO
239. HARPSI_S
15.
BONGO_LO
60.
RIDE_CYM
105. ORGAN_2W
150. SEA
195. OR_THEAT
240. VIOLA
16.
BRUS_REV
61.
RIMSHOT1
106. ORGAN_3W
151. TICKTACK
196. ORROCK_F
241. VIOLIN
17.
BRUS_RIG
62.
RIMSHOT2
107. ORGAN_4W
153. ZAPP
197. SAX_BARI
242. FKG_G_WS
18.
BRUSHSLP
63.
ROLL_SN
108. FROG_WV
153. ELGTR_S2
198. VOC-DUKN
243. GT_HARMO
19.
BRUSHTAP
64.
SD_ELECT
109. ORGAN_5W
154. FAGOTTO
199. FLANGED
244. PIK_GRT1
20.
CABASA
65.
SD_JAZZ1
110. ORGAN_6W
155. FLHARD_H
200. BANJO
245. PIK_GRT2
21.
CABASA_L
66.
SD_JAZZ2
111.
VIBES_2W
156. FLHARD_L
201. KALIUMBA
246. WHAWHA1
22.
CASTAGNT
67.
SD_JAZZ3
112. E_PIANO4
157. FLUGE_S2
202. SHAMISEN
247. WHAWHA2
23.
CHINA
68.
SD_ORCH
113. E_PIANO5
158. FNKGSTOP
203. SITAR
248. WHAWHA3
24.
CLAKSON
69.
SD_ROOM1
114. FORMANT
159. SCRAP_GT
204. GLOCKEN
249. WHAWHA4
25.
CLAVES
70.
SD_ROOM2
115. ORGAN_1W
160. HARP
205
ELPN_KNH
250. ORCH_HIT
26.
CON_H_SL
71.
SD_STD1
116. PIP_ORG3
161. JAZZ_GT1
206. ELPN_KNL
251. PIK_GTWS
27.
CON_L_SL
72.
SD_STD2
117. SQUARE
162. MUTE_TR1
207. FLICORNO
252. PIPE_S2
28.
CONGA_HI
73.
SD_STD3
118. PULSE_O5
163. SPECTR_1
208. GTR_MUTE
253. TROMBO_K
29.
CONGA_LO
74.
SD_STD4
119. PULSE_10
164. NOISE
209. ELPN_MKS
254. ORG_PIP1
30.
COWBELL
75.
SMASH
120. PULSE_15
165. OBOE
210. RHODES_H
255. MARIMBA
31.
CRASH
76.
SPLASH
121. PULSE_20
166. OCT_JGT
211. RHODES_L
256. ORROCK_S
32.
DARBK_HI
77.
STICK
122. PULSE_25
167. PANFLUTE
212. TRUMPET
257. MANDOL2
33.
DARBK_LO
78.
TAMB_SLP
123. PULSE_30
168. PICKBASS
213. VIBES
258. BD_POWER
34.
DOLLYVOX
79.
TAMBOURI
124. PULSE_35
169. SOFT_SAX
214. XILOPHNO
250. ACO_GTR2
35.
DROP
80.
TIMB_LOW
125. PULSE_40
170. SOPRANO
215. ACCORD2
260. STELGTR2
36.
FINGERSP
81.
TIMBALES
126. PULSE_45
171. TENORSAX
216. BRASS
261. PIANO_H
37.
GUIRO_LG
82.
TIMPANI
127. SAW
172. PIZZICATO
217. VOCAL_DU
262. PIANOL2
38.
GUIRO_SH
83.
TOM_ELEC
128. SINUS
173. TROMBONE
218. VOCAL_BA
263. BRASS_2
39.
HH_CLO1L
84.
TOM_HIGH
129. SUPERSAW
174. VOCALBOY
219. FRHORN_H
40.
HH_CLO1S
85.
TOM_JAZZ
130. TRIANGLE
175. STRINGS
220. FRHORN_L
41.
HH_OPEN1
86.
TOM_LOW
131. TUB_WAVE
176. ACBASS_L
221. ELPNKURZ
42.
HH_PEDAL
87.
TOM_ROOM
132. ACCORDIO
177. ACBASS_H
222. A_MUSETT
43.
HH_TGHT1
88.
TRIAN_LO
133. ACO_STR
178. HARMACBS
223. PLECTRA
44.
HH_TGHT2
89.
TRIAN_SH
134. ARMONICA
179. BAGPIPE
224. MANDOL
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Tables A•23
System Exclusive
Program
Change
System
True number
93
98,99
100,101
o
0-127
*****
Chorus depth
NRPN
RPN
93
Chorus depth (send)
98,99
NRPN
100,101 RPN
Cntrl 80 (ONE SHOT):
0†
Fill><
1†
Fill<
2†
Fill>
8†
Intro
16†
End
24-27† Variations 0-1-2-3
40†
Key start
61†
Rotary 1 slow/fast [GrpA]
62†
Rotary 2 slow/fast [GrpB]
64
Start/Stop
66,67† Tempo inc. dec.
68,69† Preset inc. dec.
Cntrl 81
OFF [0,63] ON[64,127]
0,1,2† Fill><-Fill<-Fill>
61†
Rotary 1 (Off=slow) [GrpA]
62†
Rotary 2 (Off=slow) [GrpB]
0-127
o
o
o
o
o
o
o
o
o
o
o
Clock
Commands
Song Position
Song Select
Tune
System
Real Time
o
o
o
o
o
Common
Aux
Messages
o
o
o
o
o
Mode 2 OMNI ON - MONO
Mode 4 OMNI OFF - MONO
† These messages are available on the Common channel only
(1) Vocal Processor Controllers
Active sensing
All Sound Off
Reset All Contr.
Local ON OFF
All Note Off
Notes
Mode 1 OMNI ON - POLY
Mode 3 OMNI OFF - POLY
0 = Fill>< Off, 64 = Fill>< On
1 = Fill< Off, 65 = Fill< On
2 = Fill> Off, 66 = Fill> On
61 = Rotary 1 Slow, 125 = Rotary Fast
62 = Rotary 2 Slow, 126 = Rotary 2 Fast
0-127
Start, Stop
Continue
o: YES x: NO
A•24 Appendix
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Default
Changed
Manufacturer: Generalmusic S.p.A.
FUNCTION
Basic
Channel
Mode
Default
Messages
Altered
Transmitted
1-16
1-16
Multimode
X
X
MIDI Implementation Chart
Recognized
Bank change
Modulation
Data Entry
Volume
Pan
Expression Controller
Vocal Volume (1)
Vocal On/Off (1)
Mode Recall (1)
Voice Set Recall (1)
Effects selection
Effects volume
Tuning control
Damper Pedal
Sustain (Sostenuto)
Soft pedal
Resonance
Release time
Attack time
Filter 1 cut-off freq.
Voice Mute Mode (1)
Reverb depth (send)
Model: SK760/SK880 World Keyboard
1-16
1-16
Multimode
X
X
0-127
o
o
0-127
*****
o
o
True voice
Note ON
Note OFF
o
o
Note
Number
Velocity
x
o
0,32
1
6,38
7
10
11
12†
13†
14†
15†
16,48†
17,49†
18,50†
64
66
67
71
72
73
74
85†
91
o
Key’s
Ch’s
Bank change
Modulation
Data Entry
Volume
Pan
Expression Contr.
Vocal Volume (1)
Vocal On/Off (1)
Mode Recall (1)
Voice Set Recall (1)
o
After
Touch
Pitch Bender
Control
Change
0,32
1
6,38
7
10
11
12†
13†
14†
15†
Tuning control
Damper Pedal
Sustain (Sostenuto)
Soft pedal
Voice Mute Mode (1)
Reverb depth
18,50†
64
66
67
85†
91
Remarks
Version: 1.00
2 MIDI IN; 2 THRU; 2 MIDI OUT
EXTRA COMMON/CHORD CH.
true voice depends on
selected sound
Bank change recognized on
common channel, only in reception:
Bank-Change
P.change
C#0
C#32
PC
32
0
0-95
Internal Styles
36
0
0-7
Int. Style Performances
40
0
0-7
User Style Performances
44
0
0-31
User Styles
48
0
0-63
Programmable Performances
55
0
0-15
Songs
64
0
0-7
Song-Performances
C#16
DSP select
0
Eff1 Reverb GroupA
1
Eff1 Reverb Group B
64
Eff2 Mod. Group A
65
Eff2 Mod. Group B
C#48
Eff Type select
(See Effects charts for selection
values of individual Eff types)
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Tables A•25
RECOGNIZED CONTROL CHANGE MESSAGES (MIDI CONTROLLERS)
CONTROL CHANGE ON TRACKS
CC00,32
Bank change.
A ControlChange message activates a Controlller,
determined by the first ControlChange value.
CC01
Modulation.
CC06,38
Data Entry.
CC07
Main Volume.
CC10
Pan (panorama).
CC11
Expression.
CC12†
Vocal Volume (Vocal Processor)
CC13†
Vocal On/Off (Vocal Processor)
CC14†
Mode Recal (Vocal Processor)
CC15†
Voice Set recall (Vocal Processor)
CC16,48†
Effects selection
CC17,49†
Effects volume
CC18,50†
General Purpose (Tuning control)
CC32
BankSelect LSB.
CC64
Damper pedal.
CC66
Sostenuto (sustain) pedal.
CC67
Soft pedal.
CC71
Resonance.
CC72
Release Time.
CC73
Attack Time.
CC74
Filter Cutoff Frequency.
CC80
One Shot control
CC81
On/Off control
CC85†
Voice Mute mode (Vocal Processor)
CC91
Effect 1 send (E1, reverb depth).
CC93
Effect 2 send (E2, modulation depth).
CC98,99
NRPN
The ControlChange consists of three parts:
•
status byte - (status) determines the status of
the ControlChange message.
•
data byte 1 - (value 1) MIDI Controller activated by the ControlChange message. This
is the number by which the ControlChanges
are identified in the following tables.
data byte 2 - (value 2) value of the activated
MIDI Controller.
•
CC100-101 RPN
† = travels on MiIDI Common channel only
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A•26 Appendix
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SK760/SK880 System Exclusive Implementation
UNIVERSAL NON-REAL TIME SYSTEM MESSAGES
SAMPLE DUMP STANDARD
The transfer of data relating to the samples contained in the sounds of the instrument ias based on the standard protocol, called
SDS (Sample Dump Standard). The formats of the various commands available are as follows:
ACK (handshake message):
F0H
=
System Exclusive Message status
7EH
=
Non-Real Time extension
cc
=
device ID
7FH
=
ACK ID
pp
=
packet number
F7H
=
EOX
NACK (handshake message):
F0H
=
System Exclusive Message status
7EH
=
Non-Real Time extension
cc
=
device ID
7EH
=
NACK ID
pp
=
packet number
F7H
=
EOX
CANCEL (handshake message):
F0H
=
System Exclusive Message status
7EH
=
Non-Real Time extension
cc
=
device ID
7DH
=
CANCEL ID
pp
=
packet number
F7H
=
EOX
WAIT (handshake message):
F0H
=
System Exclusive Message status
7EH
=
Non-Real Time extension
cc
=
device ID
7CH
=
WAIT ID
pp
=
packet number
F7H
=
EOX
DUMP HEADER:
F0 7E cc 01 ss ss ee ff ff ff gg gg gg hh hh hh ii ii ii jj F7
cc
ss ss
ee
ff ff ff
gg gg gg
hh hh hh
ii ii ii
jj
=
=
=
=
=
=
=
=
device ID
Sample number (LSB first)
Sample format(# of significant bits from 8-28)
Sample period in nanoseconds (LSB first)
Sample length in words (LSB first)
Sustain loop start point word number (LSB first)
Sustain loop end point word number (LSB first)
Loop type (00=forward,01=backward/forward,7F=loop off)
DUMP REQUEST:
F0H
=
System Exclusive Message status
7EH
=
Non-Real Time extension
cc
=
device ID
03H
=
DUMP REQUEST ID
ss ss =
Request sample (LSB first)
F7H
=
EOX
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System Exclusive A•27
DATA PACKET:
F0H
7EH
cc
02H
kk
<120 bytes>
ll
F7H
=
=
=
=
=
=
=
=
System Exclusive Message status
Non-Real Time extension
device ID
DATA PACKET ID
running packet count (0-127)
data (7 bit data format)
checksum (XOR of 7E cc kk <120 bytes>)
EOX
DEVICE INQUIRY
To be able to identify a MIDI device, the following two messages are utilized; the first used for the inquiry:
INQUIRY MESSAGE:
F0H
=
System Exclusive Message status
7EH
=
Non-Real Time extension
cc
=
device ID
06H
=
INQUIRY ID
01H
=
Identity Request
F7H
=
EOX
and the second for the device response:
RESPONSE MESSAGE:
F0 7E cc 06 02 mm ff ff dd dd ss ss ss ss F7
cc
=
device ID
mm
=
Manufactures Sistem Exclusive id code
ff ff
=
Device family code (14 bits, LSB first)
dd dd
=
Device family member code (14 bits, LSB first)
ss ss ss ss
=
Software revision (format device specific)
UNIVERSAL REAL TIME SYSTEM MESSAGES
DEVICE CONTROL
These messages are used to control the general functions of the system, without refering to a specific MIDI channel and, therefore, inserted in the context of the Universal messages.
Master Volume:
F0H
=
7FH
=
cc
=
04H
=
01H
=
vv vv =
F7H
=
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System Exclusive Message status
Real Time extension
device ID
Device Control ID
Master Volume ID
Volume (LSB first)
EOX
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A•28 Appendix
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SYSTEM REALTIME MESSAGES
ADDRESS DATA INTERFACE
The MIDI System Exclusive capabilities of the SK Series instruments allow you to manipulate all parts of the instrument’s memory
from a computer system.
The following is a reference to the SysEx protocol used by the SK Series instruments. This Data Address Interface is based on
two principal functions: SET and GET. SET is used to set the contents of some of the instrument’s resources while GET is used
to withdraw them.
At the reception of a GET message, the instrument replies with an appropriate SET message containing the values of the requested data and relative checksums.
status
F0
F0
GET
SET
data
2F 3c 00 id aa1 aa2 aa3 ss1 ss2 ss3 cc
2F 3c 01 id cf aa1 aa2 aa3 dd1 ... ddn cc
F0H
2FH
3cH
00H/01H
id
cf
=
=
=
=
=
=
aa1:3
ss1:3
dd1
ddn
cc
F7H
=
=
=
=
=
=
EOX
F7
F7
System Exclusive Message status
ID number (manufacturer ID) = GENERAL MUSIC
Command ID: 3 RealTime, c = Device ID (0-F)
Get subfunction / Set subfunction
Model ID, 00 = WK4
c = checksum (0:1), f = Data Format (0:4) 1
c=1 checksum present, c=0 absent;
starting address code (MSB first)
amount of required data bytes (MSB first)
Data byte : first data byte to be sent
Data byte : last data byte to be sent
checksum ( optional )
EOX ( End Of Exclusive )
EXTREMELY IMPORTANT: when parameters have positive values that exceed 127 (=7FH), always enter f=2 in the cf field of the
SET stream and transform the data into nibble format as in the example: 134 = 0x86 becomes 0x08 0x06.
N.B.: in the following address map, the undefined value xx that parameterizes some of the addresses is the number relating to the
structure (typically track or note).
EXAMPLES OF EXCLUSIVE MESSAGES AND CHECKSUM CALCULATIONS
(relating to the structure of the Address Data Interface)
<Example 1> : The setting for the 1st Effect Type of Group A on Hall 3 using the common channel 7, the format 0 (7 bit data value)
and without checksum.
According to the address map relating to the Performance Parameters -EFFECTS A the address is 00 13 00H (effctnr1) and the
value relating to HALL3 is 02H; therefore the set streams is as follows:
F0
(1)
2F 36
(2) (3)
01
(4)
00
(5)
00
(6)
00 13 00
address
02
F7
data (7)
(1)Exclusive Status
(2)manufacturer ID=GENERAL MUSIC
(3)Command ID(3=RealTime) + device ID (6=7° device ID)
(4)Set Subfunction
(5)Model ID (0=WK4)
(6)c=0(No checksum),f=0(7 bit data value)
(7)EOX
<Example 2> : The setting for the Attack of track 11 to +13 using common channel 2 (N.B. the 1st channel is 0 ), format 0 (7 bit
data value) and with checksum.
According to the address map relating to Performance Parameters - T_SLIDER the address relating to track 11 (the first track is
0) is 0A 1C 00H (Attack) and the value to set is 4DH; therefore the set stream is as follows:
F0 2F 31 01 00 10 0A 1C 00 4D
cc=??
F7
(1) (2) (3) (4) (5) (6) address
data checksum (7)
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System Exclusive A•29
(1)Exclusive Status
(2)manufacturer ID=GENERAL MUSIC
(3)Command ID(3=RealTime) + device ID (1=2° device ID)
(4)Set Subfunction
(5)Model ID (0=WK4)
(6)c=1(Yes checksum),f=0(7 bit data value)
(7)EOX
The checksum value is obtained with an XOR of all the bytes starting from the GeneralMusic ID (2FH) included; using ^ as the
operator XOR ( OR Exclusive ), then:
cc=checksum = 2F ^ 31 ^ 01 ^ 00 ^ 10 ^ 0A ^ 1C ^ 00 ^ 4D = 54
the message to send is:
F0 2F 31 01 00 10 0A 1C 00 4D 54 F7 .
<Example 3> : Setting the M.Transpose to -6 using common channel 2, format 0 (7 bit data value) with and without checksum.
According to the address map relating to the Global Parameters - GLOBSET the address is 00 09 02H (transpose) and the
value to set is 24-6=18=12H; therefore the set stream without checksum is as follows:
F0
(1)
2F 31
(2) (3)
01
(4)
00
(5)
00
(6)
00 09 02
address
12
F7
data (7)
(1)Exclusive Status
(2)manufacturer ID=GENERAL MUSIC
(3)Command ID(3=RealTime) + device ID (1=2° device ID)
(4)Set Subfunction
(5)Model ID (0=WK4)
(6)c=0( No checksum),f=0(7 bit data value)
(7)EOX
with the checksum, the stream will be:
F0 2F 31 01 00 10 00 09 02 12 16 F7 .
<Example 4> : setting the parameter FltCutoff of the group AUDIOIN1 to 147 ( >127 ) on command channel 2 and format 2
( data in nibble ) with and without checksum.
According to the address map relating to Global Parameters - AUDIOIN1 the address is 00 0B 05H (FltCutoff) and the value to
set in nibble format is, 09 03H; infact 147=93H, therefore the value is sliced in two nibbles 9 and 3 obtaining 09 03H; therefore
the set stream without checksum is as follows:
F0
(1)
2F 31
(2) (3)
01
(4)
00
(5)
02
(6)
00 0B 05
address
09 03 F7
data (7)
(1)Exclusive Status
(2)manufacturer ID=GENERAL MUSIC
(3)Command ID(3=RealTime) + device ID (1=2° device ID)
(4)Set Subfunction
(5)Model ID (0=WK4)
(6)c=0 ( No checksum), f=2 (nibble)
(7)EOX
with the checksum, the stream will be:
F0 2F 31 01 00 12 00 0B 05 09 03 09 F7 .
<Example 5> : To know the value of the parameter HighGain of the Equalizer using common channel 9 and format 0 (7 bit data
value).
According to the address map relating to the Global Parameters - EQUALIZER the addrress is 00 00 01H (HighGain) and the
size is 00 00 01H; therefore, the get stream is as follows:
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A•30 Appendix
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F0
(1)
2F 38
(2) (3)
00
(4)
00
(5)
00 00 01
address
00 00 01
size
F7
(6)
(1)Exclusive Status
(2)manufacturer ID=GENERAL MUSIC
(3)Command ID(3=RealTime) + device ID (8=9° device ID)
(4)Get Subfunction
(5)Model ID (0=WK4) (6) EOX
If, for example, the value of the parameter equals 1 dB, the instrument will respond with the appropriate Set stream containing the
value requested and with the checksum; therefore, the stream returned will be:
F0 2F 38 01 00 10 00 00 01 0D 0A F7.
REFERENCE TABLE
GLOBAL PARAMETERS
MIXER EQUALIZER
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
00 00 00
00 00 01
00 00 02
00 00 03
00 00 01
00 00 01
00 00 01
00 00 01
00
00
00
00
LowGain
HighGain
LowFrequency
HighFrequency
-12 -> +12 [dB]
-12 -> +12 [dB]
100 -> 400 [Hz]
3.0 -> 15.0 [KHz]
0EH= 2dB
0DH= 1dB
2=150KHz
0 = 3KHz
Default
18
18
0C
0C
SCORE CONTROL
Address(H)
Size (H)
Range(H)
Parameter
Description
00 01 00
00 01 01
00 00 01
00 00 01
00
00
04
03
video_display
lyrics_fonts
2
00 01 02
00 00 01
00
15
view_mode
01
char size
00
(if video_display=3)
monitor bkgrnd col 00
Description
GENERAL CONTROLS
Address(H)
Size (H)
Range(H)
Parameter
00 02 00
00 02 01
00 00 01
00 00 01
01
01
dynamic
a.touch
05
05
Default
3=Medium
3=Medium
ARRANGE MODE
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
00 03 00
00 03 01
00 00 01
00 00 01
00
00
01
02
FixCh_Mode
ChordMode1
01
01
00 03 02
00 00 01
03
04
ChordMode2
00 03 03
00 03 05
00 03 09
00 03 0B
00 00 01
00 00 01
00 00 01
00 00 01
00
00
00
15
04
01
01
6C
ChordMode3
DynamArrg
Autobacking
Chord_split
on/off
Up/low-multi
(Auto chord mode)
Full keyboard
(Auto chord mode)
Fix chord mode
on/off
on/off
03
01
00
01
3BH = 59
(GENERAL CONTROLS) FOOTSWITCH POLARITY
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
00 04 00
00 04 01
00 04 02
00 00 01
00 00 01
00 00 01
00
00
00
Footswitch[1]
Footswitch[2]
Footswitch[3]
0=Normally closed, 1=open
0=Normally closed, 1=open
0=Normally closed, 1=open
0=NormClosd
0=NormClosd
0=NormClosd
01
01
01
(GENERAL) DISPLAY CONTROLS
Address(H)
Size (H)
Range(H)
00 05 00
00 05 01
00 05 02
00 00 01
00 00 01
00 00 01
00
00
00
Parameter
01ChordLanguage
01Help_Language
01Display_Mode
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Description
Default
0 = English, 1 = Italiano
0 = English, 1 = Italiano
0 = Positive 1 = Negative
0=English
0=English
0=Positive
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System Exclusive A•31
(GENERAL) NOTE TUNING/SCALE ( xx = NOTE = 0 - 7F )
Address(H) Size (H)
Range(H)
Parameter
Description
Default
xx 06 00
xx 06 01
0 -> 127
-63 -> +63;
00 00 01
00 00 01
00
01
7F
7F
coarse
finetune
(GENERAL) TUNING/SCALE
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
00 07 00
00 07 01
00 00 01
00 00 01
01
00
Master_pitch
kbd_scale
-63 -> +63;
0 -> +13
0
0=Equal
7F
0D
MIDI CLOCK
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
00 08 00
00 00 01
00
MidiClock
Int/Ext
0=Internal
01
GLOBAL SET
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
00 09 02
00 00 01
00
transpose
-24 +24 [semitones]
18H = 0
30
MIDI GENERAL SET
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
00 0A 00
00 0A 01
00 0A 02
00 0A 03
00 0A 04
00 0A 05
00 0A 06
00 0A 07
00 0A 08
00 0A 09
00 0A 0A
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00
01
01
00
00
00
00
00
00
00
00
Common_ch
Common_In
Common_Out
Midi_lock
Clock_Send
Midi_Merge
MidiInTran
MidiFixedDyn
Midi_sysex
SMF saveFrm
Bank_select
0=Off; 1->10 = chan 1->16
1 = MidiIn A, 2= MidiIn B
1 = MidiOut A, 2= MidiOut B
0 = Off
1 = In A
1 = Out A
1 = On
1 = On
0 = Off
0 = Off
0 = Off
1 = On
0=GMidi
1
10
02
02
01
01
01
01
7F
01
01
01
0 -> 127
0=Excl System OFF, 1=ON
0 = GMidi, 1 = smfformat
(GENERAL) MIC/LINE INPUT 1
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
00 0B 00
00 0B 01
00 0B 02
00 0B 03
00 0B 04
00 0B 05
00 0B 06
00 0B 07
00 0B 08
00 0B 09
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00
00
00
00
00
00
00
00
00
00
Volume
EffGroup
Eff1Send
Eff2Send
FltType
FltCutoff
FltResonance
Pan
AnalogOut
Mic/Line
0 -> 127
7FH =127
0
40H = 64
40H = 64
0
0
0
3EH = 31
0
0
7F
01
7F
7F
05
BF
7f
3E
03
01
0 -> 127
0 -> 127
0 191, Use nibblized if > 127
0 -> 127
-31 -> +31
On/Off
(GENERAL) MIC/LINE INPUT 2
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
00 0C 00
00 0C 01
00 0C 02
00 0C 03
00 0C 04
00 0C 05
00 0C 06
00 0C 07
00 0C 08
00 0C 09
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00
00
00
00
00
00
00
00
00
00
Volume
EffGroup
Eff1Send
Eff2Send
FltType
FltCutoff
FltResonance
Pan
AnalogOut
Mic/Line
0 -> 127
7FH=127
0
40H= 64
40H= 64
0
0
0
3EH= 31
0
0
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A•32 Appendix
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7F
01
7F
7F
05
BF
7f
3E
03
01
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○
0 -> 127
0 -> 127
0->191, Use nibblized if >127
0 -> 127
-31 -> +31
On/Off
MIDI_CHANNELS ( xx = CHANNEL 3 = 0 - 1F )
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
xx 0D 00
xx 0D 01
xx 0D 02
xx 0D 03
00 00 01
00 00 01
00 00 01
00 00 01
01
01
01
01
Midi_IN_Port
Midi_IN_Ch
Midi_OUT_Port
Midi_OUT_Ch
1 = MidiIn A, 2= MidiIn B
1->10 = channels 1->16
1 = MidiOut A, 2= MidiOut B
1->10 = channels 1->16
1=In A
Description
02
10
02
10
1=Out A
(GENERAL) PEDALBOARD/COMPUTER MODE
Address(H)
Size (H)
Range(H)
Parameter
00 0E 00
00 0E 01
00 0E 02
0
00 00 01
00 00 01
00 00 01
00
00
00
Computer Mode 0=Off, 1=Mac, 2=PC1, 3=PC3
0 = Off
Pedalb. Mode 0=Off,1=Pdbass, 2=Pdchord, 3=MFun 0 = Off
PcIfcPedB
Mode switch
03
03
01
Default
MIDI FILTERS IN ( xx = CHANNEL = 0 - 1F , Midi Lock ON )
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
xx 0F 00
xx 0F 01
xx 0F 02
xx 0F 03
xx 0F 04
xx 0F 05
xx 0F 06
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00
00
00
00
00
00
00
filter_1
filter_2
filter_3
filter_4
filter_5
filter_6
filter_7
0 -> 100 (see Appendix C)
0 -> 100 (see Appendix C)
0 -> 100 (see Appendix C)
0 -> 100 (see Appendix C)
0 -> 100 (see Appendix C)
0 -> 100 (see Appendix C)
0 -> 100 (see Appendix C)
00H
00H
00H
00H
00H
00H
00H
64
64
64
64
64
64
64
MIDI FILTERS OUT ( xx = CHANNEL = 0 - 1F , Midi Lock ON )
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
xx 10 00
xx 10 01
xx 10 02
xx 10 03
xx 10 04
xx 10 05
xx 10 06
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00
00
00
00
00
00
00
filter_1
filter_2
filter_3
filter_4
filter_5
filter_6
filter_7
0 -> 100 (see Appendix C)
0 -> 100 (see Appendix C)
0 -> 100 (see Appendix C)
0 -> 100 (see Appendix C)
0 -> 100 (see Appendix C)
0 -> 100 (see Appendix C)
0 -> 100 (see Appendix C)
00H
00H
00H
00H
00H
00H
00H
64
64
64
64
64
64
64
MIDI COMMON/ARRG NoteToArrang
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
00 11 00
00 11 01
00 11 02
00 11 03
00 00 01
00 00 01
00 00 01
00 00 01
00
00
00
00
Chord Ch.1
IN_1
Chord Ch.2
IN_2
0=Off, 1->10 = chans 1->16
0 = Off
0
0 = Off
0
Description
10
01
10
01
0=Off, 1->10 = chans 1->16
MIDI CTRL PADS ( xx = CHANNEL = 0 - 1F )
Address(H)
Size (H)
Range(H)
Parameter
xx 12 00
xx 12 01
xx 12 02
00 00 01
00 00 01
00 00 01
00
00
00
ped_ftsw[1]
ped_ftsw[2]
ped_ftsw[3]
01
01
01
○
Default
1
1
1
○
○
○
○
○
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○
○
○
○
○
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○
○
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System Exclusive A•33
PERFORMANCE PARAMETERS
EFFECTS A
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
00 13 00
00 13 01
00 13 02
00 13 03
00 13 04
00 13 05
00 13 06
00 13 07
00 13 08
00 13 09
00 13 0A
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00
00
17
7F
0 -> 23
0 -> 127
5=St.Concert
5AH = 90
00
00
1F
7F
0 -> 31
0 -> 127
9 = Chorus2
79H = 121
00
7F
Eff_Type1
eff_vol1
par#1_1
par#2_1
par#3_1
Eff_Type2
eff_vol2
par#1_2
par#2_2
par#3_2
Eff2ToEff1
0 -> 127
0
EFFECTS B
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
00 14 00
00 14 01
00 14 02
00 14 03
00 14 04
00 14 05
00 14 06
00 14 07
00 14 08
00 14 09
00 14 0A
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00
00
17
7F
0 -> 23
0 -> 127
2= Hall3
37H = 55
00
00
1F
7F
0 -> 31
0 -> 127
0=MonoDelay1
79H = 121
00
7F
Eff_Type1
eff_vol1
par#1_1
par#2_1
par#3_1
Eff_Type2
eff_vol2
par#1_2
par#2_2
par#3_2
Eff2ToEff1
0 -> 127
0
TRACK SOUND ( xx = CHANNEL = 0 - 1F )
Address(H)
Size (H)
Range(H)
Parameter
Description
xx 15 00
xx 15 01
0
00 00 02
00 00 01
0: 7F+0:F
0
Soundnr
Ctrl32
Prog.Change(MSB) + Bank(LSB)
no sound if no zero
Default
MIDI CONFIGURATION ( xx = CHANNEL = 0 - 1F )
Address(H)
Size (H)
Range(H)
Parameter
Description
xx 16 00
xx 16 01
xx 16 04
xx 16 05
xx 16 06
xx 16 07
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00
00
01
01
01
01
source
destination
Midi_In_Port
Midi_In-Ch
Midi_Our_Port
Midi_out-Ch
Track source 4
Track destination 5
1 = MidiIn A, 2= MidiIn B
1->10 = channels 1->16
1 = MidiOut A, 2= MidiOut B
1->10 = channels 1->16
Description
Default
-60 -> +60
0 -> 768 Use nibblized if > 127
3CH = 0
0
0
1
03
03
02
10
02
10
Default
COMMON ( xx = CHANNEL = 0 - 1F )
Address(H)
Size (H)
Range(H)
Parameter
xx 17 00
xx 17 01
xx 17 02
xx 17 03
xx 17 04
00 00 01
00 00 01
00 00 02
00 00 01
00 00 01
00
00
00
00
00
volume
transp
delay
dyn_resp
m_transp
7F
78
0300
07
01
INTERNAL ( xx = CHANNEL = 0 - 1F )
Address(H)
Size (H)
Range(H)
Parameter
xx 18 00
xx 18 01
xx 18 02
xx 18 03
xx 18 04
xx 18 05
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00
00
00
00
00
00
mode
m_priority
detune
analog_out
effect_group
vol_group_A
○
○
○
○
○
○
○
○
○
○
A•34 Appendix
○
○
○
○
02
01
7F
03
01
7F
○
○
○
○
○
○
○
○
Description
Default
Poly.Mono
-64 -> +63
0
0
40H = 0
0
Selection effects group A or B
Volume sent of eff. group A
xx 18 06
xx 18 07
xx 18 08
xx 18 09
xx 18 0A
xx 18 0B
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00
00
00
00
01
00
7F
3E
07
07
0B
0C
vol_group_B
pan
rand_pitch
rand_pan
Harmony
PitchRange
Volume sent of eff. group B
-31 -> +31
3EH =31
0
0
1
0
1 -> 11
0 -> 12
MIDI IN FILTER ( xx = CHANNEL = 0 - 1F )
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
xx 19 00
xx 19 01
xx 19 02
xx 19 03
xx 19 04
xx 19 05
xx 19 06
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00
00
00
00
00
00
00
filter_in1
filter_in2
filter_in3
filter_in4
filter_in5
filter_in6
filter_in7
0 -> 100
0 -> 100
0 -> 100
0 -> 100
0 -> 100
0 -> 100
0 -> 100
00H
00H
00H
00H
00H
00H
00H
64
64
64
64
64
64
64
MIDI OUT FILTER ( xx = CHANNEL = 0 - 1F )
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
xx 1A 00
xx 1A 01
xx 1A 02
xx 1A 03
xx 1A 04
xx 1A 05
xx 1A 06
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00
00
00
00
00
00
00
filter_out1
filter_out2
filter_out3
filter_out4
filter_out5
filter_out6
filter_out7
0 -> 100
0 -> 100
0 -> 100
0 -> 100
0 -> 100
0 -> 100
0 -> 100
00H
00H
00H
00H
00H
00H
00H
Description
Default
64
64
64
64
64
64
64
LOCAL ( xx = CHANNEL = 0 - 1F )
Address(H)
Size (H)
Range(H)
Parameter
xx 1B 00
xx 1B 01
xx 1B 02
00 00 01
00 00 01
00 00 01
00
00
00
ped_ftsw[1]
ped_ftsw[2]
ped_ftsw[3]
01
01
01
SLIDER ( xx = CHANNEL = 0 - 1F )
Address(H)
Size (H)
Range(H)
Parameter
Description
Default
xx 1C 00
xx 1C 01
xx 1C 02
xx 1C 03
xx 1C 04
xx 1C 05
xx 1C 06
xx 1C 07
xx 1C 08
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 02
00
7F
00
7F
00
7F
00
7F
00
7F
00
7F
00
7F
00
7F
0: 7F+0:F
Attack
Release
Flt Cutoff
Flt Resonance
Decay
LFO Depth
LFO Rate
LFO Delay
Soundnr
-64 +63
-64 +63
-64 +63
-64 +63
-64 +63
-64 +63
-64 +63
-64 +63
Prog.Change(MSB) + Bank(LSB)
40H = 0
40H = 0
40H = 0
40H = 0
40H = 0
40H = 0
40H = 0
40H = 0
0
Default
DRUM KIT EDITING
LAYER1 SOUND PATCH ( xx = NOTE = 0 - 7F )
Address(H)
Size (H)
Range(H)
Parameter
Description
xx 1D 00
xx 1D 01
xx 1D 02
xx 1D 03
xx 1D 04
xx 1D 05
xx 1D 06
xx 1D 07
xx 1D 08
xx 1D 09
00 00 02
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
0: 7F+0:F
00
7F
00
7F
00
7F
00
7F
00
7F
00
03
00
7F
00
7F
00
04
Soundnr
Level
Panorama
Transpose
Tune
FltCutOff
Exclude
Effect 1
Effect 2
Analog Out
Prog.Change(MSB) + Bank(LSB)
00 127
-64 +63
-64 +63
-64 +63
-64 +63
00 03
00 127
00 127
00 04
○
○
○
○
○
○
○
○
○
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○
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○
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○
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○
○
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○
System Exclusive A•35
DYNAMIC SWITCH
Address(H)
Size (H)
Range(H)
Parameter
Description
00 1E 00
00 00 01
00
DynSwitch
00 127
7F
Default
LAYER2 SOUND PATCH ( xx = NOTE = 0 - 7F )
Address(H)
Size (H)
Range(H)
Parameter
Description
xx 1F 00
xx 1F 01
xx 1F 02
xx 1F 03
xx 1F 04
xx 1F 05
xx 1F 06
xx 1F 07
xx 1F 08
xx 1F 09
00 00 02
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
0: 7F+0:F
00
7F
00
7F
00
7F
00
7F
00
7F
00
03
00
7F
00
7F
00
04
Soundnr
Level
Panorama
Transpose
Tune
FltCutOff
Exclude
Effect 1
Effect 2
Analog Out
Prog.Change + Bank
00 127
-64 +63
-64 +63
-64 +63
-64 +63
00 03
00 127
00 127
00=track,1=L+R,2=O1+O2,3=O1,4=O2
Default
TRACK SELECT
Address(H)
Size (H)
Range(H)
Parameter
Description
00 20 00
00 00 01
00
Selected
00 31
1F
Default
SYSTEM OBJECT ACCESS MESSAGES
SYSTEM RESOURCE ACCESS
Messages relating to the RESOURCE ACCESS allow the transfer via MIDI of the same basic resources of the instrument that can
be exported to disk, and which are:
∑
∑
∑
∑
∑
∑
System SETUP
SOUNDS
REAL PERFORMANCES
STYLE PERFORMANCES
USER STYLES
SONGS
Each type of resource can constitute several files, in which case, before transmitting, are compacted into a single data block..
The transmission can take place in handshake mode for higher speeds and better control of the data transmitted (the system
automatically recognizes the mode utilized according to the reply given or not after the transmission of the File Header Message).
The MIDI message transmitted consists of the following structure:
F0H
2FH
5cH
ss
id
cf
=
=
=
System Exclusive Message status
ID number (manufacturer ID) = GENERAL MUSIC
Command ID: 5=Resource Access, c=device ID(0-F) 6
=
Subfunction ID
=
Model ID, 00 = WK4
=
c = checksum (0-1), f = Data Format (0-3)
pp
=
<data> =
(optional)
cc
F7H
=
EOX
=
packet number (optional)
checksum (optional)
Subfunction ID:
○
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○
A•36 Appendix
○
○
○
○
○
○
○
File Header
File Data
Resource Request
Parametr Request
Parameter Data
○
○
○
○
○
01H
02H
03H
40H
41H 7
ACK
NACK
CANCEL
WAIT
7FH
7EH
7DH
7CH
The transmission of one of the available resources starts by sending a message (File Header message) to indentify the successve
blocks of data desired (File Data message).
Typically the files concerned can be relatively long, therefore it is better to subdevide the information into several brief packets
which can be individually tested and eventually retransmitted (in the case of using the handshake mode and the reception of an
ACK reply confirms the correctness of the packet received, while a reply of the type NACK forces the retransmission of the error
packet).
Should it be necessar to interrupt the transmissoin, it is always possible to send the CANCEL command at any moment during the
course of the communication.
A WAIT command has also beed included for future implementations.
File Header message:
F0H
=
System Exclusive Message status
2FH
=
ID number (manufacturer ID) = GENERAL MUSIC
5cH
=
Command ID: 5=Resource Access, c=device ID(0-F)
01H
=
Subfunction ID = FILE HEADER
00
=
Model ID, 00 = WK4
03H
=
not checksum, format 3 (octect)
<data> =
3 octects8
F7H
=
EOX
File Data message:
F0H
=
System Exclusive Message status
2FH
=
ID number (manufacturer ID) = GENERAL MUSIC
5cH
=
Command ID: 5=Resource Access, c=device ID(0-F)
02H
=
Subfunction ID = FILE DATA
00
=
Model ID, 00 = WK4
13H
=
checksum, format 3 (octect)
pp
=
packet number (00:7fH)
<data> =
15 octects
cc
=
checksum
F7H
=
EOX
Resource Request message:
F0H
=
System Exclusive Message status
2FH
=
Manufacturer ID = GENERAL MUSIC
5cH
=
Command ID: 5=Resource Access, c=device ID(0-F)
03H
=
Subfunction ID = RESOURCE REQUEST
00
=
Model ID, 00 = WK4
00
=
not checksum, format 0
tt
=
Resourse ID
ss
=
all files(0), selected(>0) 9
F7H
=
EOX
Resource ID:
SETUP di sistema
SOUNDS
REAL PERFORMANCES
STYLE PERFORMANCES
USER STYLES
SONGS
0
1
2
3
4
5
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○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
System Exclusive A•37
ACK message:
F0H
=
2FH
=
5cH
=
7FH
=
00
=
00
=
pp
=
F7H
=
System Exclusive Message status
ID number (manufacturer ID) = GENERAL MUSIC
Command ID: 5=Resource Access, c=device ID(0-F)
Subfunction ID = ACK
Model ID, 00 = WK4
not checksum, format 0
packet number (00:7fH)
EOX
NACK message:
F0H
=
2FH
=
5cH
=
7EH
=
00
=
00
=
pp
=
F7H
=
System Exclusive Message status
ID number (manufacturer ID) = GENERAL MUSIC
Command ID: 5=Resource Access, c=device ID(0-F)
Subfunction ID = NACK
Model ID, 00 = WK4
not checksum, format 0
packet number (00:7fH)
EOX
CANCEL message:
F0H
=
System Exclusive Message status
2FH
=
ID number (manufacturer ID) = GENERAL MUSIC
5cH
=
Command ID: 5=Resource Access, c=device ID(0-F)
7DH
=
Subfunction ID = CANCEL
00
=
Model ID, 00 = WK4
00
=
not checksum, format 0
pp
=
packet number (00:7fH)
F7H
=
EOX
WAIT message:
F0H
=
2FH
=
5cH
=
7CH
=
00
=
00
=
pp
=
F7H
=
System Exclusive Message status
ID number (manufacturer ID) = GENERAL MUSIC
Command ID: 5=Resource Access, c=device ID(0-F)
Subfunction ID = WAIT
Model ID, 00 = WK4
not checksum, format 0
packet number (00:7fH)
EOX
EXAMPLES of Resource Request message compositions
<Example 1> : System Setup request:
F0 2F 50 03 00 00 00
(1) (2) (3) (4) (5) (6) (7)
00
(8)
F7
(9)
(1)Exclusive Status
(2)manufacturer ID=GENERAL MUSIC
(3)Command ID(5=RESOURCE ACCESS) + device ID (0=1° device ID)
(4)Subfunction ID (3=RESOURCE REQUEST)
(5)Model ID (0=WK4)
(6)c=0(No checksum),f=0(7 bit data value)
(7)Resource ID (0=Setup)
(8)not used for Setup Req
(7)EOX
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○
A•38 Appendix
○
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○
○
○
○
○
○
○
<Example 2> : System Sound request:
F0
(1)
2F 50
(2) (3)
03
(4)
00
(5)
00
(6)
01
(7)
00
(8)
F7
(9)
(1)Exclusive Status
(2)manufacturer ID=GENERAL MUSIC
(3)Command ID(5=RESOURCE ACCESS) + device ID (0=1° device ID)
(4)Subfunction ID (3=RESOURCE REQUEST)
(5)Model ID (0=WK4)
(6)c=0(No checksum),f=0(7 bit data value)
(7)Resource ID (1=Sound)
(8)Selected (00 = All files)
(7)EOX
<Example 3> : Request for the 3rd Song in the System:
F0
(1)
2F 50
(2) (3)
03
(4)
00
(5)
00
(6)
05
(7)
03
(8)
F7
(9)
(1)Exclusive Status
(2)manufacturer ID=GENERAL MUSIC
(3)Command ID(5=RESOURCE ACCESS) + device ID (0=1° device ID)
(4)Subfunction ID (3=RESOURCE REQUEST)
(5)Model ID (0=WK4)
(6)c=0(No checksum),f=0(7 bit data value)
(7)Resource ID (5=Song)
(8)Selected (3 = 3^ file selezionato)
(7)EOX
DEVICE PARAMETER ACCESS
Messages relating to the DEVICE PARAMETERS ACCESS allows access to specific information relating to the instrument; the
protocol invludes the transmission of a request message which will be followed by the eventual reply.
Parameter Request message:
F0H
2FH
5cH
40H
00
00
tt
bs
ps
F7H
=
=
=
=
=
=
=
=
=
=
System Exclusive Message status
Manufacturer ID = GENERAL MUSIC
Command ID: 5=Resource Access, c=device ID(0-F)
Subfunction ID = PARAMETER REQUEST
Model ID, 00 = WK4
not checksum, format 0
Parameter ID
Bank Select
PrChange Select (only for SOUND)
EOX
Parameter ID:
STATUS of the system
SOUND Name
REAL PERF. Name
STYLE PERF. Name
USER STYLE Name
SONG Name
0
1
2
3
4
5
Parameter Data message:
F0H
2FH
5cH
=
=
=
System Exclusive Message status
ID number (manufacturer ID) = GENERALMUSIC
Command ID: 5=Resource Access, c=device ID(0-F)
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
○
System Exclusive A•39
41H
00
cf
pp
<data>
cc
F7H
=
=
=
=
Subfunction ID = PARAMETER DATA
Model ID, 00 = WK4
checksum=1, format (5 per Status, 0 altrimenti)
packet number (00:7fH)
=
=
checksum
EOX
The data sent refer to the structure as described below.
∑ Status Data. The data relates to the parameters contained in the following fields (the quantities of memory are expressed in
Kbyte):
bytes
1
1
1
1
4
4
4
4
4
rel.addr.
0
1
2
3
4
8
12
16
20
name
iClass
iSubClass
iRelease instrument
peripherals
totalSysRam
freeSysRam
totalBackedRam
freeBackedRam
totalVolRam
description
see classification in Tab.1
see classification in Tab.1
release
HD=b1, AV=b0
Total System Memory
Freee System memory
Backed Sample Ram Memory
Free Backed Sample Ram Memory
Total Volatile Sample Ram Memory
4
24
freeVolRam
Free Volatile Sample Ram Memory
iClass / iSubClass
1 - Synth Expander
2 - Masterkeyboards
3 - Keyboards
4 - Pianos
5 - Home Organs
6 - Classic Organs
7 - Accessories
1
2
S2
S3
MK88
WS2
WS1
WS400
3
4
S2 Box SK76
WX2
RPro1
5
SK88
6
7
8
WX2Box CD
WX400 WK4
SX2
RPro2 RPprox Ps2500 PS1500
SX3
WK3
AS-1
(TAB.1)
∑ Parameter Data. In this case the streams relating to the parameter names requested are returned and all the data is identifed
by the following 16 bytes:
0
Parameter ID
1
Bank Select
2
Perf Select
3-15
Parameter Name (13 char Max)
The parameters bs (bank select) and ps (prChange select) contained in the request vary according to the parameter as in
Tab.2, taking into accound that the request will have effectively followed only in the case in which what has been requested is
actually present in the system; to be able to request all the values available for a given parameter, it is sufficient to send the values
bs=00 e ps=00.
STATUS SOUND REAL PERF.
00
1 - 16 1 - 8
00
1 - 128 not used (nu)
Bank Select Range
PrCh Select Range
(Tab.2)
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A•40 Appendix
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STYLE SONG
1 - 96 1 - 16
nu
nu
APPENDIX A
DATA FORMAT
The messages used to control the system exclusives accept data in the following formats:
format =0 (7 bit data value): the natural data format with values from 0 to 127. Does not require any form of treatment.
format =1 (7 bit wide word LSB_J): the value of the data present in the stream has a range defined by the number of bytes
transmitted. For example, to transmit the hexadecimal value F123 (61731 decimal) three bytes configured as follows are required:
03 62 23. This format is useful to transmit single data (byte, short, int, long, float, double) which do not fall within the range 0-127.
format =2 (nibble): single byyes contain only 4 significant bits but which can represent much greater values. for example, to
transmit the hexadecimal value F123 (61731 decimal) would require four bytes configured as: 0F 01 02 03; i practice, each single
byte is sliced in two and transmitted on two bytes with the four most significant bits at 0.
format =3 (octect): the bytes are groups in sets of 8 Bytes with 7 significant bits to represent 7 real bytes in 8 MIDI bytes (56 bit).
This format allows, therefore, to achieve maximum compactness of the data to transmit in cases of data consisting of a large
number of bytes whose priory value is not known.
The procedure is as follows: from each bytes of the 7 in sequence, the least significan bit is extracted and saved in an eighth byte,
therefore the same byte is shifted to the right; finally all is transmitted in the order. For example:
7 real bytes = 0x11 0x22 0x33 0x44 0x55 0x66 0x77
then shifting to the right and memorizing in a byte the “extracted” bits:
0x11 = 0x09 + 1 (b0)
0x22 = 0x11 + 0 (b1)
0x33 = 0x1A + 1 (b2)
0x44 = 0x22 + 0 (b3)
0x55 = 0x2B + 1 (b4)
0x66 = 0x33 + 0 (b5)
0x77 = 0x3C + 1 (b6)
8°byte: 0x01
0x01
0x05
0x05
0x15
0x15
0x55
8 byte Midi = 0x09 0x11 0x1A 0x22 0x2B 0x33 0x3C 0x55.
format =4 (nibble data dump): the single bytes containing only 4 significant bits to be able to represent any data stream. For
example, the stream “ciao” corresponds to the ASCII data 0x63 0x69 0x61 0x6f and will, therefore, be represented by the following bytes: 0x06 0x03 0x06 0x09 0x06 0x01 0x06 0x0f.
format =5 (BCD data dump): the single bytes are subdivided in two nibbles and subsequently converted in BCD; this is a format
particularly useful with numerical data which does not permit direct visualization. For example, the number 0x12345678 corresponds to the ASCII data 0x12 0x34 0x56 0x78 which subdevided in nibbles give:
0x01 0x02 0x03 0x04 0x05 0x06 0x07 0x08
which when conve rted in BCD give:
0x31 0x32 0x33 0x34 0x35 0x36 0x37 0x38
which when shown on the terminal gives the stream “12345678”, representing the initial data.
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System Exclusive A•41
Observations:
The Set function of the System Exclusive is able to automatically identify the amount of the field to update, regardless of the
format with which the data is sent with the following exceptions:
∑ the format 0 always modifies a bytes relating to the addres of the variable to update, therefore, if for example, we want to
modify with format 0 a variable of 32 bits of the current value equalling 0x12345678 (hexadecimal value), after sending the data
0x7F we will obtain the variable updated to the value 0x7F345678. The correct method to update a variable with a value greate
than 7 bit (correspnding to the decimal value 127) is to use the format 1 or 2; in the way, to update a 16 bit variable to the
hexadecimal value 0x1234 you can send:
format 1:
format 2:
0x24 0x34
0x01 0x02 0x03 0x04
(2 data bytes)
(4 data bytes).
∑ the formats 4 and 5 do not consider the limits accepted by the filed in memory for which case should be taken not to send a
numder of data higher than the accepted limit.
APPENDIX B
Creation of RESOURCE ACCESS files.
To control the resources via system exclusive (RESOURCE ACCESS) makes use of the solution of packaging the various files
which constitute the same resource into a single buffer.
Generally, therefre, we would have the following situation:
Resource File
=
FILE.000
FILE.001
FILE.002
...
FILE.00n
for a total of (n+2) files (with n which can also be 0).
Each file can be identified by a set of three numbers which represente their own description:
File ID =
type (Resource ID)
bank (0xFF if not exist)
perf (0xFF if not exist)
This document wants to indicate how to identify the files concerned for each resource to be accessed, how to operate to manipulate these files and, finally, the effective transmission mode.
Types of Resources
The resources can be classified as follows:
Resource ID:
system SETUP
SOUNDS
REAL PERFORMANCES
STYLE PERFORMANCES
USER STYLES
SONGS
0
1
2
3
4
5
for each of which concern various files
For each of the resourcces available, it is possible to send a command requesting all the resources which make up the part of that
groups (all the SOUNDS, all the SONGS, ...), or, it is possible to refer to a single resource of the currently selected group (send the
selected SONG, the selected STYLE, ...).
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A•42 Appendix
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Referring to the Resource Request Message command detailed above, setting the value of 0 in the field ss we will obtain all the
resources, while specifying a number greater than 0 we will obtain the transmission of the single resource required.
for each group of rerouces the possible selection values are the following:
Resourse ID
Max Select Number
SOUNDS
REAL PERFORMANCES
STYLE PERFORMANCES
USER STYLES
SONGS
16
8
96
32
16
Creation of the Resource File
To create the Resource File it is necessary to write for each single file of a chunk consisting of a desription of the file and of the
data that consistutes the file; the format of each chunk is the following:
bytes
4
4
1
1
1
1
20
len-28
rel.addr.
0
4
8
9
10
11
12
32
name
description
chunck id
“data”
chunck len
es.: 3010
file type
file bank
file perf
not used
F_HEAD vedi sotto
< data > byte data
therefore the Resource File can be represented as:
“data” len0 ... < data > for FILE.000
“data” len1 = len0+4 ... < data > for FILE.001
“data” len2= len0+len1+8 ... < data > for FILE.002
“data” len3= len0+len1+len2+12 ... < data > for FILE.003
“data” len_n = S[len(i)] + 4*n ... < data > for FILE.00n
To calculate the totale length of the Resource File it is sufficient sum of the lengths of each file (Li) with the length of each single
header chunk (32 bytes):
Resource File Length = S[Li] + n*32;
The variable F_HEADER present refers to the internal structure of how the file is effectively memorized within the system; to
identify it we refer directly to the stuctures “C” used internally:
union TIME_INF {
struct part {
unsigned short hour : 5;
unsigned short min : 6;
unsigned short sec : 5;
};
ushort time;
};
// total 2 bytes
union DATE_INF {
struct part {
unsigned short year : 7;
unsigned short month : 4;
unsigned short day : 5;
};
ushort date;
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System Exclusive A•43
};
// total 2 bytes
struct F_HEAD {
unsigned char name[8],ext[3],flags; // 12
TIME_INF
time;
DATE_INF
date;
long
length;
};
//
//
//
//
2
2
4
total 20 bytes
For completion, the description of the file inside the HEADER.hdr refers instead to a more complex stucture:
struct F_HEADER {
F_HEAD f;
char
name[16];
long
offset;
};
Creation of the Resource Header
Before sending the Resource File, a Resource Header is sent which describes the entire Data File which is then sent. The Format
of the file is the following:
bytes
1
1
4
15
rel.addr.
0
1
2
6
name
resource type
nfile
len
name
description
Resource ID
number of file
total length of the effective binary resource file
name of the complete structure associated to the file
for a total length of files equal to 21 bytes.
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A•44 Appendix
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APPENDIX C
MIDI FILTERS conversion table
N.
Description
0
Filter off
1
Prg. change
2
Pitch
3
Mono touch
4
Poly touch
5
0 Bank sel
6
1 Modulation
7
2 Breath cnt.
8
3 Undef. cnt.
9
4 Foot cnt.
10
5 Portamento time
11
6 Data en. MSB
12
7 Main vol.
13
8 Balance
14
9 Undef. cnt.
15
10 Panorama
16
11 Expression
17
12 Control 1
18
13 Control 2
19
14 Undef. cnt.
20
15 Undef. cnt.
21
16 Gen. purp. c.1
22
17 Gen. purp. c.2
23
18 Gen. purp. c.3
24
19 Gen. purp. c.4
25
20 Undef. cnt.
26
21 Undef. cnt.
27
22 Undef. cnt.
28
23 Undef. cnt.
29
24 Undef. cnt.
30
25 Undef. cnt.
31
26 Undef. cnt.
32
27 Undef. cnt.
33
28 Undef. cnt.
34
29 Undef. cnt.
35
30 Undef. cnt.
36
31 Undef. cnt.
37
64 Damper ped.
38
65 Portamento
39
66 Sostenuto
40
67 Soft pedal
41
68 Legato foot
42
69 Hold 2
43
70 S.C. (Sn.v.)
44
71 S.C. (Res.)
45
72 S.C. (Rel.)
46
73 S.C. (Att.)
47
74 S.C. (Cut.)
48
75 S.C. (Undef.)
49
76 S.C. (Undef.)
N.
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
Description
77 S.C. (Undef.)
78 S.C. (Undef.)
79 S.C. (Undef.)
80 Gen. purp. c.5
81 Gen. purp. c.6
82 Gen. purp. c.7
83 Gen. purp. c.8
84 Portam. cnt.
85 Undef. cnt.
86 Undef. cnt.
87 Undef. cnt.
88 Undef. cnt.
89 Undef. cnt.
90 Undef. cnt.
91 Eff. 1 (Rev.)
92 Eff. 2
93 Eff. 3 (Chor.)
94 Eff. 4
95 Eff. 5
96 Data incr.
97 Data decr.
98 NRPN LSB
99 NRPN MSB
100 RPN LSB
101 RPN MSB
103 Undef. cnt.
104 Undef. cnt.
105 Undef. cnt.
106 Undef. cnt.
107 Undef. cnt.
108 Undef. cnt.
109 Undef. cnt.
110 Undef. cnt.
111 Undef. cnt.
112 Undef. cnt.
113 Undef. cnt.
114 Undef. cnt.
115 Undef. cnt.
116 Undef. cnt.
117 Undef. cnt.
118 Undef. cnt.
119 Undef. cnt.
119 Undef. cnt.
120 All snd. off
121 Reset all c.
122 Local cnt.
123 All note off
124 Omni m. off
125 Omni m. on
126 Mono m. on
127 Poly m. on
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System Exclusive A•45
1
see Appendix A on Data Format
2
0=Echo LCD, 1=All, 2=All on 2 lines, 3=Lyric only, 4=Chord only
3
The values 00H-0FH relatve to the Midi Port-A and 10H-1FH to Port-B
4
00=No Midi, No Keyboard, 1=only Keyboard, 2=only Midi, 3=Midi & Keyboard
5
00=N0 Midi, No Generation, 1=only Generation, 2=only Midi, 3=Midi & Generation
6
see Appendix A on Data Format
7
see paragraph “Device Parameter Access”
8
Infact the Resource File Header is composed of 21 byte (see Appendix B)
9
See Appendix B regarding the composition of the various resources available
10
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28 + byte data number
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A•46 Appendix
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Index
A
About MIDI 2. 59
About Songs 6. 1
About Standard MIDI files 6. 1
About Performances 2. 15
Accompaniment tracks 2. 23
Add segment 16. 16
Adjust the overall volume 2. 8
Adjust the sound volumes separately 2. 8
Algorithm 16. 36
Algorithms 16. 1
All (Score Controls) 7. 21
Amplitude Envelope 16. 15
Amplitude Envelope Contro 16. 15
Amplitude Envelope Key On 16. 16
Amplitude Envelope Tracking 16. 19
Amplitude Key Off 16. 17
Arrange Memory 2. 29
Arrange Mode 2. 29, 2. 32
Arrange On/Off 2. 29
Arrangement patterns 8. 1
Assign the MIDI channels 2. 60
Attack 15. 3
Audio Inputs 17. 6
Audio Out 15. 6
Audio Out (A/V interface) 17. 8
Auto accompaniments 2. 23
Auto Chord Mode 2. 32
Auto Preload 4. 1, 4. 3
Autobacking 2. 32
B
Backup copies 3. 31, 3. 38
Balance 16. 14
Balance dynamic sensitivy 16. 14
Balance Envelope 16. 20
Balance Envelope Key On & Key Off 16. 21
Balance parameters 16. 20
Balance touch sensitivity 16. 14
Balance Tracking 16. 14, 16. 22
Balancing 2. 8
Band Pass 15. 3, 16. 39
Band-pass filter (Ed. Perf Sound) 15. 3
BankSelect 11. 5
Basic structure of a Style 8. 1
Bass (Vocal Processor) 10. 9
Bass Sustain 17. 4
Bass to Lowest 2. 29
Battery & Release 17. 9
Block 3. 1, 14. 4
Block rename 3. 35
Block size 3. 35
C
Cancel files (Edit Disk) 3. 22
Catch locator 7. 19, 9. 16
Catch Note 15. 7, 17. 3
CC#0 (ControlChange) 13. 3
CC#32 (ControlChange) 13. 3
Change disk name 3. 29
Change Velocity 7. 12, 9. 12
Channel A effects 2. 35
Channel B effects 2. 35
Check version 3. 30
Chord (Vocal Processor) 10. 9
Chord Language 17. 6
Chord recognition modes 2. 32
Chord to Arr.1 / Chord to Arr.2 11. 6
Chord Type (Vocal Processor) 10. 12
Chords (Edit Score) 7. 23
Chords (Score Controls) 7. 21
Chords on lyrics (Video controls) 7. 22
Chords track 7. 3
Clock send 11. 4
Close 14. 4
Coarse 17. 3
Coarse&Fine 17. 3
Common Channel 11. 6
Common Channel/Arrangement 11. 6
Compare 15. 8, 16. 3
Compare exit 16. 3
Compatibility switch 11. 5
Compress 3. 32
Computer 17. 4
Computer port 2. 62
Configuration 11. 2
Configure a track 2. 61
Continuous Control Pedals 13. 2
Continuous Pedal Functions 13. 5
Copy (Edit Song) 7. 6
Copy (compare) 16. 3
Copy (Edit Disk) 3. 24
Copy (Edit Style) 9. 6
Copy a file (Edit Disk) 3. 24
Copy All tracks (Edit Song) 7. 6
Copy Chords track (Edit Song) 7. 6
Copy Lyrics track (Edit Song) 7. 6
Copy Master track (Edit Song) 7. 6
Copy mode (Edit Song) 7. 7
Copy mode (Edit Style) 9. 7
Copy Music track (Edit Song) 7. 6
Copy Parameters (Edit Song) 7. 7
Copy Riff (Edit Style) 9. 6
Copy Style (Edit Style) 9. 6
Copy times (Edit Song) 7. 7
Copy times (Edit Style) 9. 7
Copy to (Edit Perf Sound) 15. 4
Copy to Layer 15. 7
Copy to octave 17. 3
Copy Track (Edit Tracks) 14. 6
Copy Track (Edit Song) 7. 6
Copy Track (Edit Style) 9. 6
Copy Variation (Edit Style) 9. 6
Countdown 6. 6
Create a new Style 8. 2
Create a Preload list 4. 2
Create track 14. 6
Crossfade effects 14. 3
Cutoff (A/V interface) 17. 8
Cutoff Frequency 16. 23
D
Data Entry 16. 7
Date & Time 17. 5
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Index A•47
Decay 15. 3
Del segm 16. 16
Delay 14. 5
Delay (delays) 10. 3
Delay (reverbs) 10. 3
Delay/Chorus/Flanger/Modulation table 10. 6
Delay/Modulation 2. 35
Delete (File) 3. 32, 3. 33
Delete (Microscope Edit Style) 9. 16
Delete Master Track (Edit Song) 7. 19
Delete measures 7. 11, 9. 11
Depth (Effects) 10. 3
Destination 3. 3, 3. 14
Detune 14. 2
Detune (Effects) 10. 4
Dialog windows 1. 8
Diffusion (Effects) 10. 3
Digital Signal Processor 2. 35
Directory 3. 3
Disk 3. 1
Disk commands 3. 2
Disk Drive Head Cleaning 3. 38
Disk formats 3. 1
Disk handling information 3. 37
Display Contrast 2. 1
Display controls 17. 6
Display Hold 2. 22, 5. 9
Display mode 17. 6
Display Song lyrics 2. 48
Drum mask 9. 18
Drumkit 2. 17, 15. 5
Drumkits A. 10
Dual 1 16. 2
Dual 2 16. 2
Dual 3 16. 2
Dual 4 16. 2
Duet 14. 4
Dynamic Arrange 2. 32
Dynamic layer 15. 5
Dynamic sensitivity 16. 11
Dynamic switch 15. 7
Eff 2 (Delay/Chorus/Flanger/Modulation) 15. 6
Eff Group (A/V interface) 17. 7
Eff. 1 (Reverb) 15. 6
Eff1 10. 1
Eff2 10. 1
Effect 1 - Reverb table 10. 5
Effect 2 - Modulation effects table 10. 6
Effect 2 to Effect 1 10. 1
Effect Type 2. 35
Effects 2. 35
Effects Bypass 2. 37
Effects Off 5. 9
Effects Programming 10. 3
Effects type 10. 1
Ejecting a Floppy Disk 3. 37
Empty Track (Edit Style) 9. 2
End 6. 7
End line (Edit Score) 7. 26
Entering Edit Sound 16. 4
Envelope finish 16. 15
Erase 6. 6, 7. 3, 8. 5
Erase (Edit Disk) 3. 22
Erase (Edit Style) 9. 3
Erase Master track (Edit Song) 7. 3
Erase Parameters (Edit Song) 7. 4
Erase Riff 8. 5
Erase Riff (Edit Style) 9. 3
Erase Song 6. 6
Erase Style 9. 3, 9. 4
Erase Track 6. 6, 14. 6
Erase Track (Edit Song) 7. 3
Erase Track (Edit Style) 9. 3
Erase Track (Style) 8. 5
Erase Variation 8. 5, 9. 4
Erase Variation (Edit Style) 9. 3
Error found 3. 30
Escape from edit sound 16. 5
Event List 7. 14, 9. 14
Event list 7. 17
Event type 9. 4
Exclude 15. 6
Execute 3. 32, 3. 33
Expand 15. 8
Extension (Edit Score) 7. 26
External (MIDI Clock) 11. 3
E
E-IDE interface (Hard disk) 3. 1
E1 Send (A/V interface) 17. 7
E2 Send (A/V interface) 17. 8
Echo LCD (Video controls) 7. 21
Edit (Vocal Processor) 10. 11
Edit Controllers/Pads 13. 1
Edit Effects 10. 1
Edit General 17. 1
Edit MIDI 11. 1
Edit Mixer 12. 1
Edit note 15. 6
Edit Perf Sound 15. 2
Edit Perf Sound/Sound Patch 15. 1
Edit Score 7. 22
Edit Score page 7. 25
Edit Song 7. 1
Edit Sound 16. 1
Edit Sound Patch 15. 5
Edit Style 9. 1
Edit Style procedure 9. 1
Edit Tracks 14. 1
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A•48 Index
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F
Fade In/Out 2. 28
Feedback (delays) 10. 3
Feedback (Distortion) 10. 3
Feel (Quantize) 6. 8
File Quantity 3. 2
File Selector 3. 3
File Type 3. 3
Files 3. 1
Filter 16. 23
Filter (A/V interface) 17. 8
Filter (Edit Drumkit/SoundPatch) 15. 6
Filter Control parameters 16. 23
Filter Cutoff (Ed. Perf Sound) 15. 3
Filter Cutoff Tracking 16. 25
Filter Envelope 16. 24
Filter Envelope Key On & Key Off 16. 26
Filter Envelope Tracking 16. 27
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Filters 16. 39
Fine pitch 16. 9
Finetune 17. 3
Fingered 1 2. 32
Fingered 2 2. 32
Fixed 9. 12
Fixed Chord Mode 2. 32
Fixed Velocity Mode (Edit Song) 7. 12
Floppy disk (Preload) 4. 3
Floppy disks 3. 1, 3. 14
Footswitch polarity 17. 2
Forced Stop 6. 4, 6. 7
Format Hard disk 3. 29
Format MS-DOS/Atari disk 3. 28, 3. 29
Format work disk 3. 28
Four (4) pole Filter 16. 23, 16. 39
Free 1 2. 32
Free 2 2. 32
Free memory 8. 6
Free memory (Edit Disk) 3. 34
Frequency Modulation 10. 3
Front Panel 1. 1
Full keyboard mode 2. 3
G
General (Edit) 17. 1
General «Disk» procedure 3. 4
General Edit Perf Sound procedure 15. 1
General Load procedure 3. 7
General MIDI 6. 1, 11. 5
General Save procedure 3. 14
General settings (MIDI) 11. 3
General transposition 2. 9
Get score... (Edit Score) 7. 26
GM compatible MIDI Files 6. 1
GMX format 3. 1, 6. 1
Go to loc (Edit Style) 9. 16
Go to loc... (Edit Score) 7. 25
Group 3. 2
Group A & B 10. 1
H
Handling Floppy Disks 3. 37
Hard Disk 3. 1, 3. 14
Hard Disk (Preload) 4. 3
Hard Disk check/recovery 3. 30
Hard Disk Protection 3. 31
Hard Disk Restore 3. 33
Hard Disk sleep time 3. 30
Hardcopy (Pads) 13. 3
Harmony 14. 4
Harmony intervals 10. 9
Harmony On/Off 2. 29
Harmony Type 2. 29, 14. 4
Headphones 2. 11
Help 5. 10
Help language 17. 6
High Frequency Decay 10. 3
High Gain (Effects) 10. 4
High Pass 16. 39
High-pass Filter (Ed. Perf Sound) 15. 3
How to back up your Hard Disk data 3. 31
How to program a Key On or Key Off envelope 16. 18
How to program a Tracking envelope 16. 13
How to restore backup data to the Hard disk 3. 33
How to use HELP 5. 10
I
IDE interface (Hard disk) 3. 1
Input VU 17. 7
Ins type (Edit Song) 7. 19
Ins type (Microscope Edit Style) 9. 16
Ins[ert] (Microscope Edit Style) 9. 16
Insert Measures 7. 10, 9. 10
Inserting a Disk into the disk drive 3. 37
Inserting chord symbols 7. 23
Inserting lyrics (Edit Score) 7. 24
Inserting notes (Edit Score) 7. 23
Internal (MIDI Clock) 11. 3
Internal sound generator icon 11. 2
Isolate a single sound 2. 21
K
Key 7. 17, 16. 12
Key Assign 13. 3
Key Note 8. 3, 8. 5
Key Off Envelope 16. 38
Key Off rate dyn. sensitivity 16. 15
Key range 14. 5
Key Start 2. 27
Key-play 1. 7
Keyboard Scale 17. 2
Keyboard Sensitivity 17. 2
Keyboard/Common Channel icon 11. 2
L
Last Selection Memory 17. 6
Layer Range 16. 36
Layer Utility 16. 36
Level 16. 12, 16. 17
LFO 16. 31, 16. 38
LFO Delay 15. 4
LFO Depth 15. 4
LFO Rate 15. 4
Linear 6. 4, 6. 7
Linear curves 14. 3
Listen to the Demos (All, Song, Style) 2. 13
Load All 3. 12
Load Group 3. 10
Load Operations 3. 7
Load Single Block 3. 8
Load the Demo Song into memory 2. 42
Load WX2/SX2 Songs & Styles 3. 13
Local Off 11. 9
Locator 6. 7
Loop 6. 4, 6. 7
Loop and LFO 16. 38
Loop segm 16. 16, 16. 21
Low Frequency Oscillator 16. 31
Low Gain (Effects) 10. 4
Low Pass 16. 39
Low Pass Filter (Effects) 10. 3
Low-pass Filter (Ed. Perf Sound) 15. 3
Lower Memory 2. 29
Lyric 1...Lyric 4 (Score Controls) 7. 21
Lyrics 7. 24
Lyrics (Edit Score) 7. 25
Lyrics track 7. 3
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Index A•49
M
O
Macintosh 2. 62, 17. 5
Main Disk pages 3. 2
Mask 9. 17
Mask Arranger tracks 9. 17
Master 2. 59
Master Pitch 17. 2
Master Track 7. 17
Master transpose enable/disable 14. 1
Measures 8. 5
Medium Gain (Effects) 10. 4
Memory progress bar 6. 8
Metronome 6. 4, 8. 5
Mic/Line On/Off 17. 8
Microscope 7. 14, 9. 14
Microscope (Edit Song) 7. 16
MID extension 3. 17
MIDI Channels 2. 60, 11. 1
MIDI Clock 11. 3
MIDI Configuration 2. 61
MIDI connection rules 2. 59
MIDI events 6. 1
MIDI Filters 2. 63, 11. 3
MIDI Implementation Chart A. 37
MIDI IN 2. 59
MIDI IN Filter 2. 63
MIDI IN fix velocity 11. 4
MIDI IN icon 11. 2
MIDI IN Transpose 11. 4
MIDI Lock 2. 63, 11. 1, 11. 9
MIDI Merge 11. 4
MIDI OUT 2. 59
MIDI OUT Filter 2. 63
MIDI OUT icon 11. 2
MIDI Panic 2. 64
MIDI THRU 2. 59
Mixer 12. 1
Mixer Lock 2. 29
Mode 6. 6, 14. 2
Mode (F8) for Pedalboard options 17. 4
Mode (User Styles) 8. 4
Mode/Priority 14. 2
Modulation 13. 1
Move 3. 26, 7. 5, 9. 5
MS-DOS 3. 17
Multi keyboard mode 2. 7
Multifunction 17. 4
Multimedia 2. 48
Music track 7. 3
Musical motif 8. 1
Mute 1. 7
Mute a sound 2. 5
Octave 1 14. 4
Octave 2 14. 4
Octave Down 17. 3
Octave Up 17. 3
One Finger 2. 32
Open 1 14. 4
Open 2 14. 4
Option 6. 6
Oscillators and Layers 15. 2, 16. 1
Overdubb 6. 6
Overdubb Mode (User Styles) 8. 4
Overwrite 3. 32
P
Pads 2. 11, 13. 3
Pan 15. 6, 16. 33
Pan (A/V interface) 17. 7
Pan (Mixer) 12. 1
Pan Envelope Control 16. 33
Pan Envelope Key On & Key Off 16. 34
Pan Envelope Tracking 16. 35
Parametric Boost 16. 39
Parametric boost Filter (Ed. Perf Sound) 15. 3
Parametric Cut 16. 39
Parametric cut Filter (Ed. Perf Sound) 15. 3
PC1 2. 62
PC1 (Computer) 17. 5
PC2 2. 62
PC2 (Computer) 17. 5
Ped./Pad 13. 3
Pedal Volume 6. 6
Pedalbass 17. 4
Pedalboard 17. 4
Pedalboard / Computer 17. 4
Pedalchord 17. 4
Pedals assignment 13. 2
Pedals programming 13. 2
Pedals/Pads Lock 13. 3
Performance 2. 15
Performance tables A. 32
Permanent escape without saving 16. 5
Peterson 14. 4
Pitch Envelope 16. 28
Pitch Envelope Control 16. 28
Pitch Envelope Key On & Key Off 16. 29
Pitch Envelope Tracking 16. 30
Pitch Filter (Vocal Processor) 10. 12
Pitch touch sensitivity 16. 10
PitchBend 13. 1
Play (Preload) 4. 4
Play along with a Song 2. 53
Play Songs using Jukebox 2. 54
Play with the pedals 2. 12
Play with the Styles 2. 24
Play with the Wheels 2. 12
Play/Rec mode 6. 7
Playback all the songs or MIDI files on disk 4. 1
Playback the Demo Song 2. 44
Playing modes 2. 2
Point 16. 12
Power up and get to know the basics 2. 1
Precautions to observe when using SK disks with a
computer 3. 38
N
Name 7. 2
Navigation and data entry 16. 7
New floppy Disk (Edit Disk) 3. 34
Next event (Edit Score) 7. 24, 7. 25
Normal 9. 12
Normal Velocity Mode (Edit Song) 7. 12
Note Off Quantize 7. 8, 9. 8
Note On Quantize 7. 8, 9. 8
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A•50 Index
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Preload 2. 46, 4. 1
Preload functions 4. 3
Preload list 4. 1
Previous event (Edit Score) 7. 24, 7. 25
Priority 14. 2
Programmable Pads 2. 11
Punch In/Out 6. 6, 8. 4
Q
Quantize 7. 8, 8. 3, 8. 6, 9. 8
Quick Rec Recording 2. 50
R
RAM -Sound 2. 17
RAM reset vi
RAM-Sound 2. 17
Random pan (Mixer) 12. 2
Random pitch 14. 2
Range(H) A. 43
Real time keyboard sections 2. 23
Rear Panel 1. 2
Rec riff 8. 4
Rec View 6. 6
Rec View (User Styles) 8. 5
Rechargeable battery v
Recognized Control Change messages A. 38
Record 1. 7
Record a Song (Quick rec.) 2. 50
Record method 6. 3
Record View page 6. 6
Recording a Song 6. 1
Release (Ed. Perf Sound) 15. 3
Replace 6. 6, 8. 4
Reset 3. 32, 3. 33
Reset list (Preload) 4. 3
Resetting at Power Up iv
Resonance 16. 23, 16. 39
Resonance (A/V interface) 17. 8
Resonance (Ed. Perf Sound) 15. 3
Restore 17. 9
Restore All 17. 10
Restore all tracks 15. 4
Restore Current edit (Drumkit/SoundPatch) 15. 8
Restore Performance 17. 10
Restore S.P. Perf (Drumkit/SoundPatch) 15. 8
Restore Songs 6. 8
Restore Style-Performance 17. 10
Restore Styles 8. 4, 17. 10
Restore track 15. 4
Restoring the original Performance settings 2. 41
Restoring the Songs memory 2. 58, 6. 8
Restoring the User Styles memory 8. 4
Reverb Time 10. 3
Reverbs 2. 35
Reverbs (effect table) 10. 5
Riff 8. 1, 9. 3
Roll off curve 16. 23
ROM-Sound 2. 17
ROM-Sound tables A. 2
Room Size (Reverb) 10. 3
Root (Edit Score) 7. 24, 7. 26
Rotary (Reverb) 10. 3
S
Sample-RAM (Edit Disk) 3. 34
Save All 3. 21
Save Group 3. 19
Save Group Real Perf 3. 19
Save Group Song 3. 19
Save Group Style Perf 3. 19
Save Group User Style 3. 19
Save operations 3. 14
Save procedure 2. 55
Save Single 3. 16
Save to a different Performance 2. 39
Save your programmed data to disk 2. 55
Save... (Edit General) 17. 3
Saving and naming the modified sound 16. 6
Saving changes to the current Performance 2. 38
Saving to the power-up Performance 2. 38
Scale Conversion 8. 3, 8. 5
Scale Conversion tables 8. 7
Scale Mode 16. 10
Score button 7. 20
Score Controls 7. 21
Score split (Video controls) 7. 21
Score track 7. 20
Search next 3. 36
Search Resource 3. 35
Segment 16. 12, 16. 17
Select All 3. 32, 3. 33
Select all (Preload) 4. 4
Select all tracks 6. 6
Select and play the Performances 2. 15
Select Performances (panel selection) 5. 1
Select Performances via MIDI 5. 1
Select riff (Microscope - Edit Style) 9. 14
Select Song Perfs via MIDI 5. 8
Select Song-Performances 5. 3
Select Song-Performances (panel selection) 5. 8
Select Songs (panel selection) 5. 7
Select Songs via MIDI 5. 7
Select Sounds (panel selection) 5. 4
Select Sounds via MIDI 5. 6
Select Sounds with the Numeric keypad 5. 4
Select Style Perfs via MIDI 5. 3
Select Style-Performances (panel selection) 5. 3
Select Styles (panel selection) 5. 2
Select Styles via MIDI 5. 2
Select the Vocal Processor 10. 9
Selection 5. 1
Semitone (Effects) 10. 4
Send Level 10. 2
Seq-play 1. 7
Set date 17. 5
Set time 17. 5
Setup 17. 9
Setup (Edit General) 17. 1
Shifting the pitch of your voice 10. 10
Show.. (Microscope Edit Style) 9. 14
Single 3. 2, 16. 2
SINGLE TOUCH. PLAY button 2. 24
Slave 2. 59
Slope 16. 39
Smart 14. 4
SMF (Preload) 4. 4
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Index A•51
SMF Save format 11. 4
SOLO button 2. 21
Song (Preload) 4. 3
Song mode 2. 2
Song Name 7. 2
Song Publisher 7. 2
Song-Quick Rec method 6. 2
Songs-Group 3. 10, 3. 19
Sound and Sound Patch 15. 1
Sound Patch 15. 5
Sound Patch Options 15. 7
Sound View 6. 6
Sound View (User Styles) 8. 4
SoundPatch 2. 17
Sounds 2. 17
Source 3. 3
Speed (rotary effects) 10. 3
Split point 2. 34
Split the keyboard 2. 4
Standard MIDI File 6. 1
Start and End locators 6. 4
Start parameters 7. 18
Status of a track 1. 7
Stereo panorama 12. 1
Store 15. 8
Store Performance 2. 38
Style 8. 5
Style Lock 2. 16
Style Name 9. 2
Style Performance 2. 30
Style tables A. 30
Style/RealTime mode 2. 2
Styles 2. 23
Sustain 16. 15
Switch action pedals 13. 2
Switch Pedal Functions 13. 4
System Exclusive 11. 4
System Exclusive Implementation A. 39
Up-dateable operating system iv
Upper/Lower keyboard mode 2. 4
User programmable scales 17. 2
User Style Recording 8. 1, 8. 3
Using the Keypad to Select a Sound 2. 20
Utility 3. 28
V
Variation 9. 3
Variations 2. 26
Velocity 7. 12
Velocity (Edit Style) 9. 12
Velocity curve 14. 3
Velocity mode 7. 12
Velocity mode (Edit Style) 9. 12
Velocity range 14. 3
Video controls (Score Controls) 7. 21
View mode (Score Controls) 7. 21
Vocal harmonies 10. 7
Vocal Processor 10. 7, 10. 9
Vocoder (Vocal Processor) 10. 10
Vocoder Track 10. 12
Voice 1 (Vocal Processor) 10. 9
Voice 2 (Vocal Processor) 10. 9
Voice 3 (Vocal Processor) 10. 9
Voice 4 (Vocal Processor) 10. 9
Voice Set (Vocal Processor) 10. 12
Volume 16. 11
Volume (A/V interface) 17. 7
Volume (Mixer) 12. 1
Volume touch sensitivity 16. 11
Volume Tracking 16. 12
Volume, Velocity & Aftertouch 16. 38
W
WAIT (handshake message): A. 39
Warnings 1. 8
Wave Start Dynamic mode 16. 10
Wave Start Dynamic sensitivity 16. 10
Wave Vector 16. 9
Waveform 16. 9, 16. 38
Wavestart 16. 10
Wavetables A. 34
What is a Riff? 8. 1
Wheels 2. 12, 13. 1
Write Protect Tab 3. 37
T
Tap Tempo 2. 28
Tempo 6. 7, 8. 5
Tempo Lock 2. 29
Temporary escape 16. 5
Time 16. 17
Time Signature 6. 7, 8. 5
Time Signature (User Styles) 8. 2
Title 7. 2
To octave 17. 3
Track Icons 1. 7
Track Scroll button 2. 23
Track transposer 14. 1
Transpose 7. 13, 9. 13, 14. 1, 16. 9
Transpose (Edit Drumkit/SoundPatch) 15. 6
Transposing tracks by octaves 2. 10
Tuning 15. 6
Tuning mode 16. 9
Tuning/Scale 17. 2
Two (2) pole filter 16. 23
Y
Y shift (Video controls) 7. 21
Z
Zoom 16. 16
U
Undo 6. 5, 7. 2, 9. 2
Undo (Style) 8. 3
Unison (Vocal Processor) 10. 11
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A•52 Index
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FEDERAL COMMUNICATIONS COMMISSION
Note: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant
to Part 15 of FCC Rules. These limits are designed to provide reasonable protection against harmful interference
in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not
installed and used in accordance with the instructions, may cause harmful interference to radio communications.
However, there is no guarantee that interference will not occur in a particular installation. If this instrument does
cause harmful interference to radio or television reception, which can be determined by turning the instrument
off and on, the user is encouraged to try to correct the interference by one or more of the following measures:
-
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and the receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Changes or modifications to this product not expressly approved by the manufacturer could void
the user’s authority to operate this product.
Stock Code 271219
Specifications are subject to change without prior notice.
PRINTED IN ITALY
Sales Division: I -47048 S.Giovanni in Marignano (RN) - Italy – Via delle Rose, 12
Tel. +39 541 959511 – fax +39 541 957404 – tlx 550555 GMUSIC I
Internet: http://www.generalmusic.com
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