Sequential Circuits Six-Trak Operation Manual

Sequential Circuits Six-Trak Operation Manual
OPERATION MANUAL
= SEOUENTiAL
ll [da Te
Manual No: CM610A
SIX-TRAK
SYNTHESIZER /SEQUENCER
OPERATION MANUAL
By Stanley Jungleib
Sequential Circuits, Inc. Sequential Circuits, Inc.
Nijverheidsweg llc | 3051 North First Street
3641 RP Mijdrecht San Jose, CA 95134-2093
Netherlands U.S.A.
02979-6211 408/946-5240
TELEX: 12721 SQNTL NL TELEX: 364412 INTR 706
Table of Contents
page
About the Six-Trak iii
1 BASIC SETUP 1-1
BASIC OPERATION
PREPARATION
PROGRAM SELECT
WHEELS
AUTOMATIC TUNING
MANUAL TUNING
NORMAL VOICE ASSIGNMENT
UNISON
LEGATO
GLIDE
IN CASE OF DIFFICULTY
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SEQUENCER
INTRODUCTION
PLAYBACK START/STOP
OPTIONAL FOOTSWITCH START/STOP
TRACK VOLUME
MEMORY FULL
RECORD BASIC TRACK(S)
RECORDING USING THE OPTIONAL FOOTSWITCH
BASIC OVERDUBBING
ERASING TRACKS
FOOTSWITCH CUE
EDIT TRACK PROGRAM
MULTI-TRACK/MULTI-TIMBRE EXAMPLE
IN CASE OF SEQUENCER PROBLEMS
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ARPEGGIATOR
1 INTRODUCTION 4
2 UP/DOWN 4
-3 ASSIGN 4
4 FOOTSWITCH NOTES 4
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STACK MODE 5-1
PROGRAMMING THE SYNTHESIZER
1 INTRODUCTION 6
2 EDITING A PROGRAM 6-
3 RESTORING A PROGRAM 6
-4 AN EDITING EXAMPLE 6
> RECORDING A PROGRAM 6-
6 USING THE BASIC PATCH 6
CM610A 12/83 iv
10
10-1
10-2
10-3
10-4
10-5
11
12
13
14
15
SYNTHESIZER PARAMETERS
INTRODUCTION
OSCILLATOR
LFO
FILTER
AMPLIFIER
UNISON
HIDDEN FUNCTIONS
GENERAL
MIDI |
FOR SERVICE USE ONLY
USING THE SIX-TRAK WITH DRUMTRAKS
USING MIDI
CONNECTING TWO SIX-TRAKS
BASIC MIDI OPERATION
DUMP OPERATIONS
CONTROL OPTIONS
A SIX-TRAK AND PROPHET-T8
DETAILS
SPECIFICATIONS
MIDI IMPLEMENTATION SPECIFICATION
FACTOR Y PROGRAMS
YOUR PROGRAMS
CM610A 12/83 У
12-1
13-1
14-1
15-1
1 BASIC SETUP
WARNING! Switch power off to all
equipment in use before connecting or
disconnecting anything. |
LINE CORD
Connect to correct power source.
U.S./Japan: 115V. Europe: 230V.
POWER SWITCH
Check that back-panel power switch is
off (down).
FUSE
115V: 1/8A
230V: 1/4A
AUDIO OUT CONTROL FOOTSWITCH
Composite monophonic signal. If available, connect footswitch to
Connect to monitor system with CONTROL FOOTSWITCH jack.
monophonic cable. Will drive stereo
headphones with a monophonic signal.
Figure 1-1
BASIC SETUP
CM610A 12/83 1-1
2 BASIC OPERATION
This section covers basic operation using the factory programs.
2-1 PREPARATION
Connect the Six-Trak as described on
the previous page.
bo [CTT]
Switch power on.
It is normal for 00 to be displayed and nr
PROGRAM to be lit.
||
[ je
||
(If there is a memory error, the
display will count from 1 through 6.
This indicates voice tuning. Also, any
sequences will be erased. See page
PROGRAM PARAMETER VALUE
2-4.)
CAUTION: To protect speakers (and THEN A ;
ears!), first lower MASTER VOLUME 0. à
all the way, then raise it to desired MASTER VOLUME MASTER VOLUME
level while playing.
Since program 00 has been pre- BN 1
programmed, the keyboard will now NANA wy:
| \ ‚ A
play in this sound. The keyboard will à EE
be homophonic: all voices will be NE |
programmed with #00.
Check that PITCH wheel is centered щи |
in its detent position.
Check that the MOD wheel is fully >> =
down.
|| E <<
Check that MASTER TUNE is PITCH MOD
centered.
If necessary, adjust MASTER TUNE to
tune Six-Trak against piano or other
instrument.
MASTER TUNE
MASTER TUNE
CM610A 12/83 2-1
2-2 PROGRAM SELECT
To select a new program:
mr
Li Li
* o O
Switch PROGRAM on (if not already). a Г Г
This enables program changes to be
made and indicates that the display is PROGRAM PARAMETER VALUE
showing a program number.
When PROGRAM is lit, pressing any
two digits will select a new program.
The new program takes effect when
the second digit is entered.
If the sequencer and arpeggiator are x © ©
off, pressing the footswitch will select [| [| [|
the next highest program number. PROGRAM PARAMETER VALUE
The factory programs are described at Ny
the back of this manual.
=
Bo 5
2-3 WHEELS
(°C”) CA”) CE”)
The PITCH wheel is normally left in
its center-detent position, from which
it is possible to "bend" oscillator pitch
up or down by about a 3rd.
Check that the MOD wheel is down | |
(minimum modulation). The MOD
wheel sets the modulation level. When PITCH PITCH PITCH
not in use, the wheel is left "down"
and no modulation will occur. When (NO EFFECT) (FULL EFFECT)
the wheel is advanced fully "up," | щи
modulation is maximum.
MOD MOD
CM610A 12/83 2-2
2-4 AUTOMATIC TUNING
As the Six-Trak warms up, the temperature change causes the oscillators to drift. To
correct for this effect, the Six-Trak tunes itself when it is not being played. When the
Six-Trak has been "standing by" for 30 seconds, it will tune one oscillator. Thirty
seconds later, it will tune the next oscillator, and so on. If you need to play it while it
is tuning, go ahead: playing interrupts tuning.
2-5 MANUAL TUNING
If you do not want to wait for automatic tuning to tune the six oscillators:
Hold CONTROL RECORD. — CONTROL
Press SELECT 6. '
O
moro || |
RECORD
RECORD will remain lit while tuning is in progress. The display will count from | 10 6,
indicating which voices are tuning. When tuning is concluded, RECORD will go off and
the Six-Trak will return to exactly the same state as it was in before the tuning. Even
unrecorded Edit Mode changes are retained. It may be necessary to slightly readjust
MASTER TUNE.
2-6 NORMAL VOICE ASSIGNMENT
Voice assignment is indicated by the TRACK LEDs (TRACK | equals voice |, etc.).
While you play normally, the computer continuously assigns the six synthesizer voices
to the most recently-played keys on the keyboard. You can play a maximum of six keys
at once. If more than six keys are held down at the same time, the computer will
reassign the earliest-used voices first. For example: playing and holding C, D, E, F, G,
A, and B in succession will result in D, E, F, G, A, and B being sustained, while the C
will disappear when the B is played. In other words, the Six-Trak normally operates on
a "last-note priority" system: each new note played is assigned to the earliest-used
voice. If the same key is struck repeatedly, the computer assigns the same voice.
2-7 UNISON
While selecting factory programs, you may have noticed the keyboard switching to
Unison mode. If Unison is on in the current program, all six voices will be assigned to
the lowest key played.
In Unison, if more than one key is played at once, only the lower note will be heard.
The keyboard will also change from multiple- to single-triggering. This keyboard mode
was popularized by the Mini-Moog monophonic synthesizer and requires--but also
allows--a somewhat different keyboard technique. Instead of retriggering with each
keystroke, the envelopes will only retrigger if the previous key is completely released
before the new key is pressed. This requires a stacatto touch. By the same token, if
you play legato, the envelopes will only trigger on the first note, while the rest of the
phrase will be sounded by the sustain settings of the envelopes. With practice, this
system allows you to selectively accent notes by touch.
CM610A 12/83 2-3
2-8 LEGATO
If UNISON is on and LEGATO is off, the keyboard operates in multi-trigger mode. If
UNISON and LEGATO are on, the keyboard operates in single-trigger mode. This is
also the case when the sequencer or arpeggiator is on.
2-9 GLIDE
Glide is a program parameter (#02) that affects the keyboard. Glide operates whether
Unison is on (monophonic) or off (polyphonic). When programmed to 0, there is no
effect: the oscillator steps instantly between specific pitches. As GLIDE is advanced,
the rate at which the oscillator pitch changes is decreased. This introduces
"portamento" between the notes, which can be subtle or quite extreme.
2-10 IN CASE OF DIFFICULTY
Memory
If the display counts from 1 to 6 when power is switched on, there may be a memory
problem. Check your sequences and a few programs to see if they are as recorded.
If this occurs repeatedly, you may want to consult an SCI Authorized Service Center.
Control
If the keyboard or control panel "lock up," check that you are not making an
operational error. If necessary, reset the computer by switching power off, then, after
a few moments, back on.
If the "lock-up" occurs while using the sequencer, and you are sure that you are not
making an operational error, reset the sequencer (see page 3-12).
Power
If the Six-Trak is receiving power, it will display program numbers.
If no LEDs are lit, either the Six-Trak is not switched on, power is not reaching the
unit, or the fuse has blown.
Check the power source by plugging in other equipment.
Disconnect power cable and check fuse by opening fuseholder.
Examine the power cable for damage.
(see next page)
CM610A 12/83 2-4
Audio
If the PROGRAM display lights but no sound can be obtained, check that MASTER
VOLUME is turned up.
Check that parameter #34, VOICE VOLUME, or track volumes are not set too low.
Test the synth by simply connecting stereo headphones directly to the output.
Try substituting the audio output cable with one known to be good.
Check your amplifier by trying a high-level audio input such as another synthesizer or
tape deck.
CM610A 12/83 2-5
3 SEQUENCER
3-1 INTRODUCTION
The sequencer is the heart of the Six-Trak, recording the individual synthesizer
timbres and tracks which result in complete orchestrations. When playing the Six-
Trak live, the six voices are each programmed with the same sound (homophonic
mode). Live multi-timbres are not possible because the Six-Trak cannot know which
keystrokes are intended for which timbres. But the sequencer records each voice on
its own track. So each voice can be overdubbed in a different program. The
playback mixture of the tracks can also be programmed by individual track volume
adjustment.
The sequencer capacity of 800 total notes is alloted to two "banks," SEQ A or SEQ
B. (However sequence capacity can be increased to about 4000 notes through the
Model 64 MIDI sequencer.)
Typically, you create multi-track sequences one track at a time. The first track
recorded is referred to as the "basic" track. It determines the total length of that
sequence. The basic track(s) will therefore usually be a bass or rhythm track (but
can be whatever you want).
Note: As mentioned, each voice is recorded on its own track. This means, for
example, that if one track is being overdubbed, only one note should be played at a
time. If more than one note is played, only the last one is recorded. To record two
or more voices for either the basic track or overdubbed tracks, two or more tracks
need to be switched into record mode.
A previous sequence under "A" or "B" is automatically erased when a new sequence
is recorded. To save them permanently, sequences can be "dumped" to the external
MIDI sequencer.
CM610A 12/83 3-1
3-2 PLAYBACK START/STOP
Footswitch playback instructions are on the next page. To play sequences:
Stack mode and the arpeggiator must be
off. One sequence must be stopped
before the other can be started. (Both
SEQ LEDs must be off.)
To start, press SEQ (A or B). If the
sequence is empty, the LED will not
light or will go off instantly.
Otherwise, the sequence will begin. SEQ
lights, and lit TRACK LEDs indicate
which tracks are in playback.
The initial playback speed of the
sequence will always be the last speed at
which it played.
Adjust SPEED as desired.
Note: Do not turn SPEED all the way
counterclockwise, as this will stop the
sequencer by selecting MIDI clock input.
The sequence will repeat continuously
("loop"), until SEQ is pressed. At the end
of each loop, the TRACK LEDs will
blink.
If all TRACK LEDs are lit, no voices will
be available for live accompaniment.
(The sequencer is using all six voices.)
If any TRACK LED is not lit, this means
at least one voice is available for live
accompaniment. To play along with the
sequence:
Select desired program.
Play no more keys at once than the
number of available voices (non-used
sequencer tracks).
Use the wheels. They will only apply
to live playing, not the sequence.
To stop sequencer, press SEQ.
CM610A 12/83
О С
SEQ A SEQB
SEQUENCER
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LM
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3-2
3-3 OPTIONAL FOOTSWITCH START/STOP
To control sequencer playback with the footswitch:
Start playback normally, by selecting
SEQ A or B.
Stop sequence by pressing footswitch.
The SEQ LED will remain
indicating standby.
lit,
To start the sequence again, press the
footswitch.
The sequence will loop until the
footswitch (or SEQ) is pressed.
*
||
SEGA
NN > a (STOPS)
X
a
SEQ A
\ J => (STARTS)
Nr (STOPS)
3-4 TRACK VOLUME
During playback, the mixture of the track volumes can be adjusted. This adjustment is
remembered. Whenever the sequence is played, the track levels will be set as they
were last adjusted.
With sequence playing back, SEQ and
the TRACK LEDs of recorded tracks
will light.
Hold desired (lit) TRACK switch.
Adjust TRACK VOLUME as desired.
(It is possible to mute the track
entirely.)
Release TRACK switch.
CM610A 12/83
»
HOLD
3-3
ro MULTI-TRACK CONTROLLER
* о
O00 00D
1 2 3 4 5 6
TRACK
TRACK VOLUME
#* O
ОС
SEQ A SEGB
N
SEQUENCER
3-5 MEMORY FULL
Before recording or overdubbing, you should be aware of how "Memory Full" is
indicated.
The sequencer has a capacity of about 800 notes.
When 800 notes have been recorded in both sequences, the TRACK RECORD and
TRACK LEDs will start blinking rapidly. To escape this situation, switch SEQ (A or B)
off. You can create more space by erasing undesired tracks in either sequence, or by
erasing either sequence entirely.
If the memory full warning is ignored, excess notes will be recorded over the beginning
of the current sequence, producing unpredictable results. (The other sequence is not
affected.)
3-6 RECORD BASIC TRACK(S)
Check that the PITCH wheel is
centered (detented).
Check that the SPEED knob is
\
o
centered. — SPEED
PITCH
Lt Y
a"
Select program desired for basic * o O
track(s). [| Г] [|
PROGRAM PARAMETER VALUE
decide to not record, you can switch
Switch TRACK RECORD on. (If you * о
RECORD off, without erasing any b
RECORD LÉGATO
existing sequences.)
#
To record, switch SEQ A or B on. | N
Note: This erases any previous »
sequences in these banks.) SEQ A
[De
TRACK | will light automatically.
If more than one voice is needed for ыы * o o о
the basic track, switch on additional » [ | [ | [| [| [|
TRACK switches (2, 3, etc.). 2 3 4 5 6
CM610A 12/83 3-4
Recording will start automatically
when you begin to play.
When recording starts, the selected
TRACK LEDs will blink.
While the sequencer is recording, the
PITCH and MOD wheels are locked
out. |
To stop recording, in time with the
desired ending, either:
Switch RECORD off. The
recorded basic track(s) will
playback and loop. (If the
playback is transposed, the
PITCH wheel was not centered
before recording.)
or, Switch SEQ off. The sequence
will not playback.
CM610A 12/83
4 МОТЕ
3-5
ll
Ш
al
e
|
!
BLINKING
NC ST
O o
[| | | | LOOPS
RECORD LEGATO
OR
о
||
SEQ A
STOPS
3-7 RECORDING USING THE OPTIONAL FOOTSWITCH
Switch TRACK RECORD on.
Select SEQ A or B.
TRACK 1 will light automatically.
If desired, select additional tracks.
If you press the footswitch, recording
will begin with a rest.
Or, recording will start automatically
when you begin to play.
The TRACK LEDs will blink.
To stop recording, press the
footswitch in exact time with the
desired ending.
The recorded basic track(s) will
playback and loop. The LEDs for
tracks recorded will remain lit during
playback.
To stop playback, press the footswitch
again. SEQ will remain lit.
Pressing the footswitch again will
start the sequence.
CM610A 12/83
* O
Ju
RECORD LEGATO
*
||
SEQ A
*
_
* о о о
НОО С
3 a 5 6
TRACK
ZE (START)
OR |
(START)
al
BLINKING | (
+ * * * * *
OOOO
1 2 3 a 5 6
TRACK
LS (LOOP)
+ x # + x
JU OO Odo
1 2 3 4 5 6
*
||
NT (STOP)
. SEQ A
“ 3 2 (START)
3-6
3-8 BASIC OVERDUBBING
If not already playing back, start
playback of basic track(s), by pressing
SEQ.
While playing live, select program
desired for this overdub.
Switch TRACK RECORD on. It will
blink.
Switch on desired overdub tracks. These
TRACK LEDs will blink, indicating the
tracks are ready to record.
(It is possible--but not recommended--to
overdub on a track which already is
recorded.)
During this first loop, while both
RECORD and TRACKs are blinking,
anything played on the keyboard will be
ignored.
(Before playing, you can switch
RECORD off without affecting anything
already recorded on that track.
RECORD will continue to blink "ready"
through this loop. Then it will go off.)
If desired, play notes intended for the
first overdub beat, just before the end of
this first loop. At the end, RECORD will
light solidly. If any notes are being held
when this occurs, they will be recorded
exactly on the first beat of the
sequence.
If no notes are held, during the next loop
when RECORD is lit, overdubbing starts
whenever you play on the keyboard.
Overdub as desired. When the end of the
sequence is reached, RECORD will go
off, and all recorded tracks will play
back.
CM610A 12/83
BLINKING
SEGA
|
|
*
||
RECORD
BLIN
Ju
KING
4 NOTE
O
||
LEGATO
O
O O
OY
TRACK
a
> 6
HOLD OPENING NOTES
|
Ц
|
Lil
№
N
3 (NOT BLINKING)
RECORD
ACTIVATES
AUTOMATICALLY
Г
RECORD
NA
7
pol
|
RECORD
SWITCHES OFF
AUTOMATICALL Y
3-9 ERASING TRACKS *
Start playback by pressing SEQ. b ||
«os BLINKING
# O
Hold TRACK RECORD. It will blink. HOLD D. ||
RECORD LEGATO
# O O O о O
TRACK TO
Press lit TRACK switch of track to be » BE ERASED [ | [| [ ] [| [|
erased. 1 > a a а 6
TRACK
The sequence will stop and SEQ will be #
lit. The track is erased. [
SEQ B
To restart, press SEQ twice, or the e
footswitch once. эх » [| STARTS
SECB
(To erase another track, it is not OR
necessary to restart. Tracks can be
erased when the sequence has been <
stopped while SEQ A or B is still lit. In
this case the TRACK LEDs will not be STARTS
lit.) |
Note: To erase an entire sequence, just re-record. Do not erase all tracks.
3-10 FOOTSWITCH CUE *
Press SEQ to start playback. > —]
Switch TRACK RECORD on. ) BLINKING # o
JU.
RECORD LEGATO
Switch on desired overdub tracks. BLINKING
The RECORD and TRACK LEDs will 1 2 3 a 5 6
blink. (After one loop, RECORD will TRACK
light solidly.)
Press footswitch. This will reset the RESETS TO
sequence to its beginning. (You will BEGINNING
hear nothing. The sequence is ready to >
start.)
ULL as
Now, anything you play will Y OVERDUB
automatically start overdub mode and , is
be recorded as opening notes. N ( |
At the end of the loop, RECORD will *
O
ITCHES OFF
automatically switch off. L AUTOMATICALLY
RECORD LEGATO
CM610A 12/83 3-8
3-11 EDIT TRACK PROGRAM
To change a track's program:
RECORD LEGATO
*
Start playback by switching SEQ (A or > ||
В) on. SEQ
| | # o
Switch TRACK RECORD on. » Ju
BLINKING
Press TRACK switches of track(s) to [] [| Г Г] Г DO
6
be reprogrammed. The LED(s) will
blink. a ° ? 3 >
TRACK ===
Select desired program.
Ж o o
1 1 U
PROGRAM PARAMETER VALUE
; _ o
To stop, press SEQ or the footswitch. » [| | OR ZE
SEQ y
| OR
* o
To return to normal playback without » [| [ |
stopping, press TRACK RECORD. —
RECORD LEGATO
CM610A 12/83 | 3-9
3-12 MULTI-TRACK/MULTI-TIMBRE EXAMPLE
For example, multi-track an instrumental version of a [2-bar blues:
Decide the basic arrangement for up to six voices. |
For this example, we'll use voice 1 for the bass program and voices 2 - 4 for
a comping organ part. This leaves two voices for thematic lines. Voice 5 will
be recorded, while Voice 6 will be left for live play.
Decide the programs.
Voice/Track Program
1 13
00
00
00
09
live
ON += о о
Check that the PITCH wheel is in center detent position.
If the wheel is not centered, the sequence will playback transposed, because
the sequencer ignores the PITCH whee] during playback. |
Check that the SPEED knob is approximately centered.
This gives the central control range of running speed, from approximately
1/4 to 4X real-time (recording speed). If--while recording the basic tracks--
the SPEED knob is set almost fully counterclockwise (slow), then the
playback rate will only be able to be increased, from 1/1 to 8X real time. If
it is fully clockwise (fast), only a decrease, from 1/1 to 1/8, will be possible.
Select program for basic track.
The basic track is the first one laid down in a sequence, which establishes
the basic length. It is fairly natural to lay down the bass line first, so we
select that program: |
PROGRAM must be on.
Select 13.
Switch TRACK RECORD on. |
If you decide to not record, you can switch RECORD back off at this point,
without erasing any existing sequences.
Switch SEQ A or B on.
This selection erases any sequences in these banks.
TRACK | will light automatically.
If more than one voice is needed for the basic track, switch on additional
TRACK switches (2, 3, etc.). All selected tracks will record with the same
program; however, each track program can be changed later.
CM610A 12/83 3-10
If desired, start metronome for basic track. Or use Drumtraks! (See section 9.)
At this point SEQ A, RECORD, and TRACK | are lit.
Play the bass line.
When you play the first note, the TRACK I LED will start blinking, to
indicate that recording has begun.
Stop recording at the right time, with RECORD or footswitch.
To record an accurate loop, press the footswitch or the RECORD switch
exactly in time with the first beat of the next measure.
If you made a mistake in the bass line, just switch SEQ off, then start over.
With the basic track playing (SEQ A and TRACK 1 on), select program #00, for
overdubbing the comping part.
If you want to change the pace, adjust the SPEED control.
Switch on TRACK RECORD and TRACKS 2, 3, and 4. They will all blink until the
end of this first loop. |
The sequencer is playing through the loop to give you time to get ready to
record. If you hit the keyboard while the LEDs are blinking, nothing will be
recorded. But if any keys are played or held at the end of this loop, they will
automatically be recorded exactly on the first beat on the new recording
loop. (This autocorrect downbeat recording only is possible on the first loop.
On following loops, be sure to play overdub notes just after the start of the
sequence.)
At the end of the first loop, the RECORD LED will go solid to indicate that playing
Will be recorded.
Again, recording does not begin until you begin to play. You can "preview"
the loop as often as necessary.
Record the comping part. Play only three voices maximum.
When the sequence end js reached, RECORD will go off and all four tracks will
play back.
Suppose you make a mistake on this recording.
You can erase just the track which contains the mistake, or-erase all of the
overdubbed parts, and re-record the whole part. What you do at this point
depends on how you like to work.
CM610A 12/83 3-11
Erase undesired tracks.
Hold TRACK RECORD. It will blink.
Press lit TRACK switch of track to be erased.
The sequence will stop and SEQ will be lit.
Restart and repeat for each track to be erased.
Overdub Correct Parts.
Switch to Program 09 and overdub a theme on track 5.
Select program 09.
Press SEQ A to start sequence.
Switch TRACK RECORD on.
Switch TRACK 5 on.
While RECORD blinks, hold opening note of solo.
When the next loop starts, RECORD will light solidly and recording will
begin.
When the loop has finished, RECORD will go off.
Select another solo program and play, accompanied by the sequence. The wheels
can be used.
3-13 IN CASE OF SEQUENCER PROBLEMS
Control
If the keyboard or control panel "lock up," check that you are not making an
operational error. If necessary, reset the computer by switching power off, then,
after a few moments, back on.
Sequencer
If while recording, the TRACK and TRACK RECORD LEDs start blinking rapidly,
the sequencer memory is full. To escape, switch SEQ A or B off. Create more
space by erasing undesired tracks.
If sequences have been lost and the sequencer is not functioning ("locked-up"), it
can be reset. Be sure you are not making an operational error, because resetting
will erase anything you have recorded under both sequences.
To reset the sequencer:
Hold both RECORD switches.
Press SELECT O.
CM610A 12/83 3-12
4 ARPEGGIATOR
4-1 INTRODUCTION
The arpeggiator is a very useful keyboard memory feature with two basic modes:
UP/DOWN and ASSIGN. In either mode you can "latch" the arpeggiator, so it
continues to play even when you remove your hands from the keyboard.
The arpeggiator uses voice 6 only. For either UP/DOWN or ASSIGN modes, the
arpeggiator will recognize a maximum of sixteen held keys.
4-2 UP/DOWN
with UP/DOWN on, the Six-Trak sequences between any held keys according to
their position, from low to high and back down. For example, CE GB G E CE G...
To arpeggiate:
Switch UP/DOWN on.
Hold desired keys.
The arpeggiator will play, using Voice
Adjust SPEED as desired.
If only one key is held, there will be no
arpeggiating. Monophonic lines can be
played normally, with the arpeggiator
brought in only when more than one
key is held down simultaneously.
The PITCH and MOD wheels will not
operate.
To latch, press the footswitch or
TRACK RECORD while you hold down
keys. You can then remove your
hand(s) and the notes will continue to
arpeggiate.
CM610A 12/83
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4-3 ASSIGN
ASSIGN sequences between keys according to the order they are played. For
example, C G E B C G E B. This allows you to create intense riffs, without
necessarily having to play them.
ASSIGN operation is the same as UP/DOWN, except you press keys in the order you
want them to be played.
4-4 FOOTSWITCH NOTES
Once an arpeggiator sequence has been entered, it is possible to set up the
arpeggiator to advance either by single presses of the footswitch, or in response to
an external clock connected to the FOOTSWITCH jack:
Turn the SPEED knob fully counterclockwise. The arpeggiator will stop.
Tap the footswitch quickly.
Or, if desired, connect a 5-15V clock source, preferably a square wave. The
maximum useful frequency will be 10 - 15 Hz. (Note that for the Six-Trak
computer to recognize the clock pulse. the pulse must be at least 20 milliseconds
long--both high and low. Note also that a satisfactory pulse can be obtained from
the Drumtraks METRONOME OUT jack. This allows the Drumtraks to control the
arpeggiator speed according to the drum pattern beat note.)
CM610A 12/83 4-2
5 STACK MODE
In the Six-Trak, a stack consists of up to six different timbres (programs) assigned to
one note played on the keyboard. Two separate stacks (A and B) can be created.
Intervals can be stacked, usually by simply adjusting the OSCILLATOR COARSE
FREQUENCY parameter (#00) for the various programs. This enables the creation of
very complex sounds.
To create a stack:
Switch STACK (A or B) on.
To change the program for a voice:
Select desired program.
Switch TRACK RECORD on.
Press desired TRACK switch.
RECORD will switch itself off.
Repeat as required to assign programs to desired voices.
To adjust voice volume:
Hold desired TRACK switch.
Adjust TRACK VOLUME as desired.
To delete the voice from the stack:
Adjust voice/track volume to O.
If LEGATO is off, the keyboard will play as in Unison mode, with multi-triggering and
low-note priority. (The Unison program parameter is ignored.)
If LEGATO is on, the keyboard will play with single-triggering.
To see the program assigned to each track, simply press the desired TRACK switch.
The program number for that track will be displayed.
CM610A 12/83 5-1
6 PROGRAMMING THE SYNTHESIZER
6-1 INTRODUCTION
Basic operation with the factory programs has already been covered. You can use the
Six-Trak solely with the factory programs. However, as good as they are, the musician
is bound to feel that some are more useful than others in specific musical contexts.
This is why you want to be able to create your own custom programs.
There are several aspects to programming custom sounds: knowing the Six-Trak's
modes of operation and accompanying switch functions, knowing what the synthesizer
parameters do in a functional sense, and knowing how to use the parameters for
musical purposes.
The modes and switch functions are explained in this section. The parameters are
explained in the next section. The use--the art--is your part. To exploit the Six-Trak's
sonic possibilities fully, learn as much about it as you can by studying the parameters
(see Section 7) and the factory programs (see Section 14). Seeing exactly how these
programs are constructed will make it easier for you to begin to create your own
programs. At first, practice synthesizing by editing the factory programs. For many,
this will be the best way to learn exactly how the parameters on the Six-Trak operate.
Then try creating programs "from scratch" (see page 6-6.)
Be advised that in the excitement of creation, new and interesting programs tend to
escape if not documented. Program parameter forms are provided for this purpose
following the factory program listings.
For more information, see also "Editing" in the Details section.
CM610A 12/83 6-1
6-2 EDITING A PROGRAM
If they are on, switch the sequencer,
arpeggiator, or stack mode off. If any
of these are on, the PARAMETER
switch will not light.
Switch PARAMETER on. PROGRAM
will switch off and the current
parameter number will be displayed.
Enter two digits for the parameter to
be edited. (For parameter codes, see
front panel.)
To edit the parameter value, turn the
VALUE knob. (To edit, it is not
necessary to switch VALUE on.)
To display the current parameter
value, switch VALUE on.
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6-3 RESTORING A PROGRAM
To cancel all edits and restore the original program: Lf
Switch PROGRAM on.
Re-enter the program digits.
CM610A 12/83
O O
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STACK MODE
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VALUE
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—! | PROGRAM
PROGRAM
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ORIGINAL
PROGRAM
6-4 AN EDITING EXAMPLE
For example, suppose you want to change oscillator waveforms from sawtooth to
pulse, change the LFO-modulation rate, and you prefer a brighter tone in the program:
Switching Waveforms
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VALUE
To switch off the sawtooth, turn the
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VALUE
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To switch on the pulse, turn the
VALUE knob clockwise.
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VALUE
The displayed value will be changed to | Н !
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EDITED
VALUE
CM610A 12/83 6-3
Editing Modulation Rate
Switch PARAMETER on.
If you hit any SELECT numbers while
VALUE is on, PARAMETER will be
selected automatically. This feature
saves time when doing extensive
editing.
Enter 15 for LFO FREQUENCY.
Switch VALUE on. A number from 00
to 15 will be displayed. This is the
current programmed value.
While observing the display, turn the
VALUE knob across its full range.
While playing, adjust the VALUE knob
for desired modulation rate.
Editing Brightness
Enter 19 for FILTER CUTOFF
FREQUENCY parameter.
Adjust VALUE knob for desired
brightness.
The knob will work even though the
VALUE switch is not on. If you want
to display the cutoff value, switch
VALUE on.
(Note that only the CUTOFF
parameter has a value range from 0 to
127, and that the "1" representing
hundreds is not displayed.)
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6-5 RECORDING A PROGRAM
To record an edited program or copy an existing one:
PROGRAM must be on.
Switch CONTROL RECORD on. (Do
not hold it, or you may accidentally
activate "hidden functions". See
Section 8.)
Select the first digit of the program
number being recorded.
(If the original program is to be saved,
use the number of an unneeded
program. If the original program is to
be replaced by the edited version, use
that number.)
If you somehow made a mistake, you
can exit record mode at this point by
merely switching RECORD off. The
program memory will not be affected.
Press the second digit, and the
program will be recorded in that
location.
Note: be sure to hit the correct
SELECT digit or you may erase a
program you wanted to keep.
When the second digit is entered, the
RECORD LED will go off.
CM610A 12/83
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6-5
When creating progams it is often convenient to begin with a basic sound instead of
just editing an existing program. Starting over from a basic patch can also free you
6-6 USING THE BASIC PATCH
from your existing sounds to find new ones.
Rather than having to manually check and edit all of a program's parameters, a
function is available which clears all parameters to 0, except for the minimum needed
to produce a basic sound. To switch to this basic patch:
Hold RECORD.
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PROGRAM
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Press SELECT 8. * 000
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This will set all parameters to 0, except: gs
#10 SAWTOOTH 1 (on)
#19 CUTOFF 127
#28 FILTER KEYBOARD 2 (full)
132 AMP SUSTAIN 15
#34 VOICE VOLUME 15
The keyboard will now play with a basic sound.
If desired, the basic patch can be recorded as a program.
Switch to other parameters and edit their values.
CM610A 12/83
6-6
7 SYNTHESIZER PARAMETERS
7-1 INTRODUCTION
This section describes the Six-Trak's programmable voice parameters.
OSCILLATOR = FILTER > AMPLIFIER UT
LFO
ENVELOPE ENVELOPE ENVELOPE
GEN. GEN. GEN.
Figure 7-1
SIX-TRAK GENERAL VOICE DIAGRAM
The Six-Trak actually contains six synthesizers, termed "voices." Figure 7-1 diagrams
one of these voices at a very general level. The Six-Trak fits into the tradition of
voltage-controlled analog synthesizers. To understand these instruments it has proven
useful to identify three basic functions: controllers, audio sources, and modifiers
(filters and amplifiers). Each voice contains several of each type of function, which
are represented on the block diagram, Figure 7-2.
Basically, controllers provide the control voltages (CVs) which determine the pitch of
the audio sources, or the filtering or attenuation effects of the modifiers. Controllers
can be mechanical devices such as keyboards and wheels. For example, as the CV from
the keyboard to the oscillator (audio source) is increased, the oscillator frequency
increases. Or controllers can be electronic, such as the LFO or the three envelope
generators. For example, as a rapidly-decreasing CV from an envelope generator
sweeps down the the filter cutoff frequency, it imparts a "pluck" to the voice. Other
controllers include The MASTER TUNE knob and PITCH wheel, which in effect provide
two CVs which control all of the oscillators.
There are three audio sources: the oscillator, the noise source, and the filter, if it is
adjusted for self-resonance.
The mixer, filter (when not in self-resonance), and amplifier are modifiers.
A more detailed examination of the voice parameters follows. Parameter numbers are
indicated by a "#."
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7-2 OSCILLATOR
The oscillator is an audio-frequency source always under control of #00 COARSE and
#01 FINE FREQUENCY, the keyboard, PITCH wheel, and MASTER TUNE. Oscillator
frequency can be modulated by the LFO and by the envelope generator. PULSE-WIDTH
(PW) can also be modulated by the LFO.
If no waveshape parameter is on, the oscillator will have no audio output. If two or
three waveshapes are on, they are mixed at full level and supplied as the oscillator's
output to the MIXER.
#00 COARSE FREQUENCY
Value Range: 00-48
00= lowest octave
12= one octave up
24 = two octaves (middle C)
36= three octaves
48= four octaves
Adjusts oscillator pitch in semitones, over a four-octave range. To this is added the
four-octave keyboard, for a total range of eight octaves.
Note that to keep programs in tune, this parameter should normally be adjusted to the
octaves (00, 12, 24...).
Exact oscillator pitch should be fine-tuned with MASTER TUNE, with #01 FINE at a
value of 0.
#01 FINE FREQUENCY
Value Range: 00-31
32= one semitone
Normally this parameter is set to 0, while oscillator pitch is adjusted with MASTER
TUNE. This parameter adjusts oscillator frequency by up to just less than a semitone.
This allows detuning of the oscillator, usually for use only in SEQUENCER or STACK
modes.
#02 GLIDE RATE
Value Range: 00-15
0= no glide
15= maximum glide (four octaves in approximately ten seconds)
When set to 0, the keyboard CV, which controls the oscillator pitch, instantly steps
between notes. As GLIDE is raised, the CV does not step between the notes, but begins
to slide. This introduces "portamento" between notes. Usually used with #35 Unison on,
because polyphonic (Unison off) use is difficult to predict--but can produce interesting
effects.
CM610A 12/83 7-3
#03 LFO FREQUENCY MODULATION
Value Range: 00/01
00= Off
01= On
This enables LFO modulation to the oscillator frequency, according to the level set by
#16 LFO AMOUNT and the MOD wheel. This produces a vibrato or trill, according to
the value of #17 LFO SHAPE.
#04 OSCILLATOR ENVELOPE AMOUNT
Value Range: 00-15
This parameter controls the depth of oscillator envelope modulation.
Each voice contains three independent ADSR envelope generators: one (#05-09)
controls oscillator frequency; one (#22-26) controls filter cutoff frequency; and one
(#30-33) controls the amplifier gain. The following comments on the ADSR envelope
generators are valid for all three.
An "envelope" changes value over time at a rate adjusted by the ATTACK, DECAY,
and RELEASE parameters. As the envelopes are generated with each keystroke, they
"contour" the voice intonation, timbre, and dynamics, animating the otherwise raw
waveshapes which come from the mixer.
The contour pattern is initiated when a key is struck. This "triggers" the envelope
generator(s) to proceed through their attack and decay periods. These periods can each
range from zero to about 11 seconds. The envelope voltage rises to its full value, then
falls (decays) to the level set by the sustain parameter, where it remains until the key
is released. When the key is released, the gate goes off and the envelope voltage drops
to zero at a rate set by the release parameter. |
#05 INVERT
Value Range: 00/01
00=Nor mal
Ol=Invert
This turns the oscillator envelope upside down. When normal, the envelope will drive
the oscillator sharp. If inverted, the oscillator will be driven flat.
#06 ATTACK
Value Range: 00-15
8= 1 second
15= 11 seconds
Adjusts the length of time for the envelope to go from zero level (when key is initially
depressed) to maximum level.
CM610A 12/83 7-4
#07 DECAY
Value Range: 00-15
8= 1 second
15=11 seconds
Adjusts the length of time for the envelope to go from maximum level to sustain level.
If sustain is set at maximum then the decay parameter value is irrelevant, because
level is already maximum. |
#08 SUSTAIN
Value Range: 00-15
Adjusts the sustain level from zero to maximum. This is a level control, not a time
control. Sustain time is the period between the end of the decay period and the
beginning of the release period. This is the length of time the key is held after attack
and decay.
#09 RELEASE
Value Range: 00-15
Adjusts the length of time for the envelope to go from sustain level to zero. If the key
is released before the attack or decay periods have elapsed, release controls the time
taken for the envelope to drop to zero from whatever its level when the key was
released. If the attack and decay periods have elapsed and sustain is set to 0, then the
release value is irrelevant, because the level is already minimum.
#10 SAWTOOTH WAVE
Value Range: 00/01
00= Off
01= On
Enables full-level waveshape containing all harmonics. This basic shape is often
described as "brassy."
#11 TRIANGLE WAVE
Value Range: 00/01
00= Off
01= On
Enables full-level triangle wave, containing little harmonic energy, thus having a dull
tone.
CM610A 12/83 7-5
#12 PULSE WAVE
Value Range: 00/01
00= Off
01= On
Enables full-level waveshape whose harmonic content, thus timbre, depends on the
value of #13 PULSE WIDTH and LFO modulation. If switching this on produces no
sound, try adjusting #13 to a value between 2 and 60.
Note: If all three waveshapes are on (#10, 11, 12), and the filter is on well open (#19
and #28), some distortion may occur when several keys are played simultaneously. If
this occurs, compensate by simply reducing VOICE VOLUME.
#13 PULSE WIDTH
Value Range: 00-63
01= 1%
15= 25%
31= square wave
47= 75%
63= 99%
Adjusts the harmonic content of the pulse wave by varying its duty cycle from
approximately 1 to 99%. At the extreme parameter values (00-02 and 60-63) the pulses
may be barely audible. A 50% duty-cycle pulse (having only odd harmonics), also called
a square wave, can be selected (approximately value 31).
This parameter is only effective if #12 PULSE is on. This parameter has no y effect on
the sawtooth or triangle waves.
#14 PULSE-WIDTH LFO-MODULATION
Value Range: 00/01
00= Off
01= On
Applies LFO-modulation to oscillator pulse width.
CM610A 12/83 7-6
7-3 LFO
"Modulation" refers to a periodic or consistent (as opposed to accidental) aural change
which is interesting or musically useful. Modulation is created by electronic
controllers when it is not possible to adjust a mechanical controller with the required
speed or precision. Modulation systems thus free the hands for playing the keyboard.
Modulation involves a signal-generating source and a modulated destination. The Six-
Trak contains two modulation systems in each voice: LFO-MOD and FREQUENCY -
MOD. FREQ-MOD has one source, the oscillator, and one destination, the filter. For
more information see #29 OSC TRIANGLE MODULATION AMOUNT.
LFO-MOD has a low-frequency oscillator (LFO) as a source, but has three selectable
destinations. The LFO frequency, waveshape, and basic output level are adjusted by
parameters #15-18. To this modulation level will be added any contribution of the
MOD wheel. Total modulation is applied by LFO switches #03, 14, and 27 to three
destinations.
#15 FREQUENCY
Value Range: 00-15
Adjusts LFO frequency from about % to 20 Hz.
#16 PROGRAMMED AMOUNT
Value Range: 00-31
Programs modulation depth independently from the MOD wheel.
#17 TRIANGLE/SQUARE WAVE
Value Range: 00/01
00=Triangle
01 =Square
Selects a triangle wave for vibrato, or a square wave for trilis.
CM610A 12/83 7-7
7-4 FILTER
The FILTER section contains parameters of the filter itself and of its ADSR envelope
generator. The envelope generator is identical to the oscillator envelope generator,
discussed above (see #04-09).
#18 OSC/NOISE MIXER
Value Range: 00-31
00= maximum oscillator level
15= even mixture
31= maximum noise level
Adjusts the ratio of the oscillator and noise source input to the filter.
#19 CUTOFF FREQUENCY
Value Range: 00-127
(The "hundreds" digit is not displayed. For example, value 127 is displayed as
27.)
Adjusts cutoff frequency of the 24 dB/octave (4-pole) low-pass filter. This parameter
is rather like a tone control. "Cutoff" is the frequency below which all elements of the
mixer's output signal are let through. The higher-frequency components of the input
signal (that is, all those above the cutoff frequency) are suppressed. The higher the
parameter value, the higher the frequencies are which pass through the filter. Thus,
the "brighter" the sound.
In addition to this parameter, overall cutoff frequency is the result of all the filter
modulation parameters (#21-29).
#20 RESONANCE
Value Range: 00-63
43= approximate oscillation point (may vary by voice)
Adjusts the amount of filter resonance. As the value is increased from 0, the amount
of resonance ("emphasis," "regeneration," or "Q") applied to those signal components at
the cutoff frequency will increase. As resonance increases, frequencies lower than the
cutoff will become decreasingly audible in comparison with those nearer the cutoff. As
the parameter value is increased, the filter breaks into oscillation, acting like a sine-
wave audio source whose pitch is determined by #19 CUTOFF FREQUENCY (and the
various filter modulation sources).
#21 ENVELOPE AMOUNT
Value Range: 00-15
00= no envelope modulation
The filter cutoff may be varied over time by the filter envelope generator. This
parameter adjusts the depth of filter envelope modulation (similar to #04).
CM610A 12/83 7-8
#22 INVERT
Value Range: 00/01
00=Normal
Ol=Invert
When normal, the envelope will drive the filter cutoff positively. If inverted, the filter
cutoff contour will be reversed.
#23 ATTACK
Value Range: 00-15
Same as #06.
#24 DECAY
Value Range: 00-15
Same as #07.
#25 SUSTAIN
Value Range: 00-15
Same as #08.
#26 RELEASE
Value Range: 00-15
Same as #09.
If filter release produces no effect, check that #33 AMPLIFIER RELEASE is set to
approximately the same value. |
#27 LFO
Value Range: 00/01
00= Off
01= On
This parameter switches LFO-modulation to the filter, which normally produces a
vibrato effect.
CM610A 12/83 7-9
8 HIDDEN FUNCTIONS
Note: All hidden functions are performed by using the listed control switches
simultaneously. While holding the RECORD switches, press the indicated SELECT
switch. CONTROL RECORD is on the right. TRACK RECORD is on the left.
8-1 GENERAL
Manual Tune CONTROL RECORD/SELECT 6
Basic Patch ~~ CONTROL RECORD/SELECT 8
Sequencer Reset Hold both RECORDs/SELECT 0
(Erases any sequences.)
8-2 MIDI
Modes
Mode 1--Omni On/Mono Off TRACK RECORD/SELECT |
Mode 3--Omni Off /Mono Off TRACK RECORD/SELECT 3
Mode 4--Omni Off /Mono On TRACK RECORD/SELECT 4
Dumps
Dump Current Seguences and Stacks CONTROL RECORD/SELECT O.
Dump Current Program CONTROL RECORD/SELECT 2.
Dump 100 Programs TRACK RECORD/SELECT 9.
CM610A 12/83 8-1
Control Options
Select Double Mode TRACK RECORD/SELECT 2.
For 610/610 or 610/210. Enables wheel changes, voice-to-voice program changes and
note information (Mode 4). Selects Channel 11 if set to higher. All Notes Off.
Select MIDI Clock Input Turn SPEED knob fully (counterclockwise).
Enable/Disable Program Change CONTROL RECORD/SELECT 1.
This toggles Program Change over MIDI, send and receive. On power-up, Progam
Change is disabled.
Enable/Disable Wheels and Parameters CONTROL RECORD/SELECT 4.
This toggles PITCH and MOD whee! send/receive and Parameter changes (receive only)
over MIDI. On power-up, wheel and paramater changes are disabled.
Local On TRACK RECORD/SELECT 7.
Enables the 610's keyboard.
Local Off TRACK RECORD/SELECT 8.
Disables the keyboard. Ignored when either the sequencer, arpeggiator, or stack mode
are on.
8-3 FOR SERVICE USE ONLY
CAUTION: Operators should not attempt to use these functions.
Center PITCH Wheel. CONTROL RECORD/SELECT 3.
zero DAC CONTROL RECORD/SELECT 7
Tune Test Toggle CONTROL RECORD/SELECT 9.
CM610A 12/83 3-2
9 USING THE SIX-TRAK WITH DRUMTRAKS
Connect Drumtraks MIDI OUT to Six-Trak MIDI IN.
Create a looping pattern or short drum song on Drumtraks.
Switch Six-Trak RECORD on.
Select SEQ A or B.
Start Drumtraks.
Record basic track(s) on Six-Trak, after one loop.
When basic track(s) are done, stop recording on Six-Trak in time with end of
Drumtraks pattern or song.
(For convenience, stopping the Drumtraks will stop the Six-Trak as if it were stopped
with its own footswitch.)
On the Six-Trak, turn SPEED knob fully counterclockwise, to select MIDI clock input
from Drumtraks for playback.
To overdub more tracks, repeat this same basic process.
A second Six-Trak can be connected in series so both Six-Traks will sync to one
Drumtraks:
MIDI MIDI MID! MIDI
OUT 7 IN OUT | IN
DRUMTRAKS SIX-TRAK SIX-TRAK
Figure 9-1
Note: If Six-Trak OUT is connected to Drumtraks IN, lowest Six-Trak keys will play
certain Drumtraks instruments. (For more information, see the Drumtraks Operation
Manual.)
CM610A 12/83 9.1
10 USING MIDI
This section will present practical instructions on how to use the 610 with other
instruments. When power is switched on, the MIDI system is set up for basic use.
However, numerous control options are available for less conservative applications.
For programming details, see the MIDI implementation data near the back of this
manual. |
10-1 CONNECTING TWO SIX-TRAKS
MASTER SLAVE
MIDI MIDI
OUT > IN
Figure 10-1
DUAL SIX TRAKS
Switch power off!
This is done to establish a common starting point.
Connection
Connect MIDI OUT of master unit to MIDI IN of the slave.
Connect AUDIO OUT of both units to monitor system.
Switch power on.
At power on, some of the features or options described below are enabled, while
others are disabled.
Select usable programs on both Six-Traks.
These programs should probably not be transposed. (In other words, playing a C
should produce a C.)
Check that both PITCH wheels are centered, and MODs are down.
Tune the two Six-Traks.
On the master, center MASTER TUNE and hold a key. The same key on the
slave will be played (by MIDI). Adjust the slave's MASTER TUNE.
CM610A 12/83 10-1
10-2 BASIC MIDI OPERATION
Keyboard playing on the master is duplicated by the slave.
On power-up, keyboard information is sent and received. As you play on the
master, the same notes will be played on the slave.
Wheel changes on the master have no effect on the slave.
Program changes on the master have no effect on the slave.
You must select programs separately on the master and slave.
When the master's sequencer or arpeggiator is on, the slave will not play the sequenced
or arpeggiated notes.
However, the slave will play any notes that you play on the keyboard while the
sequencer is running or the arpeggiator is latched.
10-3 DUMP OPERATIONS
If you want to send a specific program from the master to the slave, on the master
only, hold CONTROL RECORD and press SELECT 2. (Then, on slave, re-select
program number.)
For example, on the master, program 33 is selected. You hold CONTROL
RECORD and press SELECT 2. Program 33 on the slave will now have the
master's program. To activate this new program, select the new 33 (on the
slave).
If you want to send all 100 programs from the master to the slave, on the master only,
hold TRACK RECORD (on the left) and press SELECT 9. (Then, on slave, re-select
program number.) |
RECORD will remain lit for a moment while the data dump occurs.
The master's programs will be copied into the slave.
The slave's current program will not change by itself. Select desired new
program(s).
If you want to send the sequences and stacks from the master to the slave, on the
master only, hold CONTROL RECORD and press SELECT 0.
RECORD will remain lit for a moment while the data dump occurs.
The master's sequences and stacks will be copied into the slave.
Check that the slave's SPEED knob is not set fully counterclockwise.
CM610A 12/83 10-2
10-4 CONTROL OPTIONS
To select Double Mode, on both units, hold TRACK RECORD and press SELECT 2.
When this is done, the slave will become an exact double of the master. It will
respond to all notes, live or sequenced, following all voice-to-voice program
changes, and wheel changes.
To make the inaster switch the slave's programs, on both units, hold CONTROL
RECORD and press SELECT |.
Now, for example, when you select program #45 on the master, the slave will
automatically switch to its program #45.
To disable program changes, repeat CONTROL RECORD/SELECT 1, on both.
To make wheel changes on the master also apply to the slave, on both units, hold
CONTROL RECORD and press SELECT 4.
To disable wheel changes, repeat CONTROL RECORD/SELECT 4, on both.
To have the master sequencer play the slave, select Mode 4 on both units by holding
TRACK RECORD and pressing SELECT 4.
To disable this control, select Mode 1 by TRACK RECORD/SELECT 1, on both.
If it is desired to disable the slave's keyboard and wheels, on the slave only, hold
TRACK RECORD and press SELECT $.
Don't do this when either the slave's sequencer, arpeggiator, or stack mode are
on. It will be ignored.
To enable keyboard and wheels, do TRACK RECORD/SELECT 7.
Note: MIDI is an evolving system. We encourage you to experiment with various
instrument configurations and let us know what, if any, other control options would be
useful to you.
CM610A 12/83 10-3
10-5 A SIX-TRAK AND PROPHET-T8
This paragraph gives a basic example which should be applicable to many other
synthesizers.
MIDI OUT — > MIDI IN
PROPHET-T8 SIX-TRAK
Figure 10-2
PROPHET-T8/SIX-TRAK CONNECTION
Switch power off!
Connection
Connect MIDI OUT of master unit to MIDI IN of the slave.
Connect AUDIO OUT of both units to monitor system.
Switch power on.
Select usable programs on both synthesizers.
These programs should probably not be transposed. (In other words, playing a C
should produce a C.)
Check that both PITCH wheels are centered, and MODs are down.
Tune the two synths.
Tune the -T8 to its A-440 reference. Tune the Six-Trak to the -TS8.
The Six-Trak is controlled by the lower five octaves (C-C) of the T-8's keyboard,
including the seguencer.
This is regardless of keyboard mode (SINGLE, SPLIT, DOUBLE).
СМ610А 12/83 10-4
If the Six-Trak sequencer is on, the Six-Trak will still try to play the most-recently
received notes from the -T8. |
To enable -T8 wheel changes to control the Six-Trak, on both units, perform
(CONTROL) RECORD/SELECT 4.
If, on the -T8, ENABLE WHEELS is programmed or edited to off on both sides,
remote wheel control will be disabled.
To enable -T8 program changes to control the Six-Trak, on both units, perform
(CONTROL) RECORD/SELECT 1.
100 of the -T8's LEFT and RIGHT programs correspond to the Six-Trak program
numbers , as indicated by the following abbreviated table:
-T8
Lll
L12
L21
L31
L41
L5l
1-61
L71
L8l
L88
Six- Track
00
01
08
16
24
32
40
48
56
63
-T8
ЕН!
R12
R21
R31
R41
Ral
К 54
R55 and up
Six-Track
64
65
72
80
88
96
99
not recognized
If you want to disable the Six-Trak's keyboard and wheels, hold TRACK RECORD and
press SELECT 8.
Don't do this when either the slave's sequencer, arpeggiator, or stack mode are
on. It will be ignored.
To enable keyboard and wheels, do TRACK RECORD/SELECT 7.
CM610A 12/83
10-5
11 DETAILS
Arpeggiator: The arpeggiator can be advanced either by:
a. The internal clock which is set by the SPEED knob.
b. When latched, by the footswitch. (Set SPEED to 0.)
c. By an external clock into the footswitch jack. (Set SPEED to 0.)
The arpeggiator cannot be advanced by the MIDI clock.
Editing: All PARAMETERS listed on the front panel are programmable (subject to
setting by the computer), while the two wheels, for example, are non-programmable.
Generally, the programmable parameters are crucial to establishing the characteristic
sound of a program, while the non-programmable wheels are for performance.
However, this does not mean that the programmable parameters are unalterable.
Except when the sequencer, arpeggiator, or stack mode is on, the programmable
parameters can be altered at any time and each alteration will influence the sound.
Adjusting the programmable parameters is called editing.
Edit Mode is a powerful tool that allows you to experiment with program changes by
selectively adjusting each front panel parameter. The original program remains
unchanged and can be restored at any time. Edited programs can be recorded into the
original location if the original program is not desired, or into a program location
which contains an undesired program.
Edit Mode is entered when PARAMETER is switched on. The current parameter
number will be displayed and can be changed. When the VALUE knob is turned, the
parameter will be adjusted. (To edit the current parameter, VALUE does not have to
be switched on.) To check the current parameter value, switch VALUE on.
Footswitch: In STACK MODE, the footswitch is ignored.
Glide: Because the six voices are assigned to each new note in rotation, polyphonic
glide (Unison off) is not easy to predict. The amount of voice glide is the difference
between the last and next note to which it is assigned. For example, if GLIDE is turned
up and all voices have been assigned to the bottom of the keyboard (by virtue of six
different low notes having been played there), and you then play notes each in the
middle and high ranges, the middle notes will "arrive" before the higher notes.
Homophony: Same-sounding. When the sequencer or stack mode isn't on, the Six-Trak
voices are homophonic.
Low-note priority: When parameter 435 UNISON is on, all voices are assigned to one
key. When two keys are pressed, only the lower note is voiced.
Polyphonic: Many-voiced. Applied to the Six-Trak, this means that up to six different
notes can be played simultaneously. The Six-Trak is polyphonic unless #35 UNISON is
on.
CM610A 12/83 11-1
Program: A program is the set of all parameter values which create a specific sound.
RECORD: There are two RECORD switches. On the left is TRACK RECORD, for the
sequencer, arpeggiator, and stack functions. On the right is PROGRAM RECORD, for
recording and copying programs.
Value: Parameter value can only be adjusted when PARAMETER or VALUE is on.
Wheels, PITCH/MOD: The wheels do not operate on sequence tracks, nor upon voice 6
when it is being played by the arpeggiator.
The PITCH and MOD wheels to the left of the keyboard are performance tools which
may take some practice to master. The wheels are monophonic. That is, both wheels
affect all voices uniformly: all voices are pitch-bent by the same interval and
modulated to the same depth. An integral part of playing is using the wheels for
expression through pitch and timbral variations.
The PITCH wheel is normally left in its center-detent position, from which it is
possible to "bend" oscillator pitch up or down by about a 3rd.
The MOD wheel sets the modulation level, in addition to the programmed LFO
AMOUNT (parameter #16). When not in use the wheel is left "down" and no modulation
will occur. When the wheel is advanced fully "up," modulation is maximum.
CM610A 12/83 11-2
12 MODEL 610 SIX-TRAK SPECIFICATIONS
General Description
Six-voice multi-timbral hybrid analog synthesizer with six-track sequencer.
Homophonic capability.
Four-octave keyboard.
Non-volatile memory (backup battery).
100 user-programmable instrument programs
Synthesizer Functions
Preset mode
Program edit and record
Displays program number, parameter number,
and parameter value
One knob adjusts parameter values
Legato
Autotuning
Pitch wheel
Modulation wheel
Master Volume
Master Tune
Copy Program
Program Parameters
SYNTHESIZER PARAMETERS
OSCILLATOR
00 COARSE FREQUENCY
01 FINE FREQUENCY
02 GLIDE RATE
03 LFO
04 ENVELOPE AMOUNT
05 INVERT
06 ATTACK
07 DECAY
08 SUSTAIN
09 RELEASE
10 SAWTOOTH WAVE
11 TRIANGLE WAVE
12 PULSE WAVE
13 PULSE WIDTH
14 LFO
LFO
15 FREQUENCY
16 PROGRAMMED AMOUNT
17 TRIANGLE/SQUARE WAVE
FILTER
18 OSC/NOISE MIXER
19 CUTOFF FREQUENCY
20 RESONANCE
21 ENVELOPE AMOUNT
22 INVERT
23 ATTACK
24 DECAY
25 SUSTAIN
CM610A 12/83 12-1
26 RELEASE
27 LFO
28 KEYBOARD
29 OSC TRIANGLE MOD AMOUNT
AMPLIFIER
30 ATTACK
31 DECAY
32 SUSTAIN
33 RELEASE
34 VOICE VOLUME
UNISON
35 UNISON
Controller Functions
Stack mode
Arpeggiator Modes Up/Down, Asign, Latch
Two sequences (SEQ A, SEQ B)
Sequencer Functions
Capacity 800 notes
SiX tracks, one per voice
Variable playback speed
Record Basic Track(s)
Play
Overdub
Erase Track
Edit Track Program
Program Track Volume
Memory full warning
Inputs
Footswitch 4-inch phone TS. Starts and stops recording
and playback
MIDI 5-pin DIN
Outputs
Audio %-inch phone TRS. Can drive stereo headphones.
MIDI 5-pin DIN
MIDI Functions
External program storage
External sequence storage (4000 notes with SCI Model 64)
Sequence synchronization to MIDI clock
Alternate keyboard modes
Other
Power 110-125V or 220-240V
Dimensions
Height 4-% in.
Width 28 in.
Depth 12 in.
Weight 17.5 Ibs
CM610A 12/83 12-2
610 SIX-TRAK MIDI IMPLEMENTATION
December 28, 1983
Unless otherwise specified, status/data bytes are given in binary, while numbers in
descriptions are in decimal.
TRANSMITTED DATA
Status
9NH
1001 nnnn
9NH
1001 nnnn
F8H
1111 1000
FCH
1111 1100
BNH
1011 nnnn
CNH
1100 nnnn
ENH
1110 nnnn
Second
K
Okkk kkkk
K = 36(C0) - 84(C4)
K
Okkk kkkk
01H
0000 0001
P
Oppp PPPP
P = 00 - 99
Vi
Ovvv vvvv
LS byte
Third/Other Description/Notes
ROUTINE
40H
0100 0000 Note On.
00H
0000 0000 Note Off.
— Timing Clock.
Sent whenever a timing clock status byte (F8H) is
received. |
Stop Song
Sent whenever a Stop Song status byte (FCH) is
received.
CONTROL
M
000m mmmm Mod Wheel Amount.
Only sent when enabled.
Wheel values are only sent when a change of
position is detected.
Program Change.
From front panel. Only sent if enabled (see page 9).
Vm
Ovvv vvvv Pitch Wheel Change.
MS byte
Wheel Center: LS = 0, MS = 64
Only sent if enabled.
Six-Trak MIDI, page |
TRANSMITTED DATA
Status Second
FOH OlH
1111 0000 0000 0001
(SYS EX SCI ID
FOH OlH
1111 0000 0000 0001
SYS EX SCI ID
FOH OlH
1111 0000 0000 0001
Third/Other Description/Notes
SYSTEM EXCLUSIVE
NSH P D F/H
nnnn 0101 Oppppppp data 1111 0111 Program Data.
610 ID Program # EOX)
(00-99)
Sent by request only. Data is 16 bytes of program
data, sent as 32 four-bit nibbles, right justified, LS
nibble sent first.
For bit packing positions, see Table l.
If P=127, SEQ A and B, and STACK A and B are
transmitted.
7BH ONH F7H Double Mode
Ol11 1011 0000 nnnn 1111 0111
SEL CH channel? EOX
Set Basic Channel to new channel N (nnnn). Also
enables wheels, program change, and parameter
change send/receives and selects Mode % (Onmi
Off/Mono On). Sent with TRACK RECORD/2.
/FH F/H Pattern Marker.
Q111 1111 1111 0111
Sent whenever a pattern marker sequence is
received.
Six-Trak MIDI, page 2
RECOGNIZED RECEIVE DATA
Status
8NH
1000 nnnn
9NH
1001 nnnn
CNH
1100 nnnn
ENH
1110 nnnn
F8H
1111 1000
FCH
1111 1100
Second Third /Other Description/ Notes
ROUTINE
K V
Okkk kkkk Ovvv vvvy Note Off.
V is ignored
The status bytes need not be sent every event.
K V
Okkk kkkk Ovvv vvvv Note On.
lf K is outside of the range 36-9%6, it will be transposed to the nearest
octave inside this range.
V ignored, except
V = 0, Note Off
P
Oppp pppp Program Change.
Р = 0 - 99, program number
If enabled and with Omni Mode On, changes all six
voices to program P (ignore channel number).
Vis Vms
Ovvv vvvv Ovvv vvvv — Pitch Wheel Change. (if
V = LS byte enabled)
V = MS byte
Goes to all 6 voices. For reference, bit 12 = one
semitone in the 610.
Successive Pitch Wheel changes can be received
without repeating the Status byte.
Timing Clock.
Can be received at any time, including between any
other messsage. Used to sync internal sequencer to
Model 400 Drumtraks.
Note: During record the 610 senses Timing Clocks
from the 400 automatically, between the time
RECORD is selected and when the first note is
played. During playback the MIDI clock is enabled
by setting the SPEED knob to zero.
Stop Song
If sequence A or B is active, receiving this code will
act like the footswitch was pressed.
Six-Trak MIDI, page 3
RECOGNIZED RECEIVE DATA
Status
BNH
1011 nnnn
BNH
1011 nnnn
BNH
1011 nnnn
BNH
1011 nnnn
BNH
1011 nnnn
BNH
1011 nnnn
BNH
1011 nnnn
Second
C
Оссс сссс
Third /Other Description/Notes
CONTROL
V
Ovvv vvvv Parameter Change (if enabled).
C = Parameter #
O1H
0000 0001
7AH
0111 1010
7AH
0111 1010
/BH
0111 1011
7CH
0111 1100
/DH
O111 1101
V = Parameter Value
For valid parameter numbers and values, see Table
M
000m mmmm External Modulation Amount (if
enabled).
Goes to all 6 voices. This amount added to MOD
wheel and programmed initial modulation amount.
Successive Mod Wheel changes can be received
without repeating the Status byte.
00H
0000 0000 Select Local Control Off.
When Local Control is Off, the keyboard, wheel, and
program change information is only sent over MIDI
and the six voices are only controlled by MIDI. This
enables elaborate keyboard modes via external
controllers. Also selects parameter mode.
This should not be sent to the 610 when its
seguencer, arpeggiator or stack mode is on. It will
be ignored.
7FH
0111 1111 Select Local Control On.
When Local Control is On (normal), the 610's
keyboard, wheels, and program changes will directly
play and assign the six voices.
00H
0000 0000 All Notes Off.
00H
0000 0000 Omni Mode Off, All Notes Off.
(Mode 3)
00H
0000 0000 Omni Mode On, All Notes Off.
(Mode 1)
Six-Trak MIDI, page 4
RECOGNIZED RECEIVE DATA
Status
BNH
1011 nnnn
BNH
1011 nnnn
Second
7EH
0111 1110
7FH
01111111
Third/Other
00H
0000 0000
00H
0000 0000
Six-Trak MIDI, page 5
Description/Notes
Mono Mode On/Poly Mode Off,
All Notes Off. (Mode 4)
Poly Mode On/Mono Mode Off,
All Notes Off. (Mode 3)
RECOGNIZED RECEIVE DATA
Status
FOH
1111 0000
(SYS EX
FOH
1111 0000
(SYS EX
FOH
1111 0000
SYS EX
FOH
1111 0000
SYS EX
FOH
1111 0000
SYS EX
Second
OlH
0000 0001
SCI ID
Third/Other Description/Notes
SYSTEM EXCLUSIVE
00H F/H
0000 0000 Oppp pppp 11110111 Program Dump Request.
REQUEST Program # EOX) Initiates Program Dump.
If ID wrong, message ignored.
OlH
0000 0001
SCI ID
Р = 0 - 99
If P=127, SEQ A and B, STACK A and B.
05H F7H
0000 0101 Oppppppp data 11110111 Program Dump
610 ID Program # EOX) Receive.
00-99
If either ID wrong, message ignored.
OlH
0000 0001
SCI ID
OlH
0000 0001
SCI ID
OlH
0000 0001
SCI ID
If P=127, SEQ A and B, STACK A and B.
Sent by request only. Data is 16 bytes of program data,
sent as 32 four-bit nibbles, right justified, LS nibble
sent first.
For bit packing positions, see Table ! (page 10).
7BH ONH F7H Select Double Mode
0111 1011 0000 nnnn 1111 0111
SEL CH channel7/ EOX
Set Basic Channel to new channel N (nnnn). Also
enables wheels, program change, and parameter change
send/receives and selects Mode 4 (Onmi Off/Mono On).
7CH ONH F7H Wheel Enable
0111 1100 0000 nnnn 11110111
ENABLE voice? EOX
If Mode 4, enables wheels on voice N (nnnn).
7DH ONH F7H Wheel Disable
01111101 0000 nnnn 1111 0111
DISABLE voice EOX
If Mode 4, disables wheels on voice N (nnnn).
Six-Trak MIDI, page 6
RECOGNIZED RECEIVE DATA
Status
FOH
1111 0000
(SYS EX
FOH
1111 0000
(SYS EX
Second
01H
0000 0001
SCT ID
OlH
0000 0001
SCI ID
Third/Other Description/Notes
7EH F7H
0111 1110 11110111 Enable All MIDI Send/Receives.
ENABLE EOX)
This forces all send/receives to be enabled, including
wheels, program changes, and parameter changes.
7FH F7H
OL11 1111 11110111 Pattern Marker.
PM EOX)
Sent by Drumtraks immediately after the first Timing
Clock of each pattern, except at the start, when it is
not sent.
The 610 uses this marker during sequence recording to
auto-correct the start and stop timing of the sequence.
Six-Trak MIDI, page 7
MODE NOTES
The 610 powers-up in Omni Mode (Mode 1). The Channel Number can be changed from
the front panel (see Parameter #36, under CODED FUNCTIONS). The Channel Number
is ignored while in Omni On Mode, except for the Omni Off command. Mono On
commands are ignored in Omni On mode (i.e., Mode 2 is not recognized). On power-up,
only Note On/Off and Program Dump messages are sent and received. Wheel changes
and program changes can be enabled from the front panel (see CODED FUNCTIONS).
When Omni Off is selected (Mode 3), all messages without the Basic Channel number
are ignored.
When Omni Off and Mono On (Mode 4), the 610 will assign one each of its six voices to
channels N to N+5, where N is the current basic channel. Note that this will normally
mean channels 3 - 8 (n = 2 - 7). Note also that the basic channel must not be set above
11, to allow room for six voices. When Mode 4 is selected, it will automatically be set
to 11 if the channel is higher.
If Omni On is selected while Mono is On, Poly On/Mono Off will automatically be
executed.
Basic Channel number can be changed by selecting PARAMETER #36, and adjusting
for a value for 1 - 16. The channel number is non-volatile--it will remain as selected
even through power off. The Basic Channel is set to 3 at the factory.
Note that the Basic Channel number is sent with transmitted data.
CODED MIDI FUNCTIONS
While holding the RECORD switches, press the indicated SELECT switch. CONTROL
RECORD is on the right. TRACK RECORD is on the left.
Modes
Mode 1--Omni On/Mono Off
TRACK RECORD/SELECT |
Mode 3--Omni Off/Mono Off
TRACK RECORD/SELECT 3
Mode 4--Omni Off/Mono On
TRACK RECORD/SELECT 4
Six-Trak MIDI, page 8
Dumps
Dump Current Sequences and Stacks
CONTROL RECORD/SELECT 0.
Dump Current Program
CONTROL RECORD/SELECT 2.
This sends 16 bytes of the program data of the program currently displayed.
Dump 100 Programs
TRACK RECORD/SELECT 9.
Control Options
Change Channel #
Select PARAMETER #36. Switch VALUE on and adjust VALUE knob to select desired
channel (1 - 16). Note that in Mode 4, channel 11 is the maximum usable channel.
Channel number can also be changed remotely by a Select Double Mode command over
MIDI.
Select Double Mode
TRACK RECORD/SELECT 2.
For 610/610 or 610/210. In the master instrument, enables wheel changes, voice-to-
voice program changes and note information (Mode 4). Selects Channel 11 if set to
higher. Sends SYS EX 7B Double Mode Command to slave, to effect similar changes.
Select MIDI Clock Input
Turn SPEED knob fully counterclockwise.
Enable/Disable Program Change
CONTROL RECORD/SELECT 1.
This toggles Program Change over MIDI, send and receive. On power-up, Program
Change is disabled.
Enable/Disable Wheels and Parameter Changes
CONTROL RECORD/SELECT 4.
This toggles PITCH and MOD wheel send/receive and Parameter changes (receive only)
over MIDI. On power-up, disabled.
Local On
TRACK RECORD/SELECT 7.
Enables the 610's keyboard, switches, and wheels. Enabled on power-up.
Local Off
TRACK RECORD/SELECT 8.
Disconnects the keyboard, wheels, and switches from the sound-generating circuitry.
The information will be sent over MIDI, but only MIDI received data will play the 610.
This code will be ignored when the sequencer, arpeggiator, or stack mode is on.
Six-Trak MIDI, page 9
Table |
610 SIX-TRAK PROGRAM BIT MAP
16 bytes of program data
BYTE
MHP BVRNAN LET WN —O
MS BIT
BI BO A5 A4 АЗ
DO C3 C2 Cl CO
FO E3 E2 Е! EO
HO G3 G2 Gl GO
4 13 1 [10
K2 Kl KO J3 12
мо 14 13 12 11
N1 NO M6 MS Mi
03 02 Ol O0 №5
Q3 Q2 Ql Q0 P3
S3 $2 $1 SO R3
ul Uo T5 T4 T3
WI wo уз V2 VI
YI yo X3 X2 XI
25 74 273 Z2 zl
- —- ZB ZA Z9
SWITCH BITS
ZO OSC SAW
Zl OSC TRI
Z2 OSC PULSE
Z3 OSC ENV INVERT
Z4 FIL ENV INVERT
Z5 UNISON
Six-Trak MIDI, page 10
A2
B4
D3
F3
H3
Jl
LO
M3
N4
P2
R2
T2
VO
хо
20
58
Z6
Z7
28
79
ZA
ZB
LS
Al
B3
D2
F2
H2
J0
K4
M2
N3
PI
RI
TI
U3
W3
Y3
27
BIT
AQ
B2
DI
Fl
HI]
D
K3
Mi
N2
PO
RO
TO
U2
W2
Y?2
Z6
POT BITS/RESOLUTION
A= OSC FREQ/6
B= FINE/5
C= GLIDE/4
D= OSC ENV AMOUNT/#4
E= OSC ENV ATTACK/4
F= OSC ENV DECAY /4
G= OSC ENV SUSTAIN/4
H= OSC ENV RELEASE/4
I= PULSE WIDTH/6
J= LFO FREQ/4
K= LFO AMOUNT/5
L= MIXER/5
M= FILTER CUTOFF/7
N= RESONANCE/6
O= FIL ENV AMT/4
P= FIL ENV ATTACK/4
Q= FIL ENV DECAY/4
R= FIL ENV SUSTAIN/4
S= FIL ENV RELEASE/4
T= OSC TRI AMOUNT/6
U= VOICE VOLUME/4
V= AMP ENV ATTACK/4
W= AMP ENV DECAY/4
X= AMP ENV SUSTAIN/4
Y= AMP ENV RELEASE/4
LFO SHAPE (l= TRI)
LFO OSC
LFO PULSE
LFO FILTER
FIL HALF (Only one of
FIL FULL these can be on.)
Table 2
610 PARAMETER TABLE
(MS bytes only sent)
# of Bits Maximum
# Function Resolution Value Format
l MOD WHEEL 5 31 x00m mmmm
Mod Wheel data is right-justified in the least-
significant five bits of a seven-bit number.
All remaining data is left-justified to the correct
number of digits of a seven-bit number (value 0 -
127), as shown.
OSC COARSE FREQUENCY
OSC FINE FREQUENCY
OSC GLIDE RATE
2 48 OFFF FFFx
3
4
> OSC LFO
6
/
8
31 Offf ffxx
15 Oggg gxxx
(off /on) 1 OLXX XXXX
15 Oaaa axxx
1 Oixx xxxx
15 Оааа аххх
15 Oddd dxxx
15 Osss SXXX
15 Orrr rxxx
1 Osxx xxxx
1 Otxx XXXX
l Opxx xxxx
63 Oppp pppx
I OLXX XXXX
15 OFFF Fxxx
31 Оааа аахх
6
5
4
1
OSC ENVELOPE AMOUNT 4
OSC ENV INVERT |
OSC ENV ATTACK 4
9 OSC ENV DECAY 4
10 OSC ENV SUSTAIN 4
11 OSC ENV RELEASE 4
12 OSC SAWTOOTH WAVE 1
13 OSC TRIANGLE WAVE 1
14 OSC PULSE WAVE 1
15 OSC PULSE WIDTH 6
16 OSC PULSE LFO-MOD 1
17 LFO FREQUENCY 4
18 LFO PROG AMOUNT 5
19 LFO TRI/SQUARE WAVE ] 1 Owxx xxxx
20 OSC/NOISE MIXER 5 31 Ommm mmxx
21 FILT CUTOFF FREQUENCY 7 127 OFFF FFFF
22 FILT RESONANCE 6 63 Orrr rrrx
23 FILT ENVELOPE AMOUNT 4 15 Oaaa axxx
24 FILT ENV INVERT 1 1 Oixx xxxx
25 FILT ENV ATTACK 4 15 Оааа аххх
26 FILT ENV DECAY 4 15 Oddd dxxx
27 FILT ENV SUSTAIN 4 15 Osss SXXX
28 FILT ENV RELEASE 4 15 Orrr rxxx
29 FILT LFO-MOD | 1 OLXX XXXX
30 FILT KEYBOARD AMOUNT 2 (off/half/on) 2 Okkx xxxx
31 FILT-OSC TRI MOD AMT 6 63 Orrr rrrx
32 AMP ATTACK 4 15 Оааа аххх
33 AMP DECAY 4 15 Oddd dxxx
34 AMP SUSTAIN 4 15 Osss SXXX
35 AMP RELEASE 4 15 Orrr rxxx
36 VOICE VOLUME 4 15 Ovvv vxxx
37 UNISON 1 1 Ouxx xxxx
Six-Trak MIDI, page 11
14 Factory Programs
The Six-Trak is shipped "ready-to-play," with 100 factory programs. These present a
wide range of instrumental and sound effects. Most were programmed by SCI's Product
Specialist, John Bowen, with some contributions from the SCI staff.
On the following two pages the programs are listed by number. Following that are lists
of the parameter values for each factory program. Use these values for guidance in
creating your custom programs.
As you invest time in custom programs, back them up through storage to an external
MIDI sequencer. (For more information, see the sections on MIDI use).
CM610A 12/83 14-1
FACTORY PROGRAM LIST
00
01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
Percussive Organ |
Brass |
String |
Synth with Resonance 1
Piano 1
Ariel
Vocalings
Plucky 1
Son of Org - unison
Miridium
Percussive Organ 2
Brass 3
Strings 2
Synth with Resonance 2
Synth-clav
Cut-bass
Lead | with release
Polyglide
Res-bass
Loris 1
Organ Flutes
Slow attack brass
Strings 3
Release Filter
Piano 2
Synth A
Muted Clav-type
Sustained lead sound - unison
Synthbass | - unison
Harp
Donald Duck organ
Cornet
Strings (brugel) 4
High Josef
Electric Piano
Obiechords
Clav-like w/ slight release
Synthbass 2 - unison
Synthbass detuned - unison
Inverted pluck
Unison organ
Brassy vibrato
String swell
Seraphim
Jan |
Pennywhistle
Loris 2
Lucky Man
Cut-bass 2 - unison
Clav 3
CM610A 12/83
50
51
32
53
34
35
26
27
28
29
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
14-2
Percussive Organ 3
Grok brass
Marlboro Strings
George Frederick
Jan 2 - unison
Full synth
Twang
Clavet
Bezmod
Plucky 2
Pleides
Synth with Resonance 3
String with Filter sweep
Echo |
Synth B
Hose Pose
Powerpack
Lead 2 - unison
Pulse-width mod |
Flute
High Organ Flutes
Digi-Horn
Angelic
Flutey Pose
Pulse-width mod 2
Harpsichord
Synth with resonance 4
Acoustic Piano - part 1
Celestial
Golliwog Jr.
Electronic Percussion
Meow
Wind
Inverted Clangorous
Musical Orgs
UFO
Square wave spacey
SFX 1
Acoustic Piano - part 2
Chirp-dive
Puce
Thudmon
Percussive noise
Ascending release
4ths drop with release
Josef's Cousin
Percussive wind - unison
Percussion 3 - unison
Alien - unison
Alien wind - unison
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15 YOUR PROGRAMS
NUMBER NAME/DESCRIPTION
00
01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
CM610A 12/83 15-1
25
26
27
28
29
30
3]
32
33
34
35
36
37
38
39
40
41
42
43
By
45
46
47
48
49
CM610A 12/83 15-2
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
CM610A 12/83 15-3
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
20
21
92
93
24
95
96
97
98
29
CM610A 12/83 15-4
SCI SIX-TRAK
PROGRAM NUMBER:
DESCRIPTION:
MOD-WHEEL:
NOTES:
PARAMETERS
OSCILLATOR
00 COARSE FREQUENCY
01 FINE FREQUENCY
02 GLIDE RATE
03 LFO
04 ENVELOPE AMOUNT
05 INVERT
06 ATTACK
07 DECAY
08 SUSTAIN
09 RELEASE
10 SAWTOOTH WAVE
11 TRIANGLE WAVE
12 PULSE WAVE
13 PULSE WIDTH
14 LFO
LFO
15 FREQUENCY
16 PROGRAMMED AMT
17 TRI/SQUARE WAVE
FILTER
18 OSC/NOISE MIXER
19 CUTOFF FREQUENCY
20 RESONANCE
21 ENVELOPE AMOUNT
22 INVERT
23 ATTACK
24 DECAY
25 SUSTAIN
26 RELEASE
27 LFO
28 KEYBOARD
29 OSC TRI MOD AMT
AMPLIFIER
30 ATTACK
31 DECAY
32 SUSTAIN
33 RELEASE
34 VOICE VOLUME
CU НИЕ
35 UNISON
CM610A 12/83
SEQUENTIAL CIRCUITS, INC.
LIMITED WARRANTY
Please read this warranty as it gives you specific legal rights. You may
also have other rights which can vary from state to state.
LENGTH OF WARRANTY
This warranty will remain in effect for IF from the date of
purchase. y
WHAT IS COVERED "Ne
This warranty covers all defects in material and workmanship in this
product, under the condition as discussed in the following sections.
WHAT IS NOT COVERED
1) Damage due to accident, misuse, neglect or abuse —including
damage resulting from failure to follow instructions contained in the
operation manual.
2) Damage or deterioration of cabinet or keyboard.
3) Damage occurring during any shipment of the product for any
reason. All claims must be handled directly with the carrier.
4) Damage resulting from repair or attempted repair by anyone other
than Sequential Circuits, Inc. (S.C.1.) or an authorized S.C.1. Service
Center.
5) Any unit on which the serial number has been defaced, modified
or removed is not covered under this warranty.
6) Any modification or alteration of any kind performed by anyone
including S.C.I. or an Authorized S.C.1. Service Center, will void the
warranty on your unit. The only exception to this is an Authorized
S.C.I. modification which includes its own warranty coverage. Due to
the complexity of the circuitry, modifications tend to extend repair
time and therefore increase repair costs.
HOW TO VALIDATE THE WARRANTY
With this warranty you will find a Warranty Registration Card. This
card is to be filled out and returned to S.C.I. within fourteen (14) days
of the date of purchase.
The warranty is applicable to the original purchaser only and you
must present the original purchase receipt to obtain warranty perfor-
mance, unless applicable laws state otherwise.
HOW TO OBTAIN WARRANTY PERFORMANCE
Your unit may be serviced by any Authorized S.C.I. Service Center. If
you are unable to find a service center in your area please contact the
S.C.l. Factory Service Department. We will either refer you to an
Authorized Service Center or request that you return your unit to the —
factory. If you are to return your unit to the factory, you willbe givena
Return Authorization Number. Please mark all packages and shipping
documents with this number.
Do not return your unit to the factory without prior authorization as
your unit may not be accepted.
You must pay all shipping charges to and from S.C.I. or Authorized |
Service Centers and you will be responsible for damage and/or loss
resulting from shipment in either direction. If you desire a fully insured
shipment you must arrange for this coverage with the carrier. If you
wish your return shipment to be insured, you must request this in -
writing atthe time your unit is delivered to S.C.|. All additional charges
must be prepaid or your unit will be returned to you C.0.D. Detailsand |
costs can be obtained from the S.C.1. Shipping Department.
LIMITATIONS OF IMPLIED WARRANTIES
Any implied warranties, including warranties of merchantability and
fitness for a particular purpose, are limited in duration to the length of
this warranty.
EXCLUSION OF CERTAIN DAMAGES
S.C.l.'s liability, for any defective product, is limited to repair or
replacement of the product at S.C.1.'s option. S.C.I. shall not be liable,
under any circumstances for:
1) Damages based upon inconvenience, loss of use of the unit, loss of
time, interrrupted operation or commercial loss, or
2) Any other damages, whether incidental, consequential or other-
wise, except damages which may not be excluded under applicable
law.
Some states do not allow limitations on how long an implied warranty
lasts and/or do not allow the exclusion or limitation of incidental or
consequential damages, so the above limitations and exclusions may
not apply to you.
March 6, 1981
Please fill In the following information for our Marketing Department.
Thank you for your cooperation.
NAME —<
| (PLEASE PRINT)
ADDRESS
| CITY STATE
| ZIP PHONE ( )
MODEL SERIAL NO.
PURCHASED FROM
| DATE PURCHASED
AGE: TYPE OF MUSIC PLAYED:
Under 21 О Country D Electronic 0
22-26 О ;
27-35 a Jazz a Classical Q
Over 35 о Rock CI R&B a
New Wave G Disco О
TYPE OF MUSICIAN: Other
Student a Professional 0
Amateur С Recording/ MUSICAL PUBLICATIONS REGU-
Session o LARLY READ AND REVIEWED:
Semi-Pro G Other _ Rolling Stone D
Guitar Player O
INSTRUMENTS PLAYED: down beat o
Brass o Woodwind a international Musician aa
Percussion [J Keyboard о Contemporary Keyboard O
Guitar al Synthesizer 0 Musician Player Listener o
Other Other
Do you own a computer?
WHAT INFLUENCED YOUR DECISION TO PURCHASE AN SCI PRODUCT?
WHAT DO YOU LIKE MOST ABOUT YOUR SC1 PRODUCT?
ADDITIONAL COMMENTS:
WHAT OTHER PRODUCTS WOULD YOU LIKE SCI TO CREATE?
| — ETT a EN CHEN char aan ne Zar Sess © GREG
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
WAN ASAE REN AES RASA FUE A AIVCLS TR ASS FARM ABI ICT BE RETHIDAIFPMN TA OM
NO POSTAGE
NECESSARY
IF MAILED
IN THE
UNITED STATES
BUSINESS REPLY CARD
FIRST CLASS PERMIT NO. 6907 SAN JOSE, CA
Postage will be paid by addressee
JEOUENCIAL CiICU:LS ¡NC
3051 North 1st Street
San Jose, California 95134
Announcing the Sequential Circuits
Model 64 MIDI Sequencer, a powerful new
performance and composition tool for musicians.
The Model 64 is the first SCI sequencer available using MIDI (Musical Instrument
Digital Interface). It is a cartridge which plugs in to the memory expansion port of a
Commodore 64 personal computer, taking advantage of that system's portability,
memory capacity, cassette or disc storage, and video interface.
The Model 64 Sequencer records whatever is played by storing the MIDI information
sent from any MIDI equipped instrument compatible with the Rev 1.0 MIDI spec. Up to
4000 notes can be recorded. The Model 64 also stores velocity, pitch-bend and
modulation information (if the synthesizer is so equipped). For playback, the sequencer
sends MIDI information back to the synthesizer either as recorded in real time, or
auto-corrected for subtle timing errors. The playback tempo can be varied by using
either the internal clock or an external drum machine clock.
As a digital recorder, the sequencer's editing facilities allow for multi-track
overdubbing, duplication, and correcting parts without re-recording, splicing, or
accumulating noise through the processes of "mix-down" and "bouncing" generations of
tape tracks. The sequencer memory can be allocated to eight independent variable-
length sequences, each of which can have six tracks. Eight different timing error-
correct values are available, from a quarter-note (lowest resolution) to a sixty-fourth
note (highest resolution). A sequence can be transposed within a six-octave range. A
library of songs can be built by chaining sequences together and storing them on disc
or cassette. Songs can also be overdubbed and transposed.
For precise start and stop control of recording and playback, the Model 64 cartridge
has a jack for an optional footswitch. A second jack accepts the synchronizing clock
from an external drum box. The sequencer will record this drum box clock with the
sequence. On playback the drum box clock can then keep the sequence synchronized
to the drum part.
Operation is simple. For portability, the Model 64 Sequencer is designed for use with
or without a monitor. LEDs on the cartridge identify up to four sequences and
indicate record, play, overdub, and storage functions.
The Model 64 Sequencer is another new concept from Sequential Circuits, the leader in
affordable high-technology for the electronic musician. It is ready to use with our new
Sixtrak, Prophet-600 and Prophet-T8 synthesizers, with the Prophet-5 or Prophet-10
equipped with a Model 841 MIDI retrofit kit, or with any other MIDI-equipped
synthesizer.
le y == mue 3051 North First Street
SEQUENTIAL San Jose, California 95134
Cama CIRCUIT INC (408)946-5240
SCI HAS A GREAT NEW DIGITAL DRUM MACHINE AVAILABLE NOW!
ANNOUNCING DRUMTRAKS! A fully programmable drum machine featuring 13
digitally recorded instruments and MIDI (Musical Instrument Digital Interface).
DRUMTRAKS lets you program volume and tuning individually for each of its 13 real
drum and cymbal sounds. This allows you to "expand" your "drum set" to include the
sounds of gongs, 32-tom rolls, gorilla claps and more! Extensive editing options include
auto-correct, overdub, record, erase, and copy modes.
Drumtraks features a programmable mixer with a monophonic output (which can drive
stereo headphones). For control by external mixers or processors, six audio channels
(plus the metronome) are available at the back panel through standard 1/4-inch phone
jacks.
The Drumtraks overall memory capacity of over 3300 notes can be allocated to up to
100 different drum patterns, any of which can be up to 100 measures long in any time
signature. Tempo range is 40 - 250 beats-per-minute. Each overdub of a pattern can
be recorded with a different instrument volume or tuning, in real time, or auto-
corrected to one of eight levels of resolution. Any part of an instrumental track can be
erased. Patterns can be copied and added together (appended).
Once drum patterns (sequences) are recorded in the Drumtraks memory, up to 100
songs can be defined. Basically, songs are made by chaining patterns together. Each
song can consist of up to 100 steps. Steps specify how the song is built by selecting
patterns and inserting volume or tempo changes. Songs, too, can be edited, copied and
appended.
The Drumtraks' memory is retained even when power is off thanks to a backup battery
with a ten-year life. For permanent storage and reprogramming, the built-in interface
can be used to store the contents of memory on a common cassette.
The Drumtraks features two built-in interface systems. There is a selectable 24, 48 or
96 pulse-per-quarter note clock input, and a 24-pulse clock output for older sequencers
or rhythm units and sync-to-tape. For operation with computer-controlled sequencers,
the new MIDI interface is also provided. This enables the Drumtraks to synchronize to
SCTs new Model 610 Six-Trak multi-timbral synthesizer/sequencer, or any other MIDI-
equipped instrument. For example, the Drumtraks can be played with full velocity
control from the keyboard of the Prophet-T8, allowing for easy, real-time recording of
drum dynamics!
sm = «= т == 3051 North First Street
SEQUENTIAL San Jose, California 95134
Me CIRCUIT ¡NC (408)946-5240
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